Conference mr1pst::music

    I had mentioned "YES YEARS - A RETROSPECTIVE" in the other note, but
    noone responded...if you haven'y picked it up yet, you should. It is 2+
    hours of their history, and a must for the serious fan.
    
    Dreamer easy in the chair that really fits you !!
    

    Got it ! It has some really cool footage, although how many Yes tapes
     contain " I've seen all good people " live with the new generators ?
     ALL of them !! I thing Bill bruford and tony Kay should be given thier
     walking papers. IMHO............Howe wouldnt be missed that much
    either.    I think Rabin/Anderson/Squire/White and Wakemen would be the
     best lineup.
    
                             "Changes"

    
    -.1:
    
    Don't agree at all. Bill Bruford is a far more sophisticated drummer
    than Alan White, of course IMO. Also, Howe is more of a personality
    than Rabin is - IMO, Rabin's type is counted in 1000's, whereas Howe
    could be recognized out of 1000's...
    
    Poul
    

    Howe was a personality, like Page and Butterfield. past tense.
     Rabin style could be counted in the 1000's , if you just aren't
     looking closely. Bruford may be better tecnically (sp?) but I
     prefer Alan Whites basic style for the group. Rabin can/does
    play Howes songs/leads styles exceptionally well, though I doubt
     Howe could come near Rabins proficiancy.
    
     Look what Yes was before Rabin, washed out has beens(with some great
     songs, in the past) Now they are back to Superstar level. I don't
     think AWBH set the charts on fire. As a matter of fact I thought they
     put on a Pittiful concert in that configuration. IMHO   B*)

    I think that if the Anderson , Brueford, Wakeman, Howe album is
    anything to go by then that is probably a winning line up......

    All IMHO-
    
    Rabin's style is far too 'digital' and unemotional for the early stuff,
    but perfect for the stuff like 90125 (which kind of makes sense). 
    Sometimes I think he could just go away, but in general he makes a
    great contribution (though I prefer Howe's style overall).  Tony Kaye
    and Alan White could go away and not be missed.  In the show that I
    saw, Kaye looked like he was struggling to keep up, and Alan White did
    nothing worth mention.  Bill Bruford is simply one of the best drummers
    out there in terms of style and technique.  Wakeman is a dazzling
    keyboard player in both style/showmanship and technique.  Therefore, 
    ultimate lineup: 
    Anderson, Bruford, Wakeman, Howe, Squire, and Rabin.
    

     re. -1 lineup
    
           Agreed !

Man, you guys are killing me!! Are you talking about a band or a basketball
team? You make it sound like there's a bunch of useless old farts lying around
clogging up the roster or something.

As far as I'm concerned, the ultimate Yes lineup is the one that's been
touring.

o Howe vs. Rabin:

	Apples and oranges baby. Each plays their own stuff much better
	than the other guy could. Howe was Guitar's Players "Best" choice
	for at least one year. The guy is *no* slouch. Rabin is a great
	player too and has a more "modern" sound than Howe. Rabin can
	hold his own against any of the metal shredders. That's just not
	Howe's style. Howe is subtle, and definitely unique. If they were
	wines one would be top-shelf California and the other would be
	a fine French vintage. I like 'em both.

o Kaye vs. Wakeman:

	Wakeman is a viruoso and a master of keyboard technique. Tony's
	a pretty average player but he does smoke Wakeman in one category:
	sampling. Tony's been doing great work with samplers since his
	return to 90125 Yes. The accents on Owner of a Lonely Heart are
	great. As keyboard players go, Tony's probably better when it comes
	to applying all the "modern" technology. Again, apples and oranges
	and I like 'em both.

o Bruford vs. White

	More apples and oranges. White is a good solid rock drummer and
	would hold his own in any band. Bruford, on the other hand, is
	a "signature" player (no pun intended). His playing is definitive.
	You know you've been listening to Bruford like you know when you've
	been listening to Steve Howe. Off all the combos on the "Union"
	tour, I think the two drummers worked the best. With Bruford playing
	the electronic percussion and White holding the groove, I think
	the drumming in Yes is at its most awesome peak ever.

I like the combined tour de force of the Union band. My only complaint woud
be that they hold onto the dinosaurs of rock mentality by giving everyone
in the band a solo. Highly unnecessary. Just a little less bombast and the
current generation of Yes would be the best ever.

Brian

     
      Although the current lineup is great , I have a feeling that 
      8 people in the band will not last. The record company and/or
      the members will eventually decide that the group should be
      pared down. I sincerly hope that the current 8 man band puts
      out another album, only this time, working together as a unit.

    
    
     Oh yeah........In the Yes retrospective videotape Trevor Rabin
     mentions that the song "Love will find a way" was going to be
     a Stevie Nicks song ( written by Rabin ). I can almost imagine
     how it would sound with her vocals.

    I was disappointed with the 90125 line up...they found a catchy little
    "noise" (the one that blasts over and over in "Owner Of A Lonely
    Heart") and use it over and over and over...
    
    None of the inventiveness or life of the earlier...and so I haven't
    paid too much attention to them since.
    
    K.C.

    RE: .12 (K.C.)
    
    Huh?
    
    They use some sampled and resynthed horn sounds, maybe 2 or 3 places,
    in "Owner" and nowhere else that I can think of otherwise. If you don't
    like the song or some other aspect of the group since 90125, that's
    one thing, but I think your criticism is off-base in this case.
    
    The songwriting has definitely changed, but I don't find it less
    creative than the old stuff, just different.
    
    Brian

    
    
    Has anyone listened to Steve Howes latest Solo effort "Turbulance" ??
    
    I'm thinking of buying it, but it's an import and costs a fortune !!
    
    I'd like to know I'm getting something worthwhile !
    
    
    Kevin.
    
    

    > Howe was Guitar's Players "Best" choice for at least one year. 
    
    Actually it was 5 years... 5 STRAIGHT years!
    
    And he might have won it more except that they decided that once
    someone wins it 5 times they should recieve a special honor ("Gallery
    of the Greats") and then be disqualified from winning it again.
    
    He might have won it 10 years were it not for that.
    
    And the exact category was "Best Overall" - which sorta means that he
    is the best at a variety of styles.
    
    The only other player to win "Best Overall" 5 years is a guy who played
    in some band called "The Dregs".
    
    Rabin is a great guitar player, but Howe is an all-original, and frankly
    I place nearly infinite more value on that.
    
    IMHO, one thing that made Howe unique was that his approach to playing
    was more of an ensemble approach, rather than a "rock guitar" approach.
    The role of the guitar rarely fell into the "lead" or "rhythm"
    category - it rarely played or suggested a chord, it rarely suggested
    "the" melody.  Instead it was one instrument in an ensemble.  
    
    In order to pull this off, Squire's bass also had to take that
    approach, and what makes Squire unique is pretty much the same kind of
    approach that made Howe unique.  You often hear Squire going into the
    upper registers of the bass (one of the reasons he centered on
    Rickenbacker basses), you often hear him go outside of the drum-groove
    (contrary to a normal "rhythm section"), and you often hear him play
    sub-melodies.
    
    I like 90125, but I think they're getting further and further away from
    the ensemble approach of the classic albums, and to my ears, that makes
    them sound a lot more mainstream.

	Re .-1: exactly my words...when you mention Squire, I remember
	the magic between him and Bruford on the early recordings...
	the pair of them was legendary as how the bass and the bassdrum
	worked together (ex. 'Close To The Edge'). This was something
	new in rock history at the time.

	When Alan White joined, I was disappointed; his sort of 'noisy'
	cymbal work was not my taste, compared to Bruford's distinct,
	clean and complicated rhythm patterns - and when Rabin joined,
	Yes was reduced to an ordinary rock band, using fret speed as
	a scale for quality...

	But I don't like Bruford playing those damned electronic drums
	either...

	Poul

     Re .-1
    
         You probably like "Classic Coke" too     B*)
    
       Lets face it, the band has grown, had they stayed the same style, we
      would be calling them formula oriented, out of date dinosuors(sp?)
    
           I admit , Steve Howe is/was an excellent guitar player/stylist
         I never disputed the fact ( Though I've seen him on a very off
            night in concert )  Look past the fret speed of Rabin, he's got
            some really tastey playing and fills all over the albums. For
            example "Shoot high, aim low " from Big Generator has an
    assortment of fills and really nice playing. It seems that if a player
      can shred, everyone rationalizes that they can't play with feel.
           I for one, do not agree. Really listen to his playing (Rabins)
           and put aside your biases. The player is excellent.
    
                 JT

    
    I agree with Brian about the 'UNION' tour lineup, the combination
    of the various Yes stages was most interesting.
    
    Trevor vs Steve - Steve's sound and style are legendary, he creates
    an atmosphere to play within, whereas Trevor's virtuosity is more
    cold and steely (more for effect and speed).
    
    Bill vs Alan - How can I compare, when I met them both on the "UNION"
    tour backstage, and I think they're both excellent gentlemen. Bruford's
    way of playing all around the beat (and Squire following him) made for
    the 'classic' Yes style. Alan proved his technical prowess on Relayer,
    and is a completely solid and powerful drummer.
    
    Rick vs Tony - Tony is not the classically trained wizard that Wakeman
    is, but was (and is) adequate. For texturing and ambience, I give it
    to Rick (but I absolutely adored Moraz also !).
    
    Chris vs (Tony Levin ?) - Squire's treble-oriented Rickenbacker is a
    Yes institution, and he's a master. His backing vocals and harmonies
    area perfect compliment to Jon and cannot be improved upon, nor replaced.
    Tony Levin is a masterful bassist, and did some very subtle and complex
    work on ABWH and UNION, but alas - is not a recognized Yes-man.
    
    Jon vs (Trevor) - I do not really enjoy Trevor's lead vocals (although
    he's penned some very catchy pop tunes. Leave the vocals to Anderson,
    up there on that ethereal Jon-Heaven astral plane !
    
    YesYears, The Retrospective - is a MUST for any serious Yes fan ......
    
    - acp

     As oppossed to Jon vs Trevor
     and Howe Vs. Rabin.....How about Howe + Rabin ?
     Howes unique style combined with Trevors shred capabilities ?
     Jon + Trevor + Squire's vocals ?
    
     Maybe Yes will keep the majority of its members and thier
     abilities to contribute to the art of music. I think we got off
     on a tanjent about apples vs. Oranges.  JMHO
     Can you thing of any group with more experience or ability ?
     Maybe on the next album, Trevors pop sensibilities will keep the
     band from getting to overindulgent and cosmicly silly. 

    
    I would be interesting to see a *true* union take place on the
    next album.....
    
    guy

     Favorite Yes songs.....
    
         Heart of the sunrise
         Changes
         Shoot high, aim low
         Starship Trooper ( Worm )
         I've seen all good people
         City of love

    
    Well, chaps...here's a rumo(u)r...
    
    
    Apparantly Bill Bruford has quit the band !!
    
    
    Kevin.
    ~~~~~~

    
     .............and then there were 7 !!!

    Rick Wakeman is doing another of his `Classical Connections' tours of
    the UK. These are concerts played at very small venues - the one I am
    going to next Friday (Winsford Civic Hall in Cheshire) has a seating
    capacity of about 200. Having missed his last tour I am looking
    forward to this concert in this relatively `cosy' setting.
    
    
    Phil Gill.

     The mans a virtuoso at the keys, it should be a good time.
     I hope he stays with Yes.

    re .22
    
    Not surprising with a new (and brilliant) Earthworks album out.  I
    guess BB wants to concentrate on his jazz career.
    
    Darnley

I have it and I love it. To avoid adding fuel to the "Howe is great/not-great"
debate I'll just say that if you like him in Yes you'll like Turbulence
(IMHO of course).

The only comments I'll make about the album is that it's totally instrumental.
If you're into playing guitar you might find all the guitar data interesting
(or maybe ridiculous!). There's even a matrix that shows what instruments
he used on the various songs.

I don't recall it being an import, I paid about $11 at a record store in
Milford N.H. which certainly isn't a place to go for bargains, so I assume
one can do better (it was on sale).

Ken

    
    
    Thanks Ken,
    
    Yes, it is an import, but that's 'cos I'm in the UK !!
    
    :-)
    
    Oh well...
    
    
    Kevin.
    ~~~~~~
    
    
    
    

    No mention in this note about the Yes "box set".  When it first came
    out and I mentioned it enthusiastically to a fellow Yes fan, it was
    recommended that several older Yes albums would be money better spent. 
    I dunno.  One thing I've always heard about is disappointment in the
    quality of the recording transferred into cd format.  For instance,
    I've heard that the "Tales" sounds very poor.  On the other hand, the
    older stuff in the box set is supposedly remastered.
    
    So, should I ask for this cd box set for Christmas?  :-)
    
    John

    This set is good for someone who doesn't have to have every classic
    Yes tune, and unacceptable for someone who does.
    
    I fall into the former category - when I first heard of a Yes boxed
    set, I had hoped that they were taking a bunch of (complete) albums
    and putting them together in a discounted package perhaps with some
    bonuses.
    
    Thus, I was pretty dissapointed by this - which isn't to say that
    I wouldn't like a copy, but just can't justify the price above
    what I will have to spend anyway buying the original albums on CD.
    
    	db

    I bought the box set when it first came out. I had just got into CD's
    about 2 months earlier, and was given "Big Generator" and "Classic Yes" 
    CD's. I have so much music I want to buy that it would be a while
    before I would get all the YES material on CD that I would want, so the
    box set for me was a good buy. 
    
    I'm not a YES "collector" so there are a handful of toonz in the set
    that one wouldn't normally find on the normal albums, such as some
    remixes,and a few live things...but the booklet is nice to have, and
    the overall sound is excellent. Comparing the same songs that are in
    the box set to the same selections on "Classic YES" for example.
    
    Granted, I will probably buy more YES CD's, but it is a good start.
    
    -1 I agree that if you're going to buy all of the discs eventually, the
    set would not be necessary.
    
    Also, the set is now being sold with the "YESYEARS" video, which is a
    2+ hour video of interviews, history, and live performances that is a 
    MUST for any YES fan, and you can get them together. Check Strawberries
    or Lechmeres for the box set with the video...
    
    just my .02
    
    Wes

I'm a collector and I find YesYears a huge disappointment. After all
the surveys and speculation in the fanzines about what might be in the
boxed set, there's nothing that's really unusual or different from the
material that's been in circulation for years, like the B-sides and
the BBC sessions. 

Live cuts from the Big G tour? Get real! I could put together a compilation
of songs from live tapes that would blow it away. Not even close. And that's 
just from my own collection.

My advice: if you only want a few albums, get YesSongs, Tales, Relayer,
and Going for the One. YesSongs is a great live album that contains most
of the Yes Album, Fragile, and Close to the Edge.

Barry

    Agreed (about Yessongs) and I would say that many of the live versions
    are BETTER than the studio version (particularly the stuff from
    The yes Album).

It also has incredible version of Long Distance Runaround -> The Fish
from Fragile. In all of the shows I've been to and all of the tapes, I've 
never heard a better version. In fact, Squire didn't play The Fish in 
concert for many years. It showed up again on the Tormato tour in the 
long 2nd set medley but it doesn't compare to the Yessongs version.

By the way, the Yessongs movie is available on videotape. It was shot
on the same tour as the album but has different versions of the songs.
The audio quality isn't as good but it's a must-have for any serious
Yes fan. They look so young on it!

Barry

    RE: .-1
    
    Ditto on Yessongs
    
    It is my favorite concert video.
    
    

     Any avid YES fans out there have Trevor Rabins previous works ?
     I picked up an album of his ( Rabbit was the bands name ) and it
     had 3-4 good songs on it. I had heard that Rabbit had 3 albums out
     and that Rabin also recorded with Jack Bruce (from Cream) in a band
     called Wolf in the mid-eighty's

    
    
      I have the two early Trevor Rabin albums. The first one was titled
    just "Trevor Rabin", the second "Face to Face". It was somewhat of
    a solo thing with TR doing just about everything. I tried to
    snag the "Wolf" release but I was told it wasn't imported into the
    U.S. I also have two Rabbit albums, the Rabin solo stuff is better!
    
    							-B()()M-

    re. 24
    
    It was a great evening, about 200 people, Wakeman, 3 keyboards and a
    bass guitarist. What an assuming chap he is; he walked on stage, gave a
    wave, strolled up to the keyboards rather in the manner of a curious
    customer in a keyboard shop, and then burst into `Six Wives'. The set
    was a cross-section of all his stuff, mainly pre `1984'. Only
    criticism: his between-pieces jokes and anecdotes were rubbish! Stick
    to the music Rick!
    
    Phil Gill.

    Re .38 sounds like a great show. Is this something he may record &
    release at all ??
    
    Wouldn't it be great to see a live 2 cd set from the Union tour?? I
    think this is something that the members would want to do, and I think
    it would sell pretty well too...here's hoping
    
    TURBULENCE by Steve Howe, on Relativity Records...Highly recommended, I
    picked up the disc last week, and it is Great, IMHO. He plays all
    guitars and basses on every track, and some mandolins, dobros, and
    contributes keyboards or percussion on a few tracks. All instruments
    for each track are listed, and he has Bill Bruford on all but 3 tracks
    on drums.
    
    Steve shows his chops here, and it's very interesting that a few riffs
    are from, or were used for, UNION. VERY good, and is being given a good
    workout on my player.
    
    

  >> Re .38 sounds like a great show. Is this something he may record &
  >> release at all ??
  
    There was a video of one of the shows for sale in the foyer of the
    venue, but no other recording, except the one that I taped from my coat
    pocket - ha ha!
    
    By the way, I re-read my note in .38, and I meant to say UN-assuming,
    big difference.					     ^^
    
    Phil Gill.

    does anyone out there have access to, or know of, any recordings from
    the UNION '91 tour ??  I'm particularly looking for either the Centrum
    4/17/91 show, or the July '91 Great Woods show...
    
    thanx 

According to Bay Area Progressive Know-it-all, (and snob) Greg 
Stone (of San Jose's 98.5 KOME: Stone Trek: Sundays 9- Midnight), 
Yes has now signed with a new label (Victory) and is now officially 
pared down to 6 (Bruford and Howe out). Trevor Rabin is going to produce 
the new album. Greg has been somewhat unreliable in his Yes information 
in the past, so this may be a false alarm. However, with Steve playing in
Asia's tour and Bill back on the road with Earthworks, this makes some 
sense!!!

My sources at Wonderous Stories say this is not yet substantiated. ?!?


	+++		+++		+++		+++


I have answers to some questions that will be explained more throughly
when I post my Bruford interview transcription (hopefully by next
week):

1. Yes was *DROPPED* by Arista, with Arista losing *millions* in the deal.

2. Yes has been signed to Victory.

3. The current Yes line-up is *not* stable whatsoever. Bruford
   said he'd be involved. However, he's totally unsure who will be
   in the next line-up. As he put it "the line-up seems to be changing
   daily these days." Regarding Steve Howe's commitment to the band,
   Bruford was totally unsure about this.

4. There will not be a new Yes album until 1993. Bruford was very
   emphatic about this. Earthworks will be touring until the end of
   the year, with their new live album coming out by october at
   the latest (this should be a phenomenal album).


	+++		+++		+++		+++


This past Sunday night, on the infamous Stone Trek show, it was
stated that Yes is in the studio working on their new album. Ok,
this we knew. Then he said that they'd signed to a new label -
this we've heard rumours of before. Then he said that the line-up
in the studio was 90125 + Wakeman!


*       *       *       *       *       *       *       *       *       *

    RE: .42
    
    I didn't know of a new album in the works. What is "Wonderous Stories"
    is that an info service ?? If so, please post address etc. on getting
    on their mailing list.
    
    Who is working on a live album ??  YES or Earthworks ??   Hopefully YES
    would put together something from the UNION tour. 
       
    I'm still interested in any tapes out there from the '91 UNION tour.
    
    Thanx,
    
    Wes

    
    
    "Notes From The Edge"
    
    A YES newsletter (currently at issue #45).
    
    Contact Mike Borella for subscription at :
    
    	
    	VBORMC::"BORELLA@CS.UCDAVIS.EDU"
    
    
    
    Kevin.
    ~~~~~~
    
    
    

    Wakeman was VERY unhappy about how the "Union" album was done and said
    that "things would have to be done very differently" for him to stick
    around for another album.
    
    In fact, he waged a nasty war of words with the producer of "Union"
    in Keyboard Magazine.
    
    Apparently, while Rick did play most of the notes, the producer picked
    most of the sounds and edited (using MIDI) a lot of Rick's stuff.

    Just a tidbit, they were recording for the live album at the show at
    Nightstage back in April.  Earthworks seemed to be stretching out a lot
    more live on this tour, as opposed to previous shows I saw where they 
    stuck with album format for tunes.  The live disk should be something
    indeed!
    
    /rick

    Can anyone provide the name of the band that was made up of some
    members of Yes, I believe one of them was Steve Howe and a few members
    of Emerson Lake and Palmer during the 80's?  I recall a song called
    "Only Time Will Tell".
    
    A friend of mine and I are going crazy trying to think of the name of 
    the band.  They made only 1 album and didn't last too long together as
    a band.
    
    Thanks,
    
    Donna

    WE GOT IT!!!  The Group name was Asia.
    
    Donna

    Nausea.

    re .49
    
    I think it might be Asia, but they got 4 albums, not only
    the one mentioned some notes before.
    
    It's:  - Asia
           - Alpha
           - Astra
           - Aqua (this year, but a different line-up)
    
    thomas

    Wakeman is doing another of his small-venue tours here in the UK, promoting
    his new album `Wakeman with Wakeman' (him and his 18 year old son Adam). 
    Saw them at Warrington Parr Hall last night, a venue about the size of an 
    average high school hall. 
    The two Wakemans on keyboards, Tony Fernandez on drums, and the same bass 
    player as last tour (can't remember his name). Brilliant show: lots of the
    new album, a mixture of old stuff, topped off by a brilliant rendition of 
    `Journey to the Centre of the Earth' in its 42-minute entirety. Very
    impressed with Adams performance, definitely a chip off the old block.
    
    Phil Gill.

    What album is "Winning it All" on?

    The Yes Album is so timeless, isn't it? Over 20 years old, and it still
    sounds good. The CD version I've heard on the radio sounds all the
    better.  
    
    I like everything on that album except the long ending of "Starship
    Trooper."
    
    I saw Yes back in 1972 - what a show! I was skeptical. Could they
    duplicate live what they did in the studio? 
    
    Yes! 

    I actually prefer most of the live versions of the songs on "Yessongs"
    (which was also a GREAT in-concert film) to the studio versions
    from "The Yes Album".
    
    I'd also say that for much of the studio albums that came after "The
    Yes Album".  
    
    	db

>    I like everything on that album except the long ending of "Starship
>    Trooper."

Have you heard them play it live? The long ending that you don't like 
builds into a smoking Steve Howe guitar solo.
    
>    I saw Yes back in 1972 - what a show! I was skeptical. Could they
>    duplicate live what they did in the studio? 

I've seen them about 15 times, starting with the first Relayer tour
in 1974. I'll always regret that I never saw them on the Yessongs or 
Tales tours.

>    I actually prefer most of the live versions of the songs on "Yessongs"

Me too, although I think the biggest difference between studio/live is
Long Distance Runaround -> The Fish. The version on Fragile is so short 
and tame in comparison. I've been collecting live tapes for years and 
I've never found another version anything like the one on Yessongs.

As far as their other live recordings, Yesshows is good but it's not
Yessongs. The live material on the Yesyears box set is a joke. I can't 
even listen to it.

>    ...(which was also a GREAT in-concert film) to the studio versions
>    from "The Yes Album".

The Yessongs move was a completely different soundtrack from the Yessongs
album. It's available on videotape if you look for it.

Barry

> The live material on the Yesyears box set is a joke.
    
    I was at the concert where one of those was recorded: "I'm Down" at
    Roosevelt Stadium in NJ.
    
    Considering how few live shows I go see, it's amazing how many of
    the shows I've been at ended up on live albums.

>The Yessongs move was a completely different soundtrack from the Yessongs
>album. It's available on videotape if you look for it.
    
    Some of the songs sound like they could be the same show, but I know
    that most of them are not.  There's also stuff that's in the movie
    but not on the album and vice-versa (the two Howe classical guitar
    pieces for starters).
    
    	db

    Wouldn't it be great if they followed King Crimson's lead, and put a
    box set of Live material....I'm sure that would be a big seller...they
    have so many tours to pull material from, including the Union tour, I
    would love to hear a commercially produced digitally mastered version
    of "Awaken" from that show.
    
    I have the YESSONGS video, and it's superb...ther performances are
    great, the footage is priceless...I forget which song, possibly Close
    to the Edge, but there is one toon where the video track is "off" from
    the audio track...like really bad lip synching...but who cares

Wes,

I agree with you but I doubt it will happen. If it does...

Believe it or not, the best live performances I heard were on the third
Relayer tour (1976) with Patrick Moraz on keyboards. He could play the
older material very well by that point and wasn't trying to show off as 
much. Everyone else was in top form, and Steve Howe's playing was simply 
beyond description. I remember standing in the rain in Hartford listening 
to his manic solo on Soundchaser and thinking to myself, "this is what 
I've been waiting to hear - something on the same level as Yessongs."

The second Tormato tour (1979) also had some great moments. I happened
to catch an amazing, album-quality version of Arriving UFO at Boston
Garden. That show also has Anderson doing a rare acoustic version of
The Ancient during repairs to the sound system.

Speaking of the Yessongs movie, I'd still like to know why the stage
monitors say "IES" on them instead of "YES".

Barry

    I agree about the "Relayer" tour.
    
    Having heard some of Patrick's solo efforts, my opinion is that
    Patrick was the both most creative and technically advanced keyboard
    player Yes ever had.
    
    It took quite a lot of time and listening for me to appreciate the
    new direction he took Yes in, and it took even longer for me to
    appreciate his solo albums, but I now think his "i" solo album
    is one of the most creative albums of the era.
    
    Regarding "IES" vs. "Yes", I don't remember what it stands for, but
    I think it's the name of the company that designed the sound systems
    Yes used.

People have been discussing various Yes tours in other topics. I've
seen a lot of them, and have tapes of all of them, so I thought I'd
enter my comments here.

71-72
    They were opening for other bands and playing one-hour sets,
    mostly material from the Yes Album. According to folklore, they
    were so much better than the bands they opened for that they got
    kicked off several tours. I have a couple of tapes from Gaelic
    Park in New Jersey. Don't know who the main act was. Yes wasn't as
    polished as later tours but still great. Howe plays Classical Gas
    (the Mason Williams song) in the middle of the Clap on one of
    them.
73
    The famous "Yessongs Tour", which is kind of a misnomer because
    the Yessongs album and movie were recorded during the tour and
    came out later. They were playing material from Fragile, Close to
    the Edge, and the Yes Album. Most fans consider this the best of
    all tours, by a large margin. I have one tape from this era (Duke
    University). It's good but nothing like the Yessongs album.
73-74
    The Tales From Topographic Oceans tour. This one disappointed a
    lot of people at the time because the album was so inaccessible
    compared to the others and it hadn't been released in the U.S.
    Now, it's a favorite among collectors and very hard to find.
    Wakeman hated playing the entire album night after night, which
    was the one of the reasons why he left the band.
74
    The first Relayer tour, and the first time I actually saw them
    live. Patrick Moraz could play the songs from Relayer but was
    terrible on the older material, particularly Close to the Edge.
    They did a live "Best of the Biscuit" (King Biscuit Flour Hour)
    broadcast from Boston Garden.
75
    The second Relayer tour. Better than 74 but still weak on the
    older songs.
76
    The third and last Relayer tour. Perhaps the second best Yes tour
    of all time. Moraz had finally learned the older material (and
    they didn't play what he couldn't play.) Everyone, including
    Anderson, did an amazing solo. The stage was the incredible
    moving, three-headed creature. Howe's guitar break on Soundchaser
    can only be described as blistering. Incredible versions of Gates
    of Delirium and Ritual (side 4 of Tales). I'll never forget
    standing the rain at Colt Park in Hartford and finally being blown
    away by the magical Yes I thought might never return.
77
    The Going For the One tour. Still at the peak of their ability
    and probably more like Yessongs than any later tour. Wakeman was
    back and they had the incredible green laser show. All material
    from Relayer was gone from the set but had been replaced with new
    songs like Awaken and Turn of the Century. Amazing versions of
    Starship Trooper with Howe and Wakeman dueling with each other.
    The luckier fans got Yours Is No Disgrace as the encore.
78
    The first Tormato tour. This was a schizophrenic album and
    foretold the end of the band in many fans' eyes. The performance
    was disappointing but what was missing in the music was somewhat
    compensated for by the round, rotating stage (shades of Blind
    Faith) and the 360-degree sound system, which was much better than
    any previous tour. It actually made Boston Garden sound good and
    that's saying a lot. The highlight of the set was the medley that
    started with Time and a Word and included songs like Perpetual
    Change, Long Distance Runaround, and The Fish, with runs from lots
    of other songs.
79
    The second Tormato tour. The same as 78 but a much more energetic
    performance. In many fans' eyes, the last real Yes tour.
80
    The Drama tour. Anderson and Wakeman had been replaced by The
    Buggles (Trevor Horn and Geoffrey Downes). I was lucky enough to
    hear them before Horn's voice completely gave out. Similar to the
    first Relayer tour in that the older material was very weak. The
    highlight was Downes' wonderful, long version of Man in a White
    Car, which was only a few bars on the album.
84
    The first 90125 tour. Anderson was back but Howe had been replaced
    by Trevor Rabin. I saw them twice on this tour, once at the
    beginning at once at the end. The first time was tolerable. They
    were still trying to sound like Yes. The second time was horrible.
    A bad self-parody. I actually had to get up leave. Knowing how
    good they used to be, I just couldn't stand it.
??
    Other 90125 and Big Generator tours. I'll let someone else talk
    about these. I didn't go. If they sounded like the live cuts on
    YesYears (the box set), I'm glad I didn't go.
88?
    The Anderson, Bruford, Wakeman, Howe tour. Some people were very
    disappointed; I wasn't. They had lost something, particularly
    Steve Howe, who looked like he'd aged about 30 years, but it was
    close enough to the old Yes for me to thoroughly enjoy it.
90?
    The Union tour. Again, some people were very disapointed; this
    time including myself. It was nice to hear Awaken again, but the
    material from Union is a joke and the performance would have been
    much better without Tony Kaye, Alan White, or (emphatically)
    Trevor Rabin.

Barry

	Jon and Vangelis, together, made two albums, right ?
	I have "The Friends of Mr. Cairo". What is the other
	album ? Is it any good ?

	When it comes to vocals, there has never been anybody
	like Jon Anderson.

	Lale

    

    
    Actually, there was also 'Short Stories' and Heaven and Hell', as
    well as 'Italian Song' ...
    
    Jon only offers 1-2 songs on each of these.
    
    - acp

    
    Andy, I never received that envelope you said you mailed.
    
    Lale
    

    Has anyone picked up the New Steve Howe album ??   how izit ??  I
    looked for it yesterday at one Strawberries, and they didn't have it, I
    hope it's as good as Turbulence, which I thought was very good.

    News is that YES will release a new album in January (no official title
    as yet) or February. Rick Wakeman will not be on the album...tour plans
    are tentative, but a full scale South american tour in Feb/March, and a
    full scale U.S. tour in late spring are possibilities.
    
    Steve Howe's new album, The Grand Scheme of Things is apparently
    selling well, and Steve will tour North America, some shows in CA, and
    possible dates in NY, but no dates in New England...too bad

    I heard one track from the new Howe album and it is typical; the music
    is OK, the singing is awful.
    
    							Brian

> no dates in New England...too bad

BUMMER! I've waiting years for a solo Steve Howe tour.

>    I heard one track from the new Howe album and it is typical; the music
>    is OK, the singing is awful.

Yup. The singing was also awful on his first two solo albums. The 
Turbulence album was a vast improvement in that respect.

There's a Frank Zappa album called "Shut Up and Play Your Guitar". 
I wish Steve Howe would do exactly that.

Barry

    For the terminally completist types out there, RCA has just released a
    "Symphonic Yes" collection, bound to go down in history as the coolest
    thing since their Tull and Floyd sets.  
    
    							Lenny B.

    
    I think they did a Genesis set, too.
    
    DFW

    I've heard that it is a "slight possibility" that Steve Howe will be
    playing at the Iron Horse in NorthHampton, Ma. don't have any idea of
    the date etc....but the guy that told me is doing some checking, and I
    will post what I find out.
    
    The Grand Scheme of Things  is a good cd, not great, not bad. of course
    I love Steve's playing, his voice isn't pitiful, but it's not great
    either...the instrumentals are very nice of course. I would rate
    "Turbulence" higher I think, mostly due to it's being purely
    instrumental.
    

    The Iron Horse is a GREAT place to see live music.  Every seat is
    comfortable and affords a good view, the bands start on time,
    it's not smokey, the food is very good and reasonably priced.  It would
    be hard to find any faults in the place other than that it's about
    1.5+ hour drive for most of us.
    
    I saw Steve Morse there a few months ago and decided that if any
    of the artists whom I see play both Boston and the Iron Horse,
    I will skip the Boston gig (especially if its at the Paradise)
    and just see them at the 'Horse.
    
    	db

    
    back to the Symphonic Yes...
    
    I know this is bizaare, and even difficult to talk about, but Steve Howe 
    and Bill Bruford were promoting the new Symphonic Yes on the (gasp)
    Regis and Kathy Lee show last week!  They even did a 2 minute version
    of Roundabout.  
    
    So I bought the CD.  Both Steve and Bill are on all songs, along with
    the London Symphony (or Philharmonic).  Jon Anderson sings on
    Roundabout, and on "I've Seen All Good People" with a London gospel
    choir; the rest is instrumental.  The songs besides Roundabout are Close 
    to the Edge, Soon, Owner of A Lonely Heart (Steve instead of Trevor!),
    Heart of the Sunrise and a bunch of others I can't remember right now.  
    The sound is great with some fresh guitar work from Steve, but it's just 
    so weird.  I can't explain it and can't decide what I think of it.  It
    will take a lot of listenings for me to figure this out!  

    the first time i heard symphonic 'roundabout' i thought,
    "damn, i never heard all those strings and things before"
    
    then i realized they must have re-recorded it.  when was
    this music recorded.  it has a little more to it than the
    old roundabout but i can't help thinking about the 
    current moody blues.
    
    blind willis

Two new albums were just released that are of interest to Yes fans: 

Anderson, Bruford, Wakeman, and Howe: "An Evening Of Yes Music Plus"
Rick Wakeman: "Greatest Hits"

They are both 2-CD sets, and I believe both are imports.

Songlists:

Anderson, Bruford, Wakeman, and Howe
"An Evening Of Yes Music Plus"
------------------------------
(Disk 1)
Benjamin Brittens Young Persons Guide To The Orchestra
Time And A Word/Teakbois/Owner Of A Lonely Heart
The Clap/Mood For A Day
Gone But Not Forgotten/Catherine Parr/Merlin The Magician
Long Distance Runaround
Birthright
And You And I

(Disk 2)
Close To The Edge
Themes: 1.) Sound 2.) Second Attention 3.) Soul Warrior
Brother Of Mine
Heart Of The Sunrise
Order Of The Universe
Roundabout

A quick review, after first listen: the first 3-4 songs (after the short 
clasical intro) are *very* good, mainly solo pieces. The acoustic medley
of "Time And A Word", "Teakbois" and "Owner Of A Lonely Heart" is particularly 
beautifully done.  But some of the full band material is a little lacking.
Also, I'm not a big fan of the way Bruford plays on this stuff, I like
Alan White's drumming much better. And does anyone know who played bass
on this tour? (There's no credits listed.) I really miss Chris Squire's
ruling tone and playing style. Overall, I'd say this is good for the Yes
fanatic, but not much else.

Rick Wakeman
"Greatest Hits"
---------------
(Disk 1)
Roundabout
Wonderous Stories
Don't Kill The Whale
Doing For The One
Siberian Khatru
Madrigal
Starship Trooper

(Disk 2)
The Journey Overture
The Journey
The Hansbach
Lost In Time
The Recollection
Stream Of Voices
The Battle
Liddenbrook
The Forest
Mount Etna
Journey's End
Sea Horses
Catherine Of Aragon
Gone But Not Forgotten
Merlin The Magician

I haven't listened to much of this set yet, but I'm not sure I understand the
reason of it existing. The Yes songs on Disc One are instrumental re-recording 
with just a bassist (Alan Thompson) and drummer (Tony Fernandez), done in
1993. The solo songs on Disk Two are also re-recordings, done in 1992. I only 
got to listen to a few songs on Disc 1, but I was disappointed with it. What's
the point, except to try and cash in on past fame?

(Although it's nice to see someone recognizes that "Don't Kill The Whale",
and the whole 'Tormato' album in general, is very good stuff and too often
overlooked.)

alan

    >Also, I'm not a big fan of the way Bruford plays on this stuff, I like
    >Alan White's drumming much better. 
    
    Goes to show you have no taste, as I always suspected  8^)  8^)  8^)
    
    >And does anyone know who played bass on this tour? (There's no credits
    >listed.) 
    
    Either Tony Levin or Jeff Berlin...
    
    >Rick Wakeman: "Greatest Hits"
    >They are both 2-CD sets, and I believe both are imports.
    
    Sheesh, two CDs when none would do just fine  8^)
    
    I still think that after "Six Wives", Rick basically lost it...sorry, my
    opinion only.  Save yer money for a Strawbs reissue instead.
    
    							Brian

    quick info from Notes From The Edge...
    
    new YES album tentative title will be "Talk"  no release date mentioned
    songs include "I'm Waiting" and an epic "Silent Spring" with Close to
    the Edge like intro, and Awaken like ending
    
    rehearsals to start soon for a major world tour, beginning in Mexico in
    early May on to South America, then to US, starting with Eastern
    seaboard in late May/early June, west coast by July....
    
    Wes

    yet another update from NFTE...

BEGINNINGS
==========

One of the most successful and influential rock bands of all time
releases its new opus, TALK.

TALK is a truly definitive, yet innovative, YES album. Produced by
Trevor Rabin, TALK icludes an epic, 18 minute piece, "Endless Dream",  
in the style of "Close to the Edge," as well as straight-ahead rock.

The package will feature a new YES logo designed by legendary pop
artist Peter Max (who did the Yellow Submarine album). The front cover 
is a simple white background with the colorful logo in the center, and "Talk" 
in the lower left corner.  The CD booklet is four pages with lyrics.

The first track, "The Calling," will be released to AOR and Classic Rock 
stations well in advance of the album release. "The Calling" will be 
released in two forms: as a full-length, 9 minute album track and as an 
edit. 

Yes' "Talk" Featuring the songs:

                       I Am Waiting
                       The Calling
                       Real Love
                       Walls
                       State Of Play
                       Where Will You Be
                       Endless Dream
                       a.  Silent Spring
                       b.  Talk
                       c.  Endless Dream

Jon & Trevor will embark on a two week promo tour on March 9.  In almost all 
the cities they visit, the promotion will center around a Hard Rock Cafe album 
release party.  The party will be open to the public, and will be broadcast 
live on the local AOR.  It will feature a short acoustic performance by Jon & 
Trevor.  

Dates are as follows:

3/9 Dallas, 3/10 San Francisco, 3/11 LA, 3/14 Atlanta, 3/15 Miami, 3/16 New
York, 3/17 Philly (no Hard Rock party) & Boston, 3/18 Chicago, 3/21 NARM
convention, 3/23 Toronto (no Hard rock party)

The syndicated "Album Network" radio show will World Premier the album on 3/17,
and will air in approx. 150 markets.

Yes will be on rockline on 4/11.  

World tour begins in April in south America with U.S. dates by summer.  

As the band visits cities on the promotional tour, that town's tour date will 
be announced by the band on the air!
 
IN STORES MARCH 22, 1994

*       *       *       *       *       *       *       *       *       *
    

    
    What I am most curious about here is, who are playing on this new CD?
    
    As you know, YES and YES and YES are different bands..;-)
    
    Poul
    

    I'm not positive about this, but from what I've read, the impression I
    get is that it's 5 members, and my guess would be the following:
    
    Jon Anderson, Chris Squire, Alan White, Trevor Rabin, Tony
    Kaye...again, not sure, but that's my guess
    
    Wes

Just fyi, the Yes 4-CD box set is now available as a cutout. I picked it up 
at Tower Records last week for just over $20. They'll probably go fast, but
you might get lucky....

And anyone else notice that the acoustic tour mentioned a couple note ago
hits Boston on St. Patrick's Day? That will probably be a fun night!!!

alan

    Box set cutouts?  What is the world coming to?  When will the Complete
    Monk on Riverside hit the bins for $25?  8^)
    
    							Brian

> Box set cutouts?  What is the world coming to?  

Yup! I've actually seen several box sets get cutout over the past couple
years. It's an amazing thing....  (hey, even the Zeppelin 'Remasters'
2-CD set was a cutout briefly).

alan

    May I ask a silly question?  What is a "cutout"?
    
    Joyce

    Discontinued albums that can't be returned by the stores, usually
    marked by a "cutout" thru the jacket.
    
    Are CD's called "drillouts"?
    
    Edd

    Thanks Edd  - and nope - I have a CD 'cutout....it only cost $4.00 and
    was in the un PC long box.  It was 3 notches cut into it.
    
    Joyce

    
    	I hate the mess the process makes ... usually coats the inside
    	of the package with plastic dust.
    
    							GTI
    

    YES album preview and interviews at 10:00 pm eastern
    on wgir 101 in southern NH. Tonight !

    fyi from the latest "Notes From The Edge"

YES NORTH AMERICAN TOUR DATES...SO FAR

The 1994 Yes North American tour will go through Labor
Day. So far only June and July have been confirmed;
August and September dates are forthcoming and should
be available to us for the next issue. We'll get the
dates for those of you outside North America as soon
as they are available.

In the meantime here are the confirmed dates for June
and July; there will also be some dates in Mexico City
in May. Those of you in the larger cities: note that
there are days where no show is scheduled; be on the
lookout for another show to be added if there's a
sellout for the scheduled day (for instance, note that
in NYC there is no show scheduled before and after
the date below, which could very well mean that more
will be added at that time).

DATE	CITY			VENUE
====    ====                    =====
June
====
Thu 2	Binghampton, NY		Broome County Arena
Fri 3	Saratoga, NY		Performing Arts Center
Sat 4	Portland. ME		Old Orchard Barn
Sun 5	Mansfield, MA		Great Woods
Tue 7	Toronto, CAN		Sky Dome
Wed 8	Montreal, CAN		The Forum
Thu 9	Quebec, CAN		Colesium de Quebec
Sat 11	Hartford, CT		Hartford Civic Center
Sun 12	Buffalo, NY		Darien Lake
Tue 14	Philadelphia, PA	Spectrum
Wed 15	Philadelphia, PA	Spectrum
Thu 16	New York, NY		Madison Square Garden
Sat 18	Wataugh, NY		Jones Beach Theatre
Sun 19	Columbia, MD		Merriweather Post Pav
Tue 21	Pittsburgh, PA		Star Lake Amphitheatre
Wed 22	Cleveland, OH		Blossom Music Center
Thu 23	Cincinnati, OH		Riverbend Music Center
Fri 24	Columbus, OH		Polaris
Sat 25	Clarkston, MI		Pine Knob Music Theatre
Sun 26	Indianapois, IN		Deer Creek
Tue 28	Moline, IL		The Mark
Wed 29	St. Louis, MO		Riverport Amphitheatre
Thu 30	Milwaukee, WI		Marcus Amphitheatre

July
====
Sat 2	Chicago, IL		The World
Sun 3	Minneapolis, MN		Target Center
Mon 4	Kansas City, MO		Sandstone Amphitheatre
Wed 6	Denver, Co		Red Rocks
Thu 7	Salt Lake City, UT	Parkwest
Sat 9	Salem, OR		L.B. Days Amphitheatre
Sun 10	Quincy, WA		The Gorge
Mon 11	Vancouver, CAN		PNE Coliseum
Wed 13	Concord, CA		Concord Pavillion
Thu 14	Sacramento, CA		Cal Expo Amphitheatre
Fri 15	Reno, NV		Hilton Hotel Amphitheatre
Sat 16	Mountainview, CA	Shoreline Amphitheatre
Sun 17	San Bernadino, CA	Blockbuster Pavillion
Tue 19	Fresno, CA		Selland Arena
Thu 21	Los Angeles, CA		Greek Theatre
Fri 22	Los Angeles, CA		Greek Theatre
Tue 26	San Diego, CA		Summer Pops Bowl
Wed 27	Las Vegas, NV		Thomas & Mack
Thu 28	Phoenix, AZ		Desert Sky Pavillion
Sun 30	Dallas, TX		Starplex Amphitheatre
Sun 31	Houston, TX		Cynthia Woods Pavillion


STEVE HOWE'S ITINERARY FOR 1994

As if there wasn't enough Yes stuff happening it looks like
another busy year for Steve Howe to boot! I received some
information from Steve advising Notes of his upcoming activities,
including that:

- the Symphonic tour is off
- he'll be touring England between 4/19 and 5/12
- he'll be at a guitar show in Dix Hills, NY 5/14 & 5/15
- he'll be opening for 'a big 70s act' on their major U.S. tour
   between 7/8 and 8/23 (could this be solo acoustic for ELP?)
- he's planning a college tour of the U.S. in October and November
   (probably with his band)
- he's writing & recording new stuff, including a steel guitar album
  and mixing a live 'Not Necessarily Acoustic' album (from his last
   U.S. solo tour)

    

This reminds me, I saw Rick Wakeman shuckin' the jive with Pat Robertson
on The 700 Club a short time ago ... then he did some standard on piano, solo,
I think it may have been "Amazing Grace."

You're kidding, right?  as I live & breathe...

Nope.  He described how he'd been brought up Catholic and always 
considered himself religious in nature, and had recently realized that his
life was getting out of control and that he wanted a closer relationship with 
God.  He actually didn't give that many details ... not the sex&drugs&RnR
story that I expected ... he was dignified and actually interesting to 
listen to.  He seemed pretty content.  There was the obligatory mention of
his having belonged to Yes, but no mention (that I remember) of what he planned
to do in the future.

- DC

    
    What he probably plans to do is play golf.  The man's got his own 18
    hole course.
    
    DFW

    Great Woods tix on sale Saturday 10am   25.   22.50  17.50
    
    date is June 2, not June 5

From:	SALEM::US2RMC::"HUNNICUTT@VXC.OCIS.UNCWIL.EDU" "jeff hunnicutt/ois/system services" 28-MAR-1994 21:30:17.25
To:	nfte@sol.cms.uncwil.edu
CC:	
Subj:	Notes From The Edge # 99

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                 N o t e s     F r o m     T h e     E d g e                   
                                                                               
                                   # 99                                      
                                                                               
                    THE   Internet   YES   Newsletter

                                (copyright)
                 
                              March 28, 1994

 ______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte       nfte     =
 ------------------------------------------------------------------------------

                               IN THIS ISSUE
                               =============
              Future Times           -          Yes Tour Dates, So Far
              Sound Chaser           -          Steve Howe In 1994
              Talk                   -          Premier And Reviews
              King Biscuit Shows     -          Can We Get Them?
              Mark Mancina           -          Who Is He?
              Rick Wakeman           -          Olympic Music
              Yes                    -          An Old Quote
              Tour Songs             -          No Heart
              King Crimson           -          Is Bruford In...
              Wakeman Albums         -          Extra Tracks
              Yes Cds                -          At Columbia Music
              Yes On Tour            -          Lineup Views
              Talk                   -          The Parody
              Yes WWW Server         -          At Meiko.com
              Looking For            -          3 Ships
              Release Dates          -          Various
              Talk                   -          Japanese Poem
              Tour Book              -          Relayer
              Say Yes                -          Opinions
              Yes                    -          But What Does It Mean?
              Extra Tracks           -          Blame The Record Companies
              New Trio               -          Wakeman, Fripp And Eno
              From The Editor        -          It's Alive!
 ______________________________________________________________________________
=    nfte       nfte       nfte       nfte       nfte       nfte       nfte    =
 ------------------------------------------------------------------------------

============
FUTURE TIMES
============

From the Associate Editor,
Mike Tiano (miketi@microsoft.com)

YES NORTH AMERICAN TOUR DATES...SO FAR

The 1994 Yes North American tour will go through Labor
Day. So far only June and July have been confirmed;
August and September dates are forthcoming and should
be available to us for the next issue. We'll get the
dates for those of you outside North America as soon
as they are available.

In the meantime here are the confirmed dates for June
and July; there will also be some dates in Mexico City
in May. Those of you in the larger cities: note that
there are days where no show is scheduled; be on the
lookout for another show to be added if there's a
sellout for the scheduled day (for instance, note that
in NYC there is no show scheduled before and after
the date below, which could very well mean that more
will be added at that time).

DATE	CITY			VENUE
====    ====                    =====
June
====
Thu 2	Binghampton, NY		Broome County Arena
Fri 3	Saratoga, NY		Performing Arts Center
Sat 4	Portland. ME		Old Orchard Barn
Sun 5	Mansfield, MA		Great Woods
Tue 7	Toronto, CAN		Sky Dome
Wed 8	Montreal, CAN		The Forum
Thu 9	Quebec, CAN		Colesium de Quebec
Sat 11	Hartford, CT		Hartford Civic Center
Sun 12	Buffalo, NY		Darien Lake
Tue 14	Philadelphia, PA	Spectrum
Wed 15	Philadelphia, PA	Spectrum
Thu 16	New York, NY		Madison Square Garden
Sat 18	Wataugh, NY		Jones Beach Theatre
Sun 19	Columbia, MD		Merriweather Post Pav
Tue 21	Pittsburgh, PA		Star Lake Amphitheatre
Wed 22	Cleveland, OH		Blossom Music Center
Thu 23	Cincinnati, OH		Riverbend Music Center
Fri 24	Columbus, OH		Polaris
Sat 25	Clarkston, MI		Pine Knob Music Theatre
Sun 26	Indianapois, IN		Deer Creek
Tue 28	Moline, IL		The Mark
Wed 29	St. Louis, MO		Riverport Amphitheatre
Thu 30	Milwaukee, WI		Marcus Amphitheatre

July
====
Sat 2	Chicago, IL		The World
Sun 3	Minneapolis, MN		Target Center
Mon 4	Kansas City, MO		Sandstone Amphitheatre
Wed 6	Denver, Co		Red Rocks
Thu 7	Salt Lake City, UT	Parkwest
Sat 9	Salem, OR		L.B. Days Amphitheatre
Sun 10	Quincy, WA		The Gorge
Mon 11	Vancouver, CAN		PNE Coliseum
Wed 13	Concord, CA		Concord Pavillion
Thu 14	Sacramento, CA		Cal Expo Amphitheatre
Fri 15	Reno, NV		Hilton Hotel Amphitheatre
Sat 16	Mountainview, CA	Shoreline Amphitheatre
Sun 17	San Bernadino, CA	Blockbuster Pavillion
Tue 19	Fresno, CA		Selland Arena
Thu 21	Los Angeles, CA		Greek Theatre
Fri 22	Los Angeles, CA		Greek Theatre
Tue 26	San Diego, CA		Summer Pops Bowl
Wed 27	Las Vegas, NV		Thomas & Mack
Thu 28	Phoenix, AZ		Desert Sky Pavillion
Sun 30	Dallas, TX		Starplex Amphitheatre
Sun 31	Houston, TX		Cynthia Woods Pavillion

That's all for now!

Mike

*	*	*	*	*	*	*	*	*	*	

SOUND CHASER
===============

Notes from the Associate Editor,
Mike Tiano (miketi@microsoft.com)

STEVE HOWE'S ITINERARY FOR 1994

As if there wasn't enough Yes stuff happening it looks like
another busy year for Steve Howe to boot! I received some
information from Steve advising Notes of his upcoming activities,
including that:

- the Symphonic tour is off
- he'll be touring England between 4/19 and 5/12
- he'll be at a guitar show in Dix Hills, NY 5/14 & 5/15
- he'll be opening for 'a big 70s act' on their major U.S. tour
   between 7/8 and 8/23 (could this be solo acoustic for ELP?)
- he's planning a college tour of the U.S. in October and November
   (probably with his band)
- he's writing & recording new stuff, including a steel guitar album
  and mixing a live 'Not Necessarily Acoustic' album (from his last
   U.S. solo tour)

I'm working on getting more information, including the dates for his U.K.
tour and for the major '70s act. Hope to have more info next issue!

Mike

*	*	*	*	*	*	*	*	*	*	

TALK PREMIER & REVIEWS
======================

From:	IN%"lepautre@aol.com" 

Just a few comments about the Talk party at the Hard Rock fthough might be of
interest to the NFTE readers:

I couple of friends of mine managed to snag some tickets and actually went! 
First off, they said it was complete bedlam, but loads of fun!  During the
songs and commercial breaks, the band members got up and mingled in the
crowd.  Bob Coburn had to act like a den mother to get everyone back together
by air time.

Trevor was very gracious and patient even with some real jerks.  My friend
went into the head and some guy had trapped him in there, and was going on
about how the new album was really another Rabin solo project.  Trevor very
deftly sidestepped the issue and got the hell out!!

When BC started talking about the long form song and mentioned that they were
going to play Endless Dream, Jon Anderson looked at the party attitude of the
crowd and commented (off mike) not to play that because nobody was going sit
and listen to the song.  BC went ahead and played it and Jon left. (mad?
tired? sick of the whole thing?).

Chris seemed bored by the whole thing.

By the end of the evening, Tony Kaye ended up at a table with numerous shot
glasses in front him ripped off his ass!!

One of my friends did manage to get a 91025 CD jacket signed by every member!

Overall my friends said it was a blast!!

This was kinda long. Hope this didn't bore the hell out of you! Just thought
some of you would like some 2nd-hand 1st hand observations!

*	*	*	*	*	*	*	*	*	*


From:	IN%"r.derousse2@genie.geis.com" 

 I just listened to the The Yes Album Release Party, broadcast live from
 the Hollywood Hard Rock Cafe on March 16, 1994.  It was tape-delayed in
 many parts of the country, including here in St. Louis by KSHE.  I jotted
 down what was said and thought I would share it with those who didn't hear
 the broadcast.  I haven't made a big effort to polish these notes [from the
 edge], so there will be quite a few sentence fragments.  Please forgive me.
 Also, most of the quotes below are actually paraphrases unless I happened
 to get lucky with one.
 
 Bob Coburn, former host of Rockline, was the host for the show.  Jon,
 Chris, Trevor, Alan, and Tony were present.  So was Billy Sherwood, but he
 wasn't on the air.  They premiered the songs "The Calling," "Real Love," "I
 Am Waiting," "State of Play," "Walls" (the song that Roger Hodgson co-
 wrote), and "Endless Dream" (the epic song).
 
 Trevor said "Union" was awful.  "Talk" is the thing he's most proud of.
 Jon and Trevor said they enjoyed writing together.  Coburn thinks it's the
 best Yes album.  (I think he really overhyped the show and album, but that
 is the style for these World Premiere Parties, so maybe it wasn't entirely
 his fault.  I really liked him on Rockline, so I hope not.)  Tony said that
 the entire album is going to be played on tour, and something will be
 played from every album.  Chris said to look for some surprises - some even
 to him.  Jon said the whole album was written to be performed live.  Trevor
 said to listen to "Real Love" late at night, in the dark, with headphones
 on, and in a certain state of mind.  (Coburn then alluded to the drinking
 going on in the Hard Rock.)  Trevor explained the MOTU direct to Macintosh
 hard drive recording process.  Trevor worked with Mark of the Unicorn to
 develop a unit for this purpose.  Trevor thinks tape recorders are on their
 way out.  Trevor on "I Am Waiting" - "Jon sang the whole melody after only
 hearing it once." Jon said that Peter Max is a big fan of the band, and he
 sent in the logo to use for free.  Jon said he is a great artist.  Alan
 thinks it's one of the best albums they've made.  Chris said that it was
 extremely enjoyable to make.  He was happy to use the new technology.  Jon
 says in the future there will be no speakers - only laser sound
 reproduction. (?)  Alan on "State of Play" -challenging to play; great in
 concert; you will love the stage show.  Trevor on why they are L.A.-based:
 "We like the movement of the earth."  Trevor explained that the Jackaranda
 Room recording studio referred to in the album notes is in his house.
 Trevor on "Walls" - Roger Hodgson is a good friend and creative partner,
 and they have been working together for 6 years.  Had been working on
 "Walls" for a while, and when Jon got involved with the song, it seemed
 right for the album.  Jon said, referring to this album, "This is the
 beginning of the future."  Jon on the song Wonderous Stories - "Life is
 full of Wonderous Stories.  This is a big dream."  Billy Sherwood was there
 and "will also be on tour with them, playing guitar, keyboards, high hat
 and many other things," according to Chris.  On solo albums - Chris said he
 has been planning one for the last one 20 years ago, but "Before the end of
 the year, I will have something." Chris on the band's beginnings - "We were
 the original alternative band." Jon, (presumably joking) on cover songs,
 said that they were going to do Barbara Streisand hits.  Jon, on long
 songs, said "We are so used to fast food, fast videos and fast everything,
 that we need something that is true to the heart and soul.  Life is an
 incredible event.  Sit back, take it easy, and enjoy long music.  Let it
 take you on a beautiful journey."  Jon on "Endless Dream" - "It's a piece
 of music that will take you on a real ultimate journey."  Jon didn't want
 them to play it in that setting, but Coburn reminded him that thousands of
 other people would be listening to it at home.  Jon said, "Not only are
 millions and zillions of people listening on the radio, people on other
 planetary systems and other dimensions are listening, and you better
 believe that."  Asked if Trevor felt that the band had come close to
 realizing their potential, he said "It is close to as good a work that we
 could do.  We pushed as far as we could go and we're going to keep
 pushing."  When asked about his longevity in the music business, Chris said
 (tongue in cheek), "I have survived for 25 years because I am extremely
 tough." -Chris.  When asked about his playing on the Hammond Organ, Tony
 said, "I love to play with my organ."  When asked about videos, Alan said,
 "The music speaks for itself.  We don't need videos.  With this band,
 never. ... Actually, Victory won't pay for them."  Chris then said that "A
 special video for one of the tracks will be made very shortly."  Trevor
 said that the whole band wanted to thank Bob Coburn, "who understands what
 bands like us are doing."
 
 Tour dates were also announced, as was a contest for a trip to see the
 band in Hartford, Connecticut.  Send a postcard with your name, address,
 phone number, and station you were listening to, to:
 
 Yes Talk
 c/o The Album Network
 P.O. Box 10655
 Burbank, CA.   91510
 
 Contest deadline is something like April 6th.
 
          --Roy

*	*	*	*	*	*	*	*	*	*

From:	IN%"fuggetta@elet.polimi.it" 

I have just purchased "Talk", freshly released in Italy (it arrived
yesterday afternoon at the CD store). I am listening it and I must confess
that I am really disappointed. This is the very first Yes album that I do
not like.
It has nothing to do with the real Yes sound.
I do not mean that they must keep playing "Close to the Edge", "Tales" [
:-) !!!], or "Relayer" over and over. But "Yes" means something special: it
is a unique and perfect balance of melody, rhythm, sound, and technique. Is
"Talk" a Yes album?

I believe that the ABWH albums (the first one and ABWH's songs in Union)
were closer to a real Yes album. "Themes" and "I would have waited
foreover" (BTW, Tony Levin is great!) are the first Yessongs I had heard
since Tormato (except for some good stuff in Big Generator -> "I am
running").

On Talk:

Where is Chris?

Is there any "true" keyboardist in this album? It seems to me that Tony is
just a guest. The cover says that Tony plays only the Hammond organ. It can
be heard just in a few riffs.

Why so many heavy-metal guitar riffs?

Where is the Yes spirit? Many special effects, some "romantic choirs", but
no Yes MUSIC. "Endless dream" is just a collection of special effects and
old-fashioned choirs. Do you think that the guitar riffs (and the drums
parts!) in "Real love" and "State of play" are Yes music?
I consider "Walls" really embarassing for a group who calls itself "Yes".
Probably, "Where will you be" is the only song I would save (but I am not sure).

Try this: imagine someone else singing any song from "Talk" in place of
Jon. Would you ever recognize this as Yes music? What about if you do the
same with "The revealing science of god", "To be over", "Turn of the
century", "On the silent wings of freedom", or, more recently, "Silent
talking" from Union?

Again, time goes by and music evolves. Clearly, you cannot play the same
music forever. But is this the new Yes sound for the '90s? I am probably
among the few ones who still love the music of the '70s. That music was
(and IS, no doubt) something really special and unique. What's "special and
unique" with "Talk"?
It seems to me that this is just an effort to keep the Yes flame alive for
the fans who still love this group. But I really didn't need "Talk".

Alfonso

*	*	*	*	*	*	*	*	*	*

From:	IN%"267@ef.gc.maricopa.edu"  "Eric Dennis Wincentsen" 

Some thoughts:

I heard "The Calling" about a week ago on the radio. I actually kind of
like it. I think it's the three-part harmony that carries it through.
Soundwise, it reminds me of "Drama"-era material. Definitely retro. By the
sound of it, I am hoping "Talk" is all as good as this one song. It would
make a great repentence for the awful "Union."

Also, if Ed Ju is reading on here, please contact me. I've got the
cassettes ready to send for the Yesoteric recording, but I accidentally
deleted your address again. Since I also lost your e-mail address, please
write to me so I can send the cassettes in ASAP.


*       *       *       *       *       *       *       *       *      *

From:	IN%"D.Sellars@fulcrum.co.uk"  "Dave Sellars" 

The new album is here! On time! And its great! Well, two out of three
wouldn't be bad, but I think we can claim three out of three for this
one. First impressions - tremendous production, sound quality,
recording level. Rabin certainly knows his way around the studio, and
the direct-to-disk recording technology has had a definitie impact on
the way it *sounds*. Gone is the dull, charmless sound of _Big
Generator_ and the gimmicky _90125_ production, and in its place is
one of the most startling discs I've heard.

But wait - what about the music, you ask... well, after one listen
(last night on the headphones) here are my first impressions:-

The Calling - radio friendly (but not friendly enough to get played on
the pathetic excuse for radio we call the BBC here in the UK :-) and
catchy, a few twiddly bits but basically a straight forward Rabin
rocker.

I Am Waiting - slightly ethereal feel to this one. Pleasant to the
ear, shows promise.

Real Love - odd, this. Not the Rabin-pop-song the title suggests, more
of a slow introspective number. Mentions something about `Hawkings
mind' somewhere in the lyrics. Odd.

State of Play - upbeat, rockier track, some interesting bits.

Walls - the Roger Hodgson collaboration, Rabin lead vocals almost all
the way through, I'm surprised this wasn't the first single (maybe its
the TR vocals) 'cos it sounds very conventional, and unproggy :-)

Where Will You Be - another slowy, I think. Seems to be about partners
in life, and what happens after you die (vaguely, in a Anderson kind
of way).

Endless Dream
  i. silent spring - short instrumental, very guitar-oriented.
 ii. Talk - long, quite complex, definitely needs another few listens.
iii. endless dream - slow coda to the whole thing. Okay.

Overall impression - shows a lot of promise, I didn't expect to fall
in love with it immediately, and I'm looking forward to further
listens. Tony Kaye is credited with `Hammond Organ' and that
instrument is only noticeable by its absence! Why is he still in the
band, I wonder to myself. Certainly, the fact that they've added
Sherwood for the live shows indicates that Tony's contribution is
minimal, and he certainly gets no writing credits this time (unlike on
BG).

Realistically, they're never going to reproduce the experimentation of
the _Fragile_ era, or the epic scale of _CTTE_, but lets be pleased
that they *are* doing something new, and thank God, they don't sound
like anyone else! Yes are still unique, maybe not the force they once
were, but still producing new and interesting music. Compare to the
pre-release hype for Marillion's _Brave_ and how much that sounds like
Pink Floyd (makes a change from Genesis, I guess).

Much as I hate to admit it, without Rabin there wouldn't *be* a Yes
now - I know he's no Steve Howe on the guitar, but he has more to
offer than Howe did - SH was `just' a guitarist, Rabin is a producer,
arranger, guitarist, singer, keyboard player, etc. Okay, sometimes it
sounds like `Talk' by the Trevor Rabin Band, but whats the
alternative? The lifeless muzak-by-telephone of ABWH, or the long slow
dissolution that undoubtedly would have come about after the Golden
Age sessions, or a Yes fronted by Trevor Horn to this day? I don't
think so.

Listen to Talk - and enjoy...

*	*	*	*	*	*	*	*	*	*

From:	IN%"l.v.mitrev@basalmed.uio.no"  "Ludmil Vladimirov Mitrev" 23-MAR-1994 10:21:37.21
Subj:	talk, first impressions


Hi NFTE'ers, 

First and foremost, thank you for a great newsletter. I have been 
following NFTE for two months now, but this is the first time I am 
posting anything. Just in case someone's curious, I am a medical 
student at the  University of Oslo, Norway, and I'm 22 yrs. old.

Here are my very first impressions from Talk. I only managed to hear it 
once yesterday. I hate to admit it, but at the end I felt this new album 
could have been written by Mike Oldfield, or perhaps even the likes of
Michael Bolton (with a little extra effort). The melodies sounded 
somewhat shallow and failed to grab my attention easily, though all of 
them were quite palatable. The lyrics seemed little intriguing. A number 
of times I sat up sharply in my chair expecting and hoping for a new theme
that would jump in to invade my imagination, but alas, there was more 
repetitiveness than I have been used to hearing in a Yes album. Though 
coherent as a whole, Talk left me with a feeling of strange indifference,
yes, indifference, not bewilderment, as I remember experiencing after 
hearing the '70s Yes music for the first time.
     The sound was full-bodied and of very high quality, and filled my 
room uniformly throughout the length of the album. The band are as good 
professionals as ever, but then, of course, music is not just about 
instrumental skill, it is also an art of emotion, abstractness and the 
powers of the subconscious, if you like. I wonder if this time Yes have 
made an album just for the sake of it?
     Talk reminded me of Trevor Rabins "I can't look away" a number of 
times as I was listening; no wonder, since he has co-written all the 
songs and was the producer as well. With all due respect to his talents 
as a guitarist and musician in general, I think he has led Yes in a 
direction diverging from the European traditions of classicism and 
symphonism, which they once used to incorporate so uniquely in their 
music, and into a realm of rock somewhat lighter (despite hard guitar 
riffs) and more conventional than the one they used to create 20 yrs. ago.
I don't think Talk will do for Yes in the '90s what 90125 did for them in 
the '80s. It is not a sharp turn in their career, and after this first 
audition I feel I almost could have predicted that it would sound that 
way after Union came out in '91.

      "Master of Time,
       setting sail over
       all of our lands, 
       and as we look 
       forever closer,
       shall we now bid
       farewell, farewell"...
       
       These very early impressions will most probably change in the 
course of the nearest few weeks, and as Talk sinks in my mind chances are 
I will experience it more positively than I did this first time. I may be
back then with more comments. As for now, I think tour dates (European 
too, not just North American), are important to find out more about.

*	*	*	*	*	*	*	*	*	*

From:	IN%"pcole@uk.oracle.com" 

OK folks : is that Rabin playing vintage Steve Howe-style pedal steel guitar on
Endless Dream, or are my ears failing me totally ??? :)

Pete

*	*	*	*	*	*	*	*	*	*

From:	IN%"96mat@williams.edu"  "A Suffusion of Yellow" 

                        A LISTEN TO "TALK"

I went to the record store today, fraught with anticipation, knowing
that I was going to come out with the new Yes studio album, "Talk".
So, with a pang of guilt as I passed up the other CDs on my list of
to-gets that I was more certain to enjoy, I picked it up.  The first
thing I thought is that it was beautiful.  The sleeve design is
striking and simple, with a new logo by Peter Max [what became of that
new one that appeared on "Yesyears", anyway?] on the front.

What?  Oh...the _music_?  Well...

1:  THE CALLING  [6:54]

The opening chorus will make you think that this song will be a "Lift
Me Up" rehash.  In fact, the final notes of it sound like a deliberate
effort _not_ to break into the chorus of "Lift Me Up".  The song
establishes its own identity, though it never completely breaks the
mold.  The song opens up into an instrumental, that, instead of the
expected top 40 guitar solo, actually develops the melody.  We even
linger a little longer than usual...not too long, though, before we
head back into the chorus.  The song stays clear of heinous cliches
all the way through.  A good listen, though we are left somewhat
unsatisfied by the curtailed development of the song as we are rushed
back into a [good] guitar solo and then the chorus before we stray out
too far.

2:  I AM WAITING  [7:22]

[ObDisclaimer: it is spring and the author is falling in love] 
This is a beautiful song. [But then, I liked "The Meeting" and "Let's
Pretend", and think "Abeline" belongs up there with "Wonderous
Stories"...]  The mildness and restraint of this song, with its
intimate refrains and uplifting chorus, speaks straight from the
heart.  Its simple grace is only marred by a brief, silly-sounding
twist halfway through that sounds like an abortive attempt to make it
"rock".  I did feel the need for a break in the middle, but it could
not have been handled more poorly, shattering the mood of the song
without offering an effective counterpoint.  After a merciful twenty
seconds of this, the song returns to carry you through to an inspired
end that deftly captures the theme.

3:  REAL LOVE  [8:43]

It seems to try too hard.  Anderson is a bit shrill on this track, and
the build up to the chorus is yucky.  The chorus itself I like, with
some good vocal harmonies.  The melody is heavy and rhythmic like
"City of Love".  The song does not develop at all, and with the
exception of the guitar solo, the last element is introduced within
the third minute of the song.  From there it goes nowhere for five
minutes.  Points for the gratuitous Hawking reference.

4:  STATE OF PLAY  [4:56]

Blech.  This song sucks.  I mean, what were they thinking?  It sounds
like something off of one of Trevor Rabin's solo albums, with a splice
or two from "City of Angels".

5:  WALLS  [4:52]

As bad as the previous song was, "Walls" is worse.  In fact, it is far
and away and without a shadow of a doubt the worst song that Yes has
ever released.  It is songs like this that bring me close to tears
when I think that "Picasso" was left to gather dust on the
cutting-room floor while they churn out top 40 tripe like this.  Judge
it for yourself. [You've been warned:  I even _enjoy_ "Saving My Heart",
etc., but I cannot _stomach_ this.]

6:  WHERE WILL YOU BE  [6:05]

Oh, no.  "City of Angels" revisited!  The song is corny, but isn't too
painful, really.  The dynamics of this song make it worth listening
to, with some interesting mixing.  Otherwise, it sounds exactly like a
cut from "City of Angels".

7:  ENDLESS DREAM  [15:40]

The first thing I have to say is that they really didn't try to write
a long song for the sake of having a long song on the album.  The
introduction [credited solely to Rabin!] is a treat to the ear.
Unlike "Miracle of Life", the introduction is actually part of the
song, and isn't just stuck on.  The body of the song starts out
slowly, after the introduction subsides, and comes in waves, each
successive one building up higher than the one before it, like waves
during a rising tide, then resting at a plateau before the final
crescendo.  The song works up to a closing reminiscent of "Holy Lamb",
but takes it further, until the crest of sound breaks into a slow and
quiet ending.  "Endless Dream" is my favorite song on the album, and,
in my opinion, would alone make "Talk" worth getting.  It carries the
listener along with its sonic ebb and flow, in the spirit of the very
best Yes music.
 
Overall, "Talk" is a worthy successor to the Cinema-Yes songs on
"Union", and probably the best thing the Rabin camp has yet released.
The composition is on a par with the Union songs.  Aside from the
atrocities of "State of Play" and "Walls", the songwriting is
promising for the future, although in a few places it sounds like them
trying to recycle a successful melody by changing a note or two [as in
the beginning of "The Calling"].  I was most pleased to find the
length of the songs seemed determined by nothing other than the
breathing room the song needed, rather than being compressed to fit
airplay or expanded to appease fans of the 70s Yes epics.  Although
the music has extended beyond the pop model of refrains and choruses
with a break for a guitar solo, there still remains some barrier to
allowing the music to experience dialogue and develop over the whole
piece.  We have more than just a guitar solo now, but the
instrumentation is still used as a showpiece at some point in the song
rather than being allowed to flow through it.  What is mainly missing
from "Talk" is that sound of "five different songs being played at the
same time, that somehow fits together" [to paraphrase Bill Bruford].
While Mr. Rabin still finds his songwriting getting stuck in cliches,
the credits ["music & lyrics by Trevor Rabin and Jon Anderson"] tell
me that he can take much of the praise I give for the songwriting as
his own as well.

Extra kudos are due Rabin for his fine job of producing the album.
However, his guitar playing leaves a lot to be desired.  He still
plays like gold-painted cellophane wrapped around an artistic vacuum.
Although technically as tight as ever, his vocabulary is limited to
the most hackneyed of riffs and chords, and even at the album's
heights, the cliches are enough to make you wince.  The singing on the
album is very pleasant, with rich choruses a la "Lift Me Up" and the
spice of Rabin's voice.  Anderson himself is in good form; he yipes
far less than he did on ABWH, letting us enjoy his beautiful, unique
tenor Kaye's liberal use of the organ is a refreshing reminder of what
he does best, reflecting his own work on the "The Yes Album" rather
than evoking petty comparisons to Wakeman.  Squire's bass tends to
stay mostly in the background in a close dialogue with White, whose
drumming is strong but not adventuresome.

Another thing I note: this album seems much more heartfelt than
"Union" did, with the feel of a band that is working together.  This
impression makes me look forward to their next project.  Most of all,
"Talk" is a decisive redefinition of the Yes sound, continuing a
tradition that has kept Yes music so fresh and lively for 26 years.

*	*	*	*	*	*	*	*	*	*

From:	IN%"rwb7806@prdc.prdc.dukepower.com" "Russ Benson"

 Initial Impressions:
 TALK sounds like a natural progression from BIG GENERATOR.
 BG took me a while to get into and I expect the same with TALK.
 Overall, I like what I heard with "Real Love" being my initial
 favorite.  Once I've got it on a tape in the car, I'll really
 find out how I like it.  It was interesting that Tony Kaye is
 credited only with playing Hammond Organ.  Is that all he played?
 Anyway,
 Russ

*	*	*	*	*	*	*	*	*	*

KING BISCUIT SHOWS?
===================

From:	IN%"ponder@killdozer.sps.mot.com"

At a local record show, I just bought a double-live CD of a Genesis concert 
on King Biscuit, it only cost $35 which is no worse than your average bootleg.
This *may* be a reproduction rather than the original, it looks authentic.
Given the price, and the fact it would be a perfect copy anyway, I don't even
care!

Anyway, I know King Biscuit has recordings of Yes concerts going *way* back.
They've released some cuts on their compilation CD's. It just occurred to
me that we could try lobbying them into rebroadcasting some of their old
concerts (*complete* concerts, of course...), notably from the Relayer and 
Tales tours. The consequence, of course, is that their distribution CD's will 
eventually reach the open market, not to mention that we can tape the broad-
casts in the meantime.

Anyone interested in this idea? Anyone know which concerts that King Biscuit
(or Westwood One, etc. for that matter) has on file? If we put together a 
petition from all the NFTE subscribers, and present ourselves as "The Official
Internet Yes Newsletter", maybe we'd have some clout...

		Carl Ponder
		oakhill!ponder@cs.utexas.edu


*	*	*	*	*	*	*	*	*	*

MARK MANCINA?
=============

From:	IN%"nmorse@magnus.acs.ohio-state.edu" 

how much of a part in the writing of the miracle of life did this guy play?  
if all those permutations and such were his fault, i want to know everything 
you can tell me about him.  thanks!


*	*	*	*	*	*	*	*	*	*

WAKEMAN IN OLYMPICS
===================

From:	IN%"tms@oclc.org" 


> During the show, like I said, Rick would stop and talk or reminisce or  
>whatever
> about the songs and the sessions they came from. Some interesting tidbits  
>came out:

> 	- The Chinese olympic team apparently used "Gone But Not Forgotten"
> 	  in one of their figure skating routines. 

I enjoyed watching this. Chen Lu, 17, from China, skated to this song during  
the exhibition skating on the final Saturday of the Olympics. Beautiful  
skating, beautiful skater, beautiful song. I was curious if there was any  
deliberateness in choosing a song written for Vietnam vets.
---

*	*	*	*	*	*	*	*	*	*

OLD QUOTE ON YES
================

From:	IN%"brianb@ims.com"  "Brian e. Batson" 

Here, on the eve of the 3/22/94 release of "Talk," is a quote from the
1980 (last) Intergalactic Trading Company Catalog.

 "(Yes) Amazing band who in the best moments of their early days were
 ahead of their time. Their cosmic consiousness hindered them later, but
 the top rate musicianship & Andersons talent never dimmed. They're now
 gone, but not to be forgotten I'm sure."

No? Yes!

*	*	*	*	*	*	*	*	*	*

NO HEART OF THE SUNRISE!?
=========================

From:	IN%"nmorse@magnus.acs.ohio-state.edu"  "Nathan T Morse" 

that is one of the BEST yes songs!!!!  i would THRILL for a chance to see that
one done live....  drool....


*	*	*	*	*	*	*	*	*	*

KING CRIMSON INFO
=================

From:	IN%"toby@cs.man.ac.uk"  "Toby Howard, Editor of Discipline"

Jeff, re Bruford in the new Crimson, it's the first I've herard of it. All
the info I've heard it that it will be Jerry Marotta. 

Toby

*	*	*	*	*	*	*	*	*	*

From:	IN%"david@porsche.visix.COM" 

Bruford will not be in the new KC.  According to statements made by Belew at one
of his recent performances, the new King Crimson will be composed of Robert 
Fripp, Adrian Belew, Tony Levin, Jerry Marotta (of Peter Gabriel fame), and 
one other person, whose name I don't remember.

The band has been together for a while now.  When I saw Adrian Belew Live a few
months ago, he played a piece of a track they were working on.  At that time,
he said that the songs were 85% composed, and that the release should be soon.
Perhaps KLOS got their figures mixed up - the time for the release should be
real soon now, since they've been composing songs for almost a year now.

(From the little bit I heard Belew play, it should be really great.)

*	*	*	*	*	*	*	*	*	*

MORE WAKEMAN UPDATES?
=====================

From:	IN%"david@porsche.visix.COM" 

>In the program, there was a "Select Discography" page which had some
>interesting items -- three of the albums listed had 1994 release
>dates. There was _Rock 'n' Roll Prohpet Plus_, _Country Airs_ with new
>tracks, and _Wakeman with Wakeman Live: The Official Bootleg_. It said
>that all these will be available through President Records.

This is very interesting, since I bought my copies of "Roch 'n' Roll
Prophet Plus", and the expanded "Country Airs" last summer, while in
England.  If he's releasing these albums a third time, with even more
tracks, I'll be upset!  Perhaps the program only meant that they will
be released in the USA in 1994.

*	*	*	*	*	*	*	*	*	*

YES CD'S AT COLUMBIA
====================

From:	IN%"ponder@killdozer.sps.mot.com" 

The Columbia House CD club has more extensive Yes holdings than does BMG.
You will not find Import or Rare CD's there, but they have a lot of the
mainstream stuff. I'm pretty sure they have Symphonic Yes, I just can't
find the right catalog. Also, these clubs are only good in the U.S. (and
possibly Canada).

Name						Catalog #	Price
---------------------------------------		---------	-----
Big Generator					361170		$14.98
Classic Yes					313031		$14.98
Close to the Edge				351965		$14.98
Fragile						351957		$14.98
Going For The One				385278		$14.98
Relayer						385260		$14.98
Tales From Topographic Oceans			385252		$24.98
Union						417824		$14.98
The Very Best of Yes				465971		$16.98
The Yes Album					345249		$14.98
Yessongs					291872		$24.98
Yesstory					446211		$24.98
Yesyears					426254		$49.98
90125						322438		$14.98

For those of you who aren't jaded by already owning all their CD's, or
(like me) only buy concert recordings, this can be a cheap way to get
everything you're missing. If you call their number 1-800-457-0500 they 
will tell you what they have, and if you call 1-800-982-4242 and ask for
department "KGN" you can have them sign you up. 

The trick is, you quit as soon as you've bought the *minimum* amount
of stuff. Dept. KGN should be able to offer you a deal like 10-for-1,
which gives you an average CD cost of about $3.00 per disc; their usual
offer is get-15-for-the-price-of-six, which gives you an average cost 
of about $7.00 per disc. The only problem is that you may not be able
to order multi-disc sets under the "cheaper" offer. You can read my
"FAQ: CD Clubs" posting to the "rec.music.cd" newsgroup for a more
detailed description. Please don't ask me any questions until you've
read this 8-)

	-- Carl

*	*	*	*	*	*	*	*	*	*

THE YES TOUR
============

From:	IN%"KJH4OSBALDL@CLUSTER.NORTH-LONDON.AC.UK"  "Luke Osbaldeston" 

	Hey,

	I`ve read the last few NFTE`s recently ( tho not 98 yet ) and I have
this observation / viewpoint to make.

	When I read that Billy Sherwood was to `line-up` with the band on
the forthcoming tour, I was a little dissapointed to say the least. Why do
they need him ? is the first question I think most of us have asked ourselves.
It will only serve to dilute the presence of the other Yes members on
stage surely ? Never before has Yes toured as such a strange six piece. Then
I got to thinking, well, if they *did* need another person to `augment`
them onstage, why didn`t they go for an ex Yesser, someone like Mr Wakeman
et al ? It really does seem to me that some of the Yes men need a bloody
good hiding, knock some sense and decency into them, and some the of the 
pettyness of previous years out, especially that bloody old Squire who seems 
to be the ring leader. They really are a soft set of sods sometimes and I don`t
think that anyone else can really disagree with that too much.

	Oh well, this is what I thought anyway, it`s my proverbial tuppenth
worth. 

*	*	*	*	*	*	*	*	*	*

TALK - THE PARODY
=================

From:	IN%"cptnapathy@aol.com" 

With recent parody reviews in NFTE, I thought I would try one for the newest
of Yes' albums.  Have fun reading it, and remember: IT"S A JOKE, GUYS!! :) 
So, let us turn the clock back (or is it forward?  I never did understand
that daylight savings time thing...) to March 22, 1994:

Yes- Talk WAY Too Much

After two years of arguments and lawsuits, the band
Yes-We're-That-Pretentious has finally whittled their membership down to a
slim 5, minus members: Rick Wake- Up-and-Smell-the-Coffee-Man, Steve
Howitzer, and Bill Brooford.  The band is now the same line-up as on
'90125.71243..." and "Big Degenerative", and have just released their newest
album: "Talk WAY Too Much."  Using state of the art technology, the band
recorded and mixed the album completely through a Radio Shack Tandy computer.
 But now, let's talk to the band members.

Jon Andersony: "What the band has done in the past I've really enjoyed...
what I remember of it.  But this album I'm extrememly proud of.  We have
pushed the band to the limits... of human decency."

Trevor Rabin-McEntyre: "The last album ("Onion Soup Mix") was horrible. It
was so bad that I didn't even play on it; I got my good friend Yngwie
Malmsteen to do the guitar work; it was just horrible.  But now with the
computer, we can get rid of those horrible tape recorders... of course we
stored all the computer information on tape recorders, but what the heck."

Tony Casey Kasem: "Actually, I kind of liked that last album. But I'm just
happy Rick's gone.  It gives me a chance to strut my little toy piano!"

Alan Whitehead: "I've been with the band through and thick and thin, and I
think this is the best work we've done... of course, I'm getting paid to say
that."

Chris Drinks-Like-A-Fish: "Where am I?  Someone get me a drink!"

But, let's get to the album, shall we?  The tracks (in no specific order):

1) I've Been Waiting (For A Girl Like You)
As a homage to their past, the band produced this timeless cover of the
Foreigner tune, lengthening the song to 3 times its original length.  
Jon: "It worked with America, so why not now?"

2) The Call-Waiting
Trevor: "I love this phone feature, it's cool!  I can have a three-way
conversation now!"  The band hopes to have the song used in an upcoming MCI
commercial...

3) Really Expensive Love
Chris: "I think Trevor wrote this song about a prostitute girlfriend or
something... where's my Scotch?"

4) State Of Play-Acting
Tony: "Actually, the song is 5 minutes of Trevor air-guitaring... we hope to
get it into video-form, or no one will understand the song."

5) Malls
Surprisingly, this tune was written with the help of Roger Hodgepodge of the
70s band Superdupertramp.  Why was he asked to help write the song?
Trevor: "Because the Village People were unavailable."

6) Where Will I Be?
Jon: "The song is actually about one of my favorite books... Where's Waldo? 
I just love those things.  I sit for hours and hours and try to find him...
it's just wonderful!"

7) Endless Song
For the first time since "Going For The Other One", the band has released a
song of epic proportions.  In fact, the song is so long it fills up a second,
third, fourth and fifth CD.  
Alan: "You see, it would have only been one, but Trevor's solo was just so
long!"
a) Silent Thing 
Trevor: "I think Robert Fripp-Wilson would have approved of this one... over
four minutes of silence!  It's just... awesome!"
Jon: "Actually, Trevor forgot to turn the mike on."
b) Some Talking
Jon: "I just had so much more to say lyric-wise, that we put this on... I
mean, this is the beginning of the past... or is it the future?  Anyway,
other alien galaxies will know what I'm talking about when they hear the
song."
Chris: "Right, what he said... where's that martini?"
c) Endless Song
Tony: "This is the best part of the album.  There's one point where I got to
take my Hammond Organ and really tear it apart!  Just like Keith Emerson!"
Trevor: "Actually, we had to cut that out, Tony, to put more of my guitar
solo in."
Tony: "What?!  Why you little..."

Let's hope we'll hear more from this talented band!

(Comments on the parody welcome, donations cheerfully accepted.)

--Jeremy

*	*	*	*	*	*	*	*	*	*

WORLD WIDE WEB/MOSIAC SERVER AT MEIKO.COM
=========================================

From:	IN%"Mike.Stok@meiko.concord.ma.us"  "Mike Stok" 

Hi Jeff,

Me again (out of temporary retirement :-).  A few comments about various 
things in recent NFTEs...

An Evening Of Yes Music Plus - having picked up the European release a
while back for $30 (pretty good value if you look at the price of a double
CD in the UK these days) I was quite pleased to pick up the US version for
$14.99, and it's worth it for the extra track, especially the restrained
second half which I prefer to the 9012Live video version.  I have to
disagree with Andrew Barber's comment in #98 about Bill's drums not
seeming to fit the music, but that's just a matter of taste, I like it
when a few things change over time, especially if it's Bill Bruford
ringing the changes...  If you want an example of where electronic drums
really fit right in then look out a copy of Cloud About Mercury by David
Torn. 

I'd like to generally ask anyone out there with 24 bit deep pictures of 
anything Yes-related (Bill's tortoise?) then let me know and I'll stick 'em 
on the server...

Speaking of the server I guess it's safe to let the world hack at my WWW 
server, the URL http://www.meiko.com:8080/yes-archive/welcome.html gets 
you to the welcome page.  The images & back issues of NFTE are available 
by anonymous ftp from www.meiko.com as well, under /pub/yes-archive.  
This is still under construction, I hope to put everything from the 
mail server up in the next few weeks, and then I can re-write the mail 
server to be a simple front-end to the WWW server and just have 1 copy of 
the archive used for WWW, ftp and mail server access.  In theory this is 
a work project, so any comments about structure & formatting are more 
than welcome.

Now it's time to go and hunt down a copy of Talk, see if there's an 
import of Stomping Ground anywhere, (and possibly the first issue of 
Radioactive Man)...

*	*	*	*	*	*	*	*	*	*

LOOKING FOR 3 SHIPS
===================

From:	IN%"dcwalter@ingr.com" 

Well, I give up trying to find Jon Anderson's "3 Ships" on CD anywhere
in this backwards town.  Plenty of Reba McIntire, though.

Does anyone live near a place that has any copies?  I actually need
two of them.  Anyone?  Anyone?

I'm on my second listen through "Talk" and so far I like it a 
bunch.  A more objective/informed review may follow :)

Thanks!

*	*	*	*	*	*	*	*	*	*

RELEASE DATES OF INTEREST
=========================

From:	IN%"73770.1703@CompuServe.COM"  "Don St. John" 

The excellent CD newsletter ICE has several release dates for Yes-related
material in its new issue.

March 22
Rick/Adam Wakeman -- The Official Live Bootleg (Griffin -- the same day, of
course, as the release of Talk)

March 29
Flash (featuring Peter Banks) -- Flash (One Way)

May 3
Peter Banks -- Instinct (One Way)

May 10
Bill Bruford's Earthworks -- Stamping Ground: Live! (Caroline -- nice to see
this finally back on the release schedfule)

May 17
Steve Howe -- Beginnings and The Steve Howe Album (Atlantic -- rejoice! Finally,
a domestic release. These are separate CDs, by the way, just so nobody is
confused. Now we need to get on Atlantic to get Animation out.)

May 24
Jon Anderson -- Deseo (Windham Hill -- this is the one ICE mentioned a few
issues back as being an album "by Milton Nascimento with Jon Anderson." No
mention, by the way, of The Power Of Silence coming out on Windham Hill or
anything else.)

That's an expensive May, but worth it. ICE is usually very accurate; these can
change between now and the various dates at the record companies' whims, but for
now these are fairly reliable.

*	*	*	*	*	*	*	*	*	*

TALK POEM
=========

From:	IN%"j.ogawa1@genie.geis.com" 
 
The Japan release of Talk includes an insert with liner notes and lyrics in
Japanese.  At the back of this insert is what appears to be a poem written
by Jon Anderson:
 
I AM WAITING for the first
 time, to HEAR THE CALLING
 and renew this STATE OF PLAY
 within ; at last to begin
 so that the REAL LOVE behind
 the WALLS do shine again :
 and WHERE WILL YOU BE
 out stretched in the wonder full
 BLUEPRINT of your heart
 seeing me again in this
 SILENT SPRING
 Ready and willing yourself at
 last to TALK to the
 light within your heart
 and open the magic
 inside this
 ENDLESS DREAM
 take your time
 for you are light
 Love and peace
 
YES
 Jon Anderson
  
James

*	*	*	*	*	*	*	*	*	*

RELAYER TOURBOOK 
================

From:	IN%"ad360@freenet.carleton.ca" 

I have a copy of the following tourbook for sale. It's 
in superb condition, and is a must for the
collector:

YES - RELAYER TOURBOOK.

11" x 11" lavish 20 page full colour book with Close To The
Edge graphics on the cover. The book features gorgeous Roger
Dean artwork and full biographies and rare photos of the band.
This book was also released at the time when all of the classic
Yes solo albums came out, so it includes info and pictures of
those as well. It also features detailed photos of the stage
set construction. If you own the newly released Queens Park
concert laserdiscs released in Japan, this is the accompanying
tourbook. Regardless, this is a classic book from a classic band.
 
I'm selling this book at $20 U.S. which includes
first class shipping anywhere in North America. If you live
somewhere else, we'll work something out.
 
Please get in touch with me at: ad360@freenet.carleton.ca
if you're interested in these or want more info. You may never
see this again, so please get in touch me immediately if
you want it.

*	*	*	*	*	*	*	*	*	*

SAY YES OPINIONS
================

From:	IN%"r.derousse2@genie.geis.com" 
 
 Keith Lutman was asking about Yes bootlegs, and said

 >After pouring through all the back NFTE issues on bootlegs, it seems that
 >"Say Yes" is THE live Union CD to have.
 
Well, the performance is excellent, and the sound quality is very good as
boots go, BUT the @#$% thing is pitched too fast!  It is annoying, but once
your ears adjust to it, the CDs are still fun to listen too.  Just thought I
should mention that one caveat...            --Roy

*	*	*	*	*	*	*	*	*	*

YES - BUT WHAT DOES IT MEAN?
============================ 

From:	IN%"r.derousse2@genie.geis.com"

 From:   FVXM13A@PRODIGY.COM    KEVIN HUGHES
 
 Hi!  Yes - But What Does It Mean?  If you haven't heard
 about this new book about Yes and would like to purchase it
 before the price goes up, hurry and send $15 (post. paid) to
 
              Thomas and Coral Mosbo
              824 Neumann Ct.
              Milton, WI 53565
 
 This book has just gone to press and the price will go
 up once it has returned from the printer. I think any true
 Yes fan will enjoy reading an in depth analysis and review
 of the songs from our favorite band. The book should be out
 in just a month or so. Also, with your pre-order you'll
 receive a professional print (18X24) of the cover of the
 book called 'The Messenger of Hope.'
 
*	*	*	*	*	*	*	*	*	*

BLAME THE RECORD COMPANIES!
===========================

From:	IN%"dlazarus@PCS.CNU.EDU"  "Rael"

Good morning fellow Edgers!

The title of today's "talkshow" is _Blame the Record Companies?_.

I'm going to attempt, to the best of my ability, to keep this as nice and 
clean as possible.

As many of you well know, the ABWH live album was recently re-released 
with an extra track on gold CD's!  That's the good half of the story.  
The bad half of the story is:  What happens to the thousands of people 
who have already purchased the original release as I did?  Well, I was 
lucky.  I bought the original release about five weeks ago at a local 
Mother's Records.  After going back there and explaining to the manager 
what the record companies had done, I was able to exchange it.  However, 
some of us may not be so lucky.  Why have the record companies almost 
continuously screwed us over?  Is it really their fault?  One of the 
first times we got the short end of the stick was with Union for which 
the UK release has an extra track.  Now, just 4 short months after the 
original release (which cost me $28!), the ABWH live album is re-released 
as previously stated.  What next?  I'm *really* afraid to go out and buy 
Yes' new album this Tuesday for fear that it may happen again.  I can see 
it now; scenerio 1:  it's released in UK as a double album and in the US 
as a truncated single or scenerio 2:  UK gets extra track(s) on single 
CD, or as with ABWH, scenerio 3:  The album is released and a few months 
later it is re-released on a gold CD with extra tracks.  I'm not trying 
to be mean.  I'm just very concerned about what the record companies have 
been doing to loyal fans these days.  It doesn't just happen with Yes, 
it's happened with Genesis too.  Remember that "limited edition" thing 
with TWWW2?  

There.  I said without even a hint of anger; it is *very* frustrating. 

P.S.  At least UK got the short end of the stick for Steve Hackett's 
Guitar Noir!  We got the extra track! :)  But, alas, it's still not fair 
since *someone* was ripped off.  :(

*	*	*	*	*	*	*	*	*	*

WAKEMAN FRIPP AND ENO
=====================

From:	IN%"DMARKFI@INDYCMS.IUPUI.EDU"  "David Markfield"

While I was at a local CD shop the other day, I happened to talk with the
clerk about YES and in particular Rick Wakeman.  Seems according to him, that
Rick's next big project will be with Robert Fripp and Brian Eno.  It would
be called something like Wakeman, Fripp and Eno and be released on Griffin as
opposed to Caroline, Virgin or WEA.

*	*	*	*	*	*	*	*	*	*

FROM THE EDITOR
===============

Talk is out. The reviews are here. Lots of them. Please be patient if your
review doesn't appear immediately. I've got to draw the line at issue size
as many mailboxes will overflow and explode! This amounts to much return
mail in my mailbox. Mother Nature doesn't like excessive mail bounces. ;-)

I realize the last issue was huge. This one is as well. I'm trying to reign
in the size a bit. Sorry if this has caused you problems.

I urge you to check out the www server at meiko.com. It's great and offers
many new possibilities. Mike's outdone himself. Please observe all rules
while at his site and let him know what you think.

I should have the screens back for the Notes shirts soon. I'll probably get 
a sample shirt soon after that. If it looks right I'll place the first 
order for shirts soon thereafter. To keep things simple for me sizes available
will likely be large and X-large. I haven't pinned down an actual cost yet as 
the printer hasn't delivered a quote to me yet. The cost WILL include
postage and a mailer to ship it in. Overseas orders may cost extra to cover
postage.

As for the shirt itself. It will have the Notes logo on the front 
fading from blue on top to red on the bottom. Below that it will read  
"THE Internet YES Newsletter". The YES will be the classic Dean Yes logo. 
It will fade from blue to red as well. The other text will be black. The back 
will feature the starship trooper in a black silhouette. I've sent a copy of
the logo to Mike Stok to put up on the server so hopefully you can view it
there. Otherwise you'll have to trust me. Shirts will be high quality 100 
percent cotton and will be offered in white only.

I'm going out on a financial limb to get the first 4 dozen shirts. I hope
that at least that many of you will want one. After the first order is sold
I'll order more as demand warrants. I'm not in this for profit and don't
want to lose a bunch of money. I do want us to be able to recognize each other 
at events and concerts and be able to say "Hey! A fellow Notes reader!". I 
feel like it will be a quality product, good for the Notes community, and hope 
you'll support it.

I'll let you know the specifics when I know.

--jeff

 ______________________________________________________________________________
=    nfte       nfte       nfte       nfte       nfte       nfte       nfte    =
 ------------------------------------------------------------------------------

THOSE ALL-IMPORTANT ADDRESSES:
==============================
 
New subscribers, contributions, questions/comments/criticism:
Jeff Hunnicutt (Editor)		 hunnicutt@vxc.ocis.uncwil.edu

Reviews, Surveys, Etc.
Mike Tiano (Associate Editor)    miketi@microsoft.com


                  Notes From The Edge
                  PO Box 13
                  Issaquah, WA 98027-0013


NFTE Server (lyrics, backissues, discography, rarities, surveys, GIFs):
Automated. For help send 
mail with subject line 		 yes-archive@meiko.com
"send main help" to
 
NFTE Server problems, additions/corrections to the lyrics & GIFs,
and additions/corrections to the rarities list:
Mike Stok               	 mike@meiko.com

NFTE backissues, lyrics, etc, via anonymous FTP:
cs.uwp.edu			Directory: /pub/music/lists/yes

Contact for helping out with transcriptions:
Greg Utas			 utas@bnr.ca
 
-------------------------------------------------------------------------------
|The views expressed within Notes From The Edge are the opinions of individual|
|contributors and in no way reflect the views of the editorial staff unless   |
|otherwise stated. - The Editor.                                              |
-------------------------------------------------------------------------------
 ______________________________________________________________________________ 
=     nfte       nfte       nfte       nfte      nfte      nfte      nfte      =
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                     END OF NOTES FROM THE EDGE # 99  
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    I just heard "The Calling" on the radio this morning.  It's the first
    cut I've heard off the new album.  It had the Steve Morse affect on
    me......before I new it I had the radio *way* up and I was driving
    about 20 moh over the speed limit.  That kind of music makes me moody
    
    
    GREAT TUNE!
    
    sd

    
    
       RE.96
    
             I also heard "The Calling" over the radio and I must say
    its a very catchy tune.  Although I've never bought a YES cd,
    or ever been much of a fan, but I do enjoy listening to the unique
    sound that John Anderson has. (I mean the lead singer...hope I got 
    the name right!)
    
            Which brings up a question:
    
                    I remember hearing a song long ago in which the 
    unmistakable voice of Anderson was on.  I'm not sure if it belongs
    to "Yes" or not.  I think the name of the song was called "Friends
    of Mr.Cario".  I would love to find the CD with this track on it.
            
            Would anyone happen to know the CD & track I'm referring to?
    
            Thanks in advance,
    
            Blair

    Re: .97
    
    "The Friends of Mr. Cairo" was the title track from an album of the
    same name by Vangelis and Jon Anderson.  It's also on a compilation of
    the (two?) Vangelis/Anderson collaborations.  The original label was
    Polydor, if I recall correctly.  I suspect one or the other album is
    still in print, look in the Vangelis bins.
    
    							Brian

    I like The Calling as well , also The collaboration between Yes 
    and Roger Hodgesons (from Supertramp) on the song Walls , is great .
    Think of the chorus as a Supertramp chorus married to Trevor Rabins
    Yes stylings . It's a very catchy song. The third song on the CD is
    fantastic, especially if listened to with Headphones . JMHO  B*)
    
    Jon

    Oh yeah ... the new logo by Peter Max s*cks in my opinion . 
    Roder Dean's services should have been retained .
    
    Jon

    I agree on the Peter Max logo...I guess he gave it to them for free, so
    that may have been part of it, but compare that to the Roger Dean cover
    of the new "An Evening of YES Music Plus" and I'd rather see a Dean
    cover for TALK....whoknows, there may be some inner problems between
    Dean and members of either/both Yes camps....
    
    who knows...
    
    but I agree that TALK is a good cd...definitely an improvement on Union
    in my opinion, and there is a lot of Union that I like too...
    
    can't wait for June 2 Great Woods, got some good seats
    

    I finally broke down and bought "An Evening of Yes Music Plus" and I'm
    quite glad I did.
    
    The highlight of the whole album for me is Rick Wakeman's solo section.
    His playing is SO much better now than it was during the early days
    of Yes.   And I love the live interpretations with the orchestra.
    
    I generally love to hear reinterpretations of older music.  Sometimes
    it really works (this album, I also like the Police "Hits" album),
    sometimes it doesn't, at least for me (the unplugged version of "Layla"
    induces deep sleep for me).
    
    Yes playing with an Orchestra really does seem to work.   I'm not sure
    I'd call this a "great album", but I'll at least say that it's better
    than just a "novelty".   That is, it has that sense of artistic
    validity.

    In regard to "Talk":
    
    I look at this album, and I barely see Yes. Of course, there's no Roger
    Dean cover, but it goes much deeper than that. Sure, Jon Anderson,
    Chris Squire, Alan White and Tony Kaye are all present, but frankly,
    mostly unaccounted for. I see this as a Trevor Rabin album with Yes
    members playing on it. Every song on the album has Trevor Rabin listed
    as the primary pen. Jon Anderson is listed second on most songs,
    probably contributing mostly lyrics and vocal melody. Chris Squire, I
    believe, has one secondary writing credit.
    
    If it wasn't for Jon Anderson's distinctive vocal style, this would
    probably not be recognizable as "Yes" music at all. One thing that
    really struck me is that Trevor Rabin is credited with guitars and
    keyboards, with Tony Kaye being credited only with Hammond Organ. How
    much real Hammond organ is on that record? Not much. I get the feeling
    that Mr. Rabin had himself an extended session in his own studio with
    a sequencer, and then took the tapes to the rest of the band and said,
    "OK, now do your thing on top of this". This results in a record which
    severely limits the contributions of the other members. This is not a
    very organic sounding record. It sounds like the very best music that
    could be produced by a group of machines.
    
    The only notable exception, in my opinion, is the Roger Hodgson
    contribution.
    
    Now, in regard to db's comments in the previous reply about the
    "Evening of Yes Music Plus" record... I like this record as well, but I
    question your point about Rick Wakeman's early contributions to the
    band. His early contributions would include Fragile, Close To The Edge
    and Tales of Topographic Oceans, each of which are, in my opinion,
    nothing less than brilliant. Are you by chance thinking of the early
    Yes albums with Tony Kaye playing? (Tony Kaye played with the band
    before Wakeman, then returned to the group for "90125"). Tony was a
    decent player, but could never hold a candle to Wakeman who seemed to
    bring this band to a whole new frontier with his work on Fragile.
    
    Actually, Yes have had at least 4 keyboard players that I can think of:
    Tony Kaye, then Rick Wakeman, then Patrick Moraz (who played on
    "Relayer"), then Wakeman again (for "Going for the One" and "Tormato"),
    then Geoff Downes ("Drama"), then back to Tony Kaye ("90125" and "Big
    Generator"), then both Tony Kaye and Rick Wakeman ("Union"), and now
    just Tony Kaye. Of course, I suppose you could add Trevor Rabin to
    that list now to, except I suspect he did most of his keyboards with a
    sequencer.
    
    Brian

>    Now, in regard to db's comments in the previous reply about the
>    "Evening of Yes Music Plus" record... I like this record as well, but I
>    question your point about Rick Wakeman's early contributions to the
>    band. His early contributions would include Fragile, Close To The Edge
>    and Tales of Topographic Oceans, each of which are, in my opinion,
>    nothing less than brilliant. Are you by chance thinking of the early
>    Yes albums with Tony Kaye playing? 
     
    Nope, I'm a dedicated Yes fan and could name the lineup for every album
    they've done.
    
    What I'm saying is that I think his treatment of the songs on this
    album is better than all prior treatments, including the original
    recordings.
    
    I also think his technical skill is sharper than it's ever been.
    The playing on his solo sections even seems technically much much
    better than the original recordings.
    
    Of course, this is just my opinion.
    
    My opinion is also that Tony Kaye adds nothing to the band.  I'd like
    to see them get someone else in there.
    
    	db

re: Brian

> I see this as a Trevor Rabin album with Yes members playing on it. 

That's probably very close to the truth. I read an interview with Rabin in
the Boston Globe last month, and he said that even '90120' was supposed to
be a Trevor Rabin solo album; but then he started to employ Squire and
White as the rhythm section, and things just grew from there. 

I imagine that a similar process occurred with this album; Rabin writes most
of the material, then brings it to the other guys for polishing. 

BTW, Rabin (who also produced the album) said there was no analog tape used
anywhere in the recording process. It was *all* recorded direct-to-disk.

alan

    I guess I would agree with Brian & db...it's hard to admit (as a YES
    fan) that this does seem like a Rabin solo album with Yes members...and 
    there ISN't much Hammond playing now, is there ??!!!
    
    but, I like it, and it's being put out as YES...and YES is coming to
    Great Woods, so..my wife loves Jon Anderson's voice, it doesn't matter
    to her that Steve, Rick or Bill won't be there...it matters more to me,
    but still with Jon and Chris and Alan..it should still make for a good
    show
    
    Billy Sherwood ??  is being added for extra instrumentation, he will
    probably be involved in more of the keyboard parts that Trevor
    contributed to this album...and since Chris has said that every album
    will be taken from, it should prove rather interesting to see what is
    taken from the Rick days, or Relayer
     
    regarding the ABWH live disc, that's more like it...Rick's playing has
    always been too amazing to me to say he's better now than before...he
    was so good in the 70's, how can he improve on that ??!!!!
    
    but then again, Steve's versions of Clap and Mood For A Day are about as
    flawless as you get...beautiful renditions...and Jon's solo treatment
    of Time And A Word is also right on
    
    I didn't see the 90125 or Big Generator tours, so this will be my first
    YES show without Rick and Steve...I'm sure it will be different but a
    fine show anyway...
    
    Wes

    re .104:
    
    > I also think his technical skill is sharper than it's ever been.
    
    I'm going to second this.  I was never particularly impressed with
    Wakeman during his heyday Yes days, but he's improved an incredible
    amount since then.  Listening to his re-interpretations of older Yes
    songs on the ABWH and Union tours, the difference is like night and
    day.  He's been doing some serious practicing over the years.
    
    				- Paul

    re: .107
    
    I agree (obviously).
    
    Back in the old days, Wakeman was always being compared to Keith
    Emerson.   And although I hate comparing musicians, I think Keith was
    in a league of his own in the technical and creative department.  I
    loved Yes as a band, but the only thing from the old days were Rick's
    playing stood out (to me) was "Six Wives" (mainly from the creative
    side, even that album was not overly technical, at least not on the
    Emerson scale).
    
    Recent things by Rick give me the same impression as you Paul: he's
    been doing some serious work on his chops.   Some of the stuff he's
    done recently is every bit as amazing, precise and creative as the
    old Emerson stuff.
    
    In fact, I'd even go to say that his improved playing has really
    exposed some of the hidden treasure in his old compositions that
    previously had not been realized.

    RE: 108
    
    (Insert sound of me scratching my head here....)
    
    Well, I guess you feel what you feel. For my money, I preferred what
    Yes did, in general, to what ELP did. ELP never floated my boat much. I
    bought most of their albums, listened to them a lot, and just never
    found it all that interesting. I've replaced all of my Yes albums with
    the CD reissues. I've yet to replace an ELP album, in fact, the only
    time I've heard ELP in the last 10 years is on the radio. I went to an
    ELP concert in the early 80s (or was it late 70s, I don't remember) and
    was bored to tears by Emerson's musical masturbations, not to mention
    horrified by what he did to a perfectly nice B3. I vaguely recall an
    extended solo played almost entirely with his buttocks. This is
    certainly not the way to my musical heart.
    
    In contrast, Wakeman was one of the main reasons I was attracted to Yes.
    His "classical" nature was what interested me. It was like inserting
    Bach in a pop context, with f*cked up time signatures for good measure.
    
    Still, I can't really argue the Wakeman vs. Emerson point because I too
    feel that the comparison is rather empty, although I would certainly
    err in the direction of Wakeman as the "better".
    
    This all leads to where I'm getting lost in this discussion. I
    don't profess to be a great keyboard player, but I have been playing
    for many years and have a decent classical repertoire under my fingers.
    Recently, I've been diving into the nuances of playing the fugues
    and preludes of Bach on a piano (something which Bach did not do, by the
    way), and have, I believe, developed a pretty good ear for what good
    keyboard technique is (under the guidance of maistro Charles Carpenter,
    for my money the greatest keyboard composer on planet earth, but I
    digress...).
    
    I'm ready to concede that Rick Wakeman is now a monster. But to my
    ears, he was always pretty much a monster. I can't recall any instance
    where I noticed his playing was technically flawed or sloppy in
    any way. I listen to the entire Yes catalog at least 3 or 4 times a
    month, and still come away after many years of listening with jaw
    agape. Before today, I never heard anyone criticize Wakeman's playing
    in this way either. I've heard people accuse him of being a keyboard
    whanker (much the way I feel about Emerson), but Rick Wakeman as less
    than perfect technician is new to me.
    
    I'm not declaring Wakeman as the Ultimate God of Keyboard, because
    there are classical players (e.g. Emile Gilels) and jazz players
    (e.g. Oscar Peterson) who would take him apart in their respective
    domains. But, as far as "rock" keyboard players go, I think he's
    in a league of his own.
    
    Brian

>not to mention
>    horrified by what he did to a perfectly nice B3. I vaguely recall an
>    extended solo played almost entirely with his buttocks.

    What did he do to the B-3, play a solo with his buttocks or something
    else? The cheeky bugger.

    --Ron
    

Re: .108

> ...the only thing from the old days were Rick's
>    playing stood out (to me) was "Six Wives"...

Aren't you forgetting his solo in Close to the Edge?

Re: .109

> ...I can't recall any instance where I noticed his playing was 
> technically flawed or sloppy in any way.

I can. As much as I love Rick's playing, the painful truth is evident
on some of the audience tapes I've collected. There were nights when 
he was obviously bored and sloppy or trying to upstage the rest of the 
band. Everyone has a bad night now and then.

Re: .110

>    What did he do to the B-3, play a solo with his buttocks or something
>    else? The cheeky bugger.

He [Emerson] stabs it with a dagger. He's done the same schtick every time 
I've seen him. I think the thing has a special slot built into it.

Barry

    Well that's a pretty stupid thing to do to it. I'd like to see him
    accidently get his hand stuck and then run around the stage holding onto
    it like Dick Van Dyke.

    --Ron

    re: I disagree (obviously)
    
    Acutally maybe you don't.
    
>    Well, I guess you feel what you feel. For my money, I preferred what
>    Yes did, in general, to what ELP did. 
    
    As I said, I liked Yes almost as much as I liked ELP.  How much I like
    a band is not a pure function of how technically advanced I think 
    the keyboard player is.
    
    But one thing we will have to disagree on is whether or not Wakeman
    was in Emerson technical class during the 70s.   
    
    I have never found an old Wakeman piece that was out of my reach.  I've
    learned quite a number of Yes songs without even having to woodshed
    all that much.
    
    In my whole life, I've only learned about 3 Emerson tunes, but not for
    lack of desire and certainly not for lack of effort.  They're just
    incredibly difficult.
    
    This may not be apparent to a non-keyboard player.  Wakeman writing
    tends towards "what can be done easily on the keyboard".  As a result
    lots of his stuff is much easier than it sounds.   Emerson, as I see
    things, writes purely from his head and then tries to find a way to
    realize it on the keyboard.  His stuff is often much more difficult
    than it seems.
    
    I would say that MOST of Emerson's stuff is out of my range.  Far less
    so for Wakeman.
    
    As for "sloppiness".  I'm not saying that Wakeman is "sloppier" than
    Emerson.  Although unlike you, I can find plenty of instances where
    his playing is off.  
    
    Putting it in terms that I guess we've all become familiar with
    courtesy of Tonya Harding, I think Emerson's program has a MUCH higher
    degree of difficulty than Wakemans.  
    
    But just as in ice skating, I would NOT say that makes him "better" in
    any dimension other than "technical ability".  However, in that
    category (in the context of the 70's) I find it amazing that anyone
    would think otherwise.   I don't think Wakeman was really a close
    second.  In fact, I think there are a few guys I'd put ahead of Wakeman
    (Patrick Moraz, Jurgen Fritz of Triumvirat, Kerry Minnear, etc.)
    

    
    RE: 113
    
>    As I said, I liked Yes almost as much as I liked ELP.  How much I like
>    a band is not a pure function of how technically advanced I think 
>    the keyboard player is.
    
    I certainly agree with that.
    
> lots of stuff about how Emerson's stuff is more difficult...
    
    Perhaps. I've had to figure out a fair amount of Yes music for various
    bands I've played keys in, and it was usually straight-forward. Again,
    what I like about Wakeman is his imposition of classical form on
    popular music. Classical form tends to pretty playable, with emphasis
    on technique. I've only had to learn two ELP songs on keyboard: Lucky
    Man and Karn Evil # 9. Both were also straight-forward. Granted, I've
    never spent a lot of time learning rock songs just for fun. I would
    tend to do the "just for fun learning" in the jazz and classical veins
    myself. So I'll accept at face value your comments that Emerson's works
    are more difficult to play.

    >I've only had to learn two ELP songs on keyboard: Lucky Man and Karn
    >Evil # 9. Both were also straight-forward. 
    
    Ahhh....
    
    Ummm....
    
    Well... two things:
    
    1) "Lucky Man" is not an Emerson composition.  Yes, the keyboards
       are straightforward on that.  In fact, they are almost non-existant.
    
       In short, it's hardly representative of Emerson's playing.
    
    2) It also boggles my mind that you (or anyone) could characterize 
       "Karn Evil #9" as "straight-forward".  
    
       You must be an incredible keyboard player!!!
    
    	db

    Emerson has done nothing that I've ever really liked (non keyboard
    player here ) , Wakeman has .
    
    Who was better in the 70's ? Better is a subjective word . Anyone that
    has so much respect for music that he plays with his butt-cheeks is
    IMHO , an a**hole .
    
    Who would you rather go see in concert *NOW* ?
    Wakemans playing on the latest CD (Evening of YES music) is very
    improved, showing that he is still growing as a musician . Emerson ?
    
    What has he done lately ?
    
    Gonzo

    >Anyone that has so much respect for music that he plays with his
    >butt-cheeks is IMHO , an a**hole .
    
    Aw, c'mon, Keith is just following in the grand tradition of Jerry lee
    and Little Richard.  It is supposed to be rock and roll after all...
    
    							Brian

    Yeah, but somehow it's lacking in, ummm...style?  Although I do almost
    laugh out loud everytime I picture it in my mind.

    --Ron

>    domains. But, as far as "rock" keyboard players go, I think he's
>    in a league of his own.
    
    Hey, a proper use of scare quotes!
    
    Wakeman's oh-so-calligraphic time signatures remind me of that scene in
    _Play It Again, Sam_ where Woody Allen, trying to dance, uses the
    famous pickup line, "ONE-two-three, ONE-two-three, ONE-two-three..."
    
    Emerson, on the other hand, is... no, wait, it's the same hand.
    
    Ray

>    Who was better in the 70's ? Better is a subjective word . 
    
    Please note that I was not claiming anyone was "better" on any
    subjective scale.   I was saying that Emerson was more technically
    advanced.  That doesn't make him a better player of course.
    
>    Who would you rather go see in concert *NOW* ?
>    Wakemans playing on the latest CD (Evening of YES music) is very
>    improved, showing that he is still growing as a musician . Emerson ?
    
>    What has he done lately ?
    
    He's undergone surgery to try and recover the use of his hands.
    
    I.E. he has a severe medical problem that limits his playing.

    And Wakeman, like fine wine, gets better w/age .
    
    gonzo

    Heard this morning that the YES tour was cancelled. They said something
    about Anderson having back trouble.

    
    God, next thing you know, Tina Turner will be skipping shows 'cause
    somebody stole her walker...
    

    where did you hear that ??   was that a reliable source ??
    
    man, I hope not, 14th row seats that I DON'T want a refund for
    
    

>    where did you hear that ??   was that a reliable source ??

    Listening to the radio, one DJ says to the other "Did you just see what
    went up on the white board? Yes tour cancelled."

    The other guy said it had something to do with a disk in Jon Anderson's
    back.

    That's all I know.

    major bummer... I just got NFTE today with reviews of TALK etc...  and
    there was a lot of excitement for the upcoming tour
    
    NFTE also mentions that Steve Howe will be opening for ELP on their
    1994 tour...I don't care if Keith plays by ear, butt-cheeks, or with
    his nose...Howe and ELP....can't miss that one
    
    does anyone know the nature of Emerson's surgery ??   

    Ron, I think you heard it wrong.  The tour isn't cancelled cause
    Jon has a bad disk in his back.  It's because he thinks the new disc
    is bad!
    
    /sorry :-)

    well, I asked the guy who runs NFTE (Notes From The Edge) and he told
    me the tour hasn't been cancelled, but postponed...he gave no other
    info...

    The same rumor about the Yes tour is all over ROCKNET+ on CompuServe.
    My guess is it's true.
    
    re: The nature of Emerson's surgery.
    
    Ummm... there was a whole cover-story on it a month ago in Keyboard
    Magazine.  Don't remember the details though.

	Well I bought the new Yes CD...and I must admit, it's not as bad
	as Union; but it hasn't got many of the old Yes qualities. I've
	always enjoyed Chris Squire's bass playing - here it is burried
	in mud (as it was on 'Union') - and I've always liked Bill Bru-
	ford's precise and distinctive drumming; Alan White does not do 
	that much for me. But at least 'Talk' has more of 'real band
	playing', whereas 'Union' was a masterpiece of producer manipu-
	lation..

	As for the discussion of Rick Wakeman and Keith Emerson - I have
	been listening to their music from the beginning - Rick Wakeman
	from some of the first Yes albums (I think 'Fragile' was the
	first with RW), Keith Emerson from his playing with The Nice,
	which I enjoyed at several live performances - and I've always
	enjoyed both of them. However, I recognize RW as the more 'pom-
	peus' and 'gimmick-using' player, where KE was more on technical
	side. To say that you don't like KE's music just because he bru-
	talized his Hammond organ is foolish, IMO. One thing is 'the show'
	- another thing is the music itself. And what a show it was, when
	he played Bach's Branderburger Concert and went wild - quite a
	contrast to watch him go wild in rock-star manner when playing a
	piece of classic music!

	Now, I'm no keyboardist (but a guitarist anyway, if that counts :)
	but I think I recognize talent when I hear it - and both of these
	guys are extremely talented IMO - but I would also like to men-
	tion another keyboard player who belongs in this company:

			TONY BANKS!

	I'm not sure if he is on the 'technical side' or the 'gimmick
	side' of keyboard players, but in my ears he's just as talented
	as the other two...

	One question: how many live CDs are available with AWBH - is
	there one called 'An Evening With Yes Music' and another called
	'An Evening With Yes Music Plus' - or they one and the same CD?

	Poul

    re: .130  I think it's just one ABWH live disc, but I may be wrong on
    that...
    
    yeah, I agree that to dislike Emerson's music because of his
    showmanship is not fair to the guy...I mean, look at all the guitar
    smashing, and everything else in rock...it IS rock after all
    
    Tony Banks may not be the "technically flaashy" player, or show off the
    chops like Wakeman and Emerson, but I agree, he's one of the best...he
    happens to be my favorite player, I can approach his music on the keys
    more than Rick or Keith...I think Banks has some inventive playing
    tricks, and I've always loved his keyboard sounds...
    
    Afterglow or Cinema Show from Seconds Out are some of my favorite
    Mellotron cuts I've ever heard...it's funny that for someone who is so
    respnsible for writing so much Genesis music, Tony doesn't have a big
    commercial following for his solo material...and I like all of solo
    material
    
    boy, if db or Brian can learn Yes and ELP toons or keyboard riffs from
    the record, I'd love to bring my Genesis cd collection over sometime,
    and have someone show me all those songs I'd love to learn to play !!!
    
    Wes

    
    I believe during the 90125 tour, Jon Anderson fell off the stage at the
    Centrum and landed really hard.  It would not surprise me to discover
    that was the source of ongoing back trouble.
    
    DFW

    
    
>	As for the discussion of Rick Wakeman and Keith Emerson - I have
>	been listening to their music from the beginning
    				      ^^^^^^^^^^^^^^^^^^
    
    

>    I believe during the 90125 tour, Jon Anderson fell off the stage at the
>    Centrum and landed really hard.  It would not surprise me to discover
>    that was the source of ongoing back trouble.
    
    Yep.   Happened right in front of me.  
    
    There was a hole in the stage where the band members enter and exit
    from.   There were also little mirror things all over the stage that
    were used to reflect lasers.
    
    Anderson tripped over one of those mirrors and fell into the hole.
    
    From my vantage point, I could see his feet after he fell.  He didn't
    move for about 4 minutes and considering how the fall "looked", we
    really were sure he was seriously hurt  (he didn't trip, he was running
    around on stage and FLEW into the hole).
    
    The band didn't stop playing, but it took them a minute before they
    noticed Jon wasn't around.  Finally Banks and White saw Anderson's 
    predicament, said something to Rabin (who told Squire) and Rabin
    ended up singing Anderson's parts for awhile.
    
    Anderson eventually returned about 8 minutes later and got a big
    roar from the crowd.  I think the only people in the place that
    didn't seem him fall were his bandmates!
    
    	db

    RE.134   db, thanx for your comments about picking Wakeman parts...not
    being a classically trained player, my "technique" is not up to sight
    reading snuff...but I can do interpretations of a lot of Genesis toonz,
    or I used to !!!
    
    never heard Triumvirate, or AAKKALLLEgard, or whatever that was...I'll
    have to check them out...I always enjoyed Starcastle when I heard it...
    and Marillion was accused of being a Genesis ripoff, and Fish, the lead
    vocalist, sorta sounds like early Peter Gabriel...the Gabriel era
    Genesis is my fave anyway...in fact I'm listening to Trespass at the
    moment...

    Yeah, theatrics have always been part of rock and roll. It's just that
    playing with your hinder makes me think of Spinal Tap. I think it's
    pretty funny is all. :^)

    As far as Wakeman's "flash", he really started pouring it on when he
    joined Yes.  For my tastes, after "Close to the Edge" and "Six Wives"
    he was just overplaying.  In fact, what *really* killed my interest was
    "Journey to the Center of the Earth" one of the most dismal albums I've
    ever sat through.
    
    Two albums that I haven't heard for years but I remember being *very*
    impressed with were the two Strawbs albums Wakeman was on (the live
    one...??I think??...and "From the Witchwood").  These are *long* out of
    print in the US, though.  I'm sure there are some tracks on the Strawbs
    twofer LP compilation, but I don't believe this has made it to CD yet
    in the US.
    
    							Brian

Sorry I blipped-out for a few days; an ISO standards meeting
in Washington DC took me away. Now I'm back, and ready to add
fuel to the keyboard player debate. Please pardon me if I
paraphrase and don't reference specific note numbers and
individuals; I'm composing this response off-line.

RE: db's comments about "what a great keyboard player I must be
to call Karn Evil #9 straight-forward":

I'm a decent keyboard player - it was my performance minor
in music school - but my instrument of choice remains bass.
Even so, I've played keyboards in more bands than I've played
bass in, and I still compose all of my own music on keyboards.
However, at least 90% of the great keyboard works are, and will
always be, way over my head. Karn Evil #9 was, as I recall, not
particularly difficult to figure out. It was at least 15 years
ago that I learned it, and at least 14 years since I forgot all
of it as well, but I don't recall anyone being all that flummoxed
by it.

RE: "not liking Emerson because he does rock-biz cliche stuff
to an organ - including stabbing, kicking, knocking over and
playing with one's tushy"

Well, it's true that I brought this up, but it's not true that
I don't like him because of it. I respect his playing quite
a lot. However, this sort of stuff does nothing to enhance
his reputation, if not exactly detracting from it. I am not
a member of the set of people who find this exciting or even
interesting. I find it rather dull, actually, and therefore
prefer Wakeman since he so studiously avoids such nonsense.

Now, one thing that is just entering into this debate
is the live vs. recording aspect. Emerson and Wakeman have
both recorded a lot of wonderful, flawless music. Give any
great keyboard player an almost unlimited budget of studio
time, and they might even come up with something as good.
On the other hand, I've seen both men live and came away
more impressed with Wakeman. What must be considered, however,
is that I haven't seen Emerson since the late 70s, whereas
the first time I saw Wakeman live was in the ABWH era. It is
indeed possible that Wakeman has improved as a performer, as
I am not familiar with his live work before ABWH. But contrasting
what I saw during the "Union" tour (for example) with what
I remember Emerson doing during the "Works Vol 1" tour (it's
starting to come back to me now), I definitely prefer
Wakeman.

RE: Other Greats

Last week, db entered a list of other rock keyboard
players who he felt deserved mention before Rick Wakeman.
I agree with his selections (especially Kerry Minnear of
Gentle Giant fame), and was compiling a list of others who
I felt deserved mention, including Dave Stewart (National
Health), Eddie Jobson (UK), and yes, of course, Tony Banks.
[I don't agree that they are necessarily "better" than Wakeman,
just that they are all great players in their own right.]

I tend to "rediscover" music I like, and one of my more
recent rediscoveries has been Genesis. I think Tony
Banks was especially brilliant on "Selling England By
the Pound" and "Trick of the Tail", although it is hard
to point to specific records in the Genesis catalog as
his work was great through-out.

Genesis, Yes and Gentle Giant comprise the greatest musical
memories I have of the so-called "progressive rock" genre.
They are all groups that are included in my quest to replace
my record catalog with CDs.

And a final aside (Yes, this note will end at some point :-):

Contrasting "Union" to "Talk", I find "Talk" lacking in
interesting keyboard performances (as one would expect
from the liner notes). I recall with some mirth Jonathan
Elias (the producer of "Union") and his comments relative
to Rick Wakeman. Elias was willing to dismiss Wakeman
as a dinosaur who was stuck in a 70s rut when it comes
to sound design on synthesizers. I think Elias missed the
point: synthesizers exist, in Wakeman's view, mostly as
a way of getting "classic" sounds in a simpler and more
reliable package.

Remember when Keith Emerson used to have banks of Oberheim
synths with the knobs glued down, so that each synth produced
exactly one sound he needed live? [This was clearly way
before MIDI and microprocessor recall of patch settings.]
    
    -b

    back to the topic at hand....  YES
    
    I got NFTE today, with re-scheduled dates for the upcoming tour..Great
    Woods is not mentioned, but the editor believes the east coast dates
    will follow the tour dates in the south...which ends mid-August, so my
    guess is that YES will be at Great Woods late August
    
    I'll post it when NFTE announces it...

    Well, Brian nows as well as anyone that I pride myself on being open
    minded, but rather than get deeper into this rathole I will say that
    I can't imagine anyone convincing me that during the 70's and 80's
    that Wakeman was anywhere near Emerson on the technical level.
    
    As I've said, and will continue to say, that does NOT mean Emerson is a
    better musician.   Only that I think he had infinitely better chops at 
    that time. 
    
    And I mean that both in the studio and live.  I see absolutely no
    evidence at all (not even the remotist shred) to give any credence to
    (what seemed like a suggestion that) that "Emersons" chops were the
    result of the various advantages of the studio. 
    
> Last week, db entered a list of other rock keyboard
> players who he felt deserved mention before Rick Wakeman.
    
    THis is a misinterpretation, or perhaps the product of you not having
    my statements in front of you.  I did not say they "deserved mention
    before Wakeman", nor anything which I feel is remotely like that.
    
    Nor would I: Wakeman is probably #2 or #3 on my personal list - I also
    really like Patrick Moraz.

    > I think Elias missed the point: synthesizers exist, in Wakeman's
    > view, mostly as a way of getting "classic" sounds in a simpler and more
    > reliable package.
    
    There was a great clash between Wakeman and Elias in the pages of
    Keyboard magazine.  It was rather funny.   Wakeman said that he
    wouldn't trust Elias with a "food processor" much less a music
    processor of any kind.
    
    Letters were (not surprisingly) wildly in favor of Wakeman - mostly
    pointing out that Wakeman had credentials and that no one had ever
    heard of Jonathan Elias before.
    
>    An interesting way at looking at things: superiority based on
>    "figurability". 
    
    Brian!!!!!
    
    Not "superiority"!!!!
    
    I'll say that "again":   NOT SUPERIOTY!!!!
    
    I'm going to ask you to NOT write any more notes without having what
    I said in front of you.  That clearly is that problem here.
    
    I think you are bound and determined to turn this into a "who's better"
    on a subjective scale.
    
    I would NOT describe things that are "more technically challenging"
    as "superior".  In fact, I would describe those two measures as apples
    and oranges.
    
    I am suggesting that whether I can play it seems like a reasonable
    measure of other things like technical difficulty, not "superiority".
    
    That hardly seems unreasonable does it?
    
    I had no problem figuring out "Stairway to Heaven" on guitar.  And as
    far as I can tell from visits to music stores that always seem to
    have someone playing that while trying out equipment, not many people
    have a hard time figuring that out.
    
    And despite that, I consider that a "superior" guitar song.  In fact,
    I've often discussed this "ratio" of difficulty to "how good it is"
    and said that it is more impressive to me to write something easy
    that sounds great than it is to write something hard.
    
    Steve Morse fails miserably on that ratio.  Jimmy Page scores among the
    highest - actually so does Wakeman!!!
    
>    Perhaps. But I submit that the more important factor is how
>    it fits with the music, and how well it is executed. There are
>    some very tasty keyboard parts played by people like Richard Wright
>    (Pink Floyd) that are not exercises in keyboard wizardry, but
>    are composed and performed in exactly the right "spirit".
    
    I absolutely agree with this, and add that is not in conflict with
    anything I've said.
    

    > And I mean that both in the studio and live.  I see absolutely no
    > evidence at all (not even the remotist shred) to give any credence to
    > (what seemed like a suggestion that) that "Emersons" chops were the
    > result of the various advantages of the studio. 
    
    No, it was not intended as a suggestion of this type. I got the
    impression that people thought that Wakeman's performances that
    were not up to snuff were ones that were "live". I was saying
    if this is the case, than one must also compare Emerson live,
    as one cannot tell how much either musician (or other musicians)
    are aided by unlimited takes to get it right - after all, live
    it's all "first take".
    
    >THis is a misinterpretation, or perhaps the product of you not having
    >my statements in front of you.  I did not say they "deserved mention
    >before Wakeman", nor anything which I feel is remotely like that.
    
    >Nor would I: Wakeman is probably #2 or #3 on my personal list - I also
    >really like Patrick Moraz.
    
    I re-read the note where this came up, and came away with the
    impression that you were saying that Keith Emerson was your first tier,
    that the guys you mentioned were your second tier, and that Wakeman was
    part of your third tier. I'm sorry if I misinterpreted your remarks,
    but I must admit that a second read did not significantly change my
    interpretation of what you wrote. None-the-less, I don't think this is
    a significant issue, as we both seem to agree that there really is no
    mechanism for proving the "better" or "best". You've reached a
    conclusion of who you *prefer*, and have given reasons of why you
    *prefer* Emerson over Wakeman. Clearly, I cannot challenge you on what
    you prefer. However, I can challenge your reasoning, and give you my
    own reasoning which led me to the opposite conclusion from your own.
    
    >I think you are bound and determined to turn this into a "who's better"
    >on a subjective scale.
    
    Neither bound, nor determined. I do not believe that we can prove
    who is better. Taking a page from your own book of debating, which
    I must say has taught me a lot and has led me to respect you a
    great deal, I am simply challenging your underlying assertions which
    you are using to support your conclusion.
    
    >I would NOT describe things that are "more technically challenging"
    >as "superior".  In fact, I would describe those two measures as apples
    >and oranges.
    
    Nor would I describe them this way. I cannot debate your assertion that
    Emerson's work is more technically challenging, because I have not had
    sufficient experience. I can tell you that from my limited experience,
    that I did not perceive a great technical barrier. You seemed to have
    concluded that because the fingerings of Emerson's music is more obtuse
    than those of Wakeman's, that automatically, this makes Emerson's music
    more technically challenging. For you, this might be a true statement,
    but it is really a statement of preference as opposed to absolute fact.
    I happen to find other keyboard player's music more challenging because
    of qualities I prefer: highly emotive rather than technical playing, for
    instance.
    
    Again, I am not challenging your conclusion so much as I am challenging
    your hypothesis. I believe that you are guilty of transforming
    subjective opinion into fact, in order to support your conclusion.
    
    None-the-less, I still like you db; honest I do! :-)
    
    Brian

    >You seemed to have concluded that because the fingerings of Emerson's
    >music is more obtuse than those of Wakeman's, that automatically, this
    >makes Emerson's music more technically challenging. For you, this might
    >be a true statement, but it is really a statement of preference as
    >opposed to absolute fact. I happen to find other keyboard player's
    >music more challenging because of qualities I prefer: highly emotive
    >rather than technical playing, for instance.
    
    This demonstrates why I believe that you insist on turning this
    into a "who's better on a subjective scale" type of debate.  I submit
    that "technical ability" can be objectively discussed but that
    "emotiveness" is inherently a subjective measure.
    
    That strikes me as obvious, but I'll still like you if you don't agree
    tht it is.  ;-)
    
    	db

    I've just jumped into this particular string, so I'll add some general
    subjective opinions and observations on the "Wakeman vs. Emerson"
    battle...
    
    As for musical "challenge", I'll not only side with db, but he captured
    my experience almost exactly in .113.  I can't think of any Wakeman
    stuff that I ever wanted to play that I couldn't, but I can't touch
    MOST of what Emerson does.  As for personal preference, there is
    material by both Yes and ELP that I like, and some that I don't, but
    probably more by Yes (the earlier stuff, with Wakeman) that I like. 
    But who cares?
    
    Thus, I'll put Wakeman into the "sounds flashy, but playable" group,
    and Emerson into the "you can't touch this" group.  As for other
    members of the "sounds flashy, but playable" group, I'll take Steve
    Walsh's contributions over anyone, including Wakeman.
    
    Brian, if you can play Karn Evil 9, you're a better man than I!  My
    brain can't seem to handle the multiple lead lines (I believe that it
    takes two hands, ten fingers, minimum!) coupled with the complexity and 
    changes that all occur at once, in real-time.  And I'm not a sequencer 
    animal (yet...).
    
    I was not impressed by Wakeman in concert.  Emerson blew me away.
    
    Cheers,
    Ken
                                               

    RE: .145
    
    db,
    
    You seem to be misinterpreting my intent entirely, so let's take a step
    back and examine what it is we are really talking about.
    
    If this whole discussion had opened as "I prefer Emerson over Wakeman"
    (or any X over Y), and "I prefer Emerson due to the following
    subjective reasoning", then there would be no dicussion. You would have
    made yourself clear, and as I've said, there really is no arguing with
    someone's preferences. However, this discussion opened with the
    *statement* that Wakeman has improved (rather drastically by your and
    other's opinions it would seem). I took issue with that statement,
    saying that I did not see exactly what you thought had improved (that I
    always thought Wakeman was good). You then went on a tangenital course
    which introduced the comparison of Wakeman and Emerson, seemingly as
    proof of your opinions regarding Wakeman's previous perceived weeknesses
    and failings. You have accused Wakeman, so far, of playing sloppily
    in as yet unspecified places, and of being rather obvious in his
    composing and improvisation. (I think this is a reasonable conclusion
    to draw from your comments regarding the ease with which you can
    pick up his parts.)
    
    I'll leave it up to you whether or not you choose to enlighten me with
    specific instances of Wakeman's sloppiness. I can't really discuss that
    anymore without concrete examples, so I won't even try. On the other
    hand, I think I can refute your generalization that because you happen
    to be able to pick up Wakeman's parts easier than you can pick up
    Emerson's, that this is somehow an objective and consistently definable
    difference between these musicians that can be applied in an absolute
    manner for all (competent) keyboard players faced with the same task.
    
    I submit that 1) what is obvious to one's fingers is not necessarily
    obvious to another, even if both players are of comparable skill, and
    2) that difficulty in fingering is but a small part of the measure of
    the overall technical difficulty in playing a piece.
    
    For example, let's take Beethoven's Moonlight Sonata. Virtually
    every pianist who can read reasonably well could play this piece. It is
    not a difficult piece to finger. It is, however, a technically
    difficult piece. The difficulty arises in the use of dynamics and
    playing legato in the prescribed manner. There are other technical
    aspects to playing that are also difficult - playing long runs of
    16th notes in ascending and descending patterns evenly, for example.
    No one that I've ever heard chastised LvB because he was too easy to
    finger.
    
    Ultimately, I think you should leave Emerson out of this and be
    specific as to why you think Wakeman has improved so dramatically. Is
    what he plays now more difficult to finger, or more challenging in some
    other technical aspect? Or, has he developed an even larger
    arsenal of influences from which he draws (which is where I suspect the
    perceived difference lies)? Just saying his chops are better seems like
    a very weak argument to me.
    
    Now I'll stop picking on db for a minute and turn my attention to (was
    it Brian Rost?) who made the rather dismissive statement that Wakeman
    overplayed on the early Yes records. This instantly reminds of the
    comments from the Courtiers in Amadeus who accused Mozart of using
    "too many notes". Which ones, pray tell, would you have liked Rick
    Wakeman to leave out?
    
    I think the *charm* of those Yes records is that virtually everone
    involved overplayed, and yet managed to mesh together very well. I have
    always admired Baroque music and the art of the Fugue, and I think that
    Yes were brilliant in applying these styles to rock. Its almost
    inconceivable to think of 5 musicians playing so busily, yet being
    so precise and, for want of a better word, "tight". Take about any band
    attempting to play Yes' music and their brilliance becomes immediately
    obvious. Sure, you can play Rick Wakeman's notes and I can play Chris
    Squire's notes and someone else can play Steve Howe's notes. Now, can
    we play them *together* the way Yes managed? Pro'ly not!
    
    So, I think before anyone proceeds in criticising any member of Yes,
    they have to consider the sheer technical brilliance of bringing all of
    this into an ensemble setting, something which ELP, for instance,
    never really did.
    
    Brian

    Oops, open my mouth, get into trouble  8^)
    
    >Now I'll stop picking on db for a minute and turn my attention to (was
    >it Brian Rost?) who made the rather dismissive statement that Wakeman
    >overplayed on the early Yes records. This instantly reminds of the
    >comments from the Courtiers in Amadeus who accused Mozart of using "too
    >many notes". Which ones, pray tell, would you have liked Rick Wakeman
    >to leave out?
     
    The lousy ones  8^)  8^)
    
    I guess I wasn't clear.  I loved "Six Wives" (I've owned three copies
    of this), "Fragile" and "Close to the Edge", but Soporific Oceans and
    the later solo albums were just too heavyhanded for me. Noodling, if
    you will.  Part of this may have been composition; where the 18 minutes
    of "Close to the Edge" seems to be almost too short, all four sides of
    TFTO sound to me like they could use some serious editing.  Of course,
    Wakeman himself complained about that album and left Yes soon
    afterward, so maybe he was as disappointed as I was.  
    
    All I know is that the period of Yes that I still enjoy is the three
    albums from the Howe/Bruford period.  
    
    							Brian
    
    P.S. Wakeman's session work, backing up folks like Bowie and Lou Reed
    is also great.  When he plays for the song, Wakeman is hard to beat.

    Brian, 
    
    In your reply, shortly after asking me to leave Emerson out of it,
    you go on to make more comparisons between them.
    
    I think an good example of BOTH sloppy playing and improvement can
    be found by comparing Wakeman's organ solo in the original recording
    of "Close to the Edge" and on the new "An Evening of Yes Music Plus".
    
    Now you have the example you wanted.
    
    But... lest you try to turn this into a "subjective" comparison,
    PLEASE note that *I* think the original organ solo is a GREAT
    solo.   In fact, I think it's one of his best despite the sloppiness.
    
    Jimmy Page played many "sloppy" solos (he has said this himself 
    in print).  Many of those sloppy solos are, in most peoples estimation
    (including mine) classics.
    
    You also asked for an example of technical improvement: I think I 
    mentioned an example in the original note that I wrote.  I found
    Wakeman's solo section on the "Plus" record to have a much higher
    "degree of TECHNICAL difficulty" than anything I can remember from
    his heydey with Yes.
    
>    I submit that 1) what is obvious to one's fingers is not necessarily
>    obvious to another, even if both players are of comparable skill, and
>    2) that difficulty in fingering is but a small part of the measure of
>    the overall technical difficulty in playing a piece.
    
    I wrote a long reply to this, and then realized a short one will do
    just fine:
    
    	Brian... 
    
    	OK, this is true.  And the facts you've related about yourself
    	playing KE9 (which Ken and I simultaneously marvel at and envy)
    	prove it.
    
    	However, I think Ken and I both feel that Emerson consistently
    	does stuff that MOST players (perhaps not you) find considerably
    	more difficult.  Believe me dude, you are an EXCEPTION.  I think
        you've heard that from three other players now.
    
>    No one that I've ever heard chastised LvB because he was too easy to
>    finger.
    
    No one here has chastised Wakeman for that either.
    
>    So, I think before anyone proceeds in criticising any member of Yes,
    
    Who is criticizing Yes?
    
    Saying he's always been a great player and has gotten even better is
    "criticism"?
    
    Saying that there is one category that someone else is better at
    is "criticism".  
    
    If I got only "criticism" like that, I'd have a head the size of
    beach ball.
    
    At this weekend's gig, a biker-type told me point-blank that we
    "suck".   Friend Brian... THAT is "criticism"!  ;-)
    
	db    

    >In your reply, shortly after asking me to leave Emerson out of it,
    >you go on to make more comparisons between them.
    
    Well, only to the extent that I said that Yes was more
    ensemble-oriented than ELP was, and thus it is difficult to
    compare their keyboard players who had very different roles.
    
    >I think an good example of BOTH sloppy playing and improvement can
    >be found by comparing Wakeman's organ solo in the original recording
    >of "Close to the Edge" and on the new "An Evening of Yes Music Plus".
    
    Thank you for the example. I will indeed give this a careful listen.
    Perhaps I will even end up agreeing with you (it certainly will not
    be the first, or the last, time you make me change my mind about
    something.)
    
    >Jimmy Page played many "sloppy" solos (he has said this himself 
    >in print).  Many of those sloppy solos are, in most peoples estimation
    >(including mine) classics.
    
    Granted... but then again, regardless of the instruments involved,
    I find it hard to compare Wakeman's approach to music with Page's.
    I think Page's booze and heroin haze was perhaps the most organic
    element of his playing. Lord knows, he sounded like sh*t after
    he sobered up!
    
    >OK, this is true.  And the facts you've related about yourself
    >playing KE9 (which Ken and I simultaneously marvel at and envy)
    >prove it.
    
    >However, I think Ken and I both feel that Emerson consistently
    >does stuff that MOST players (perhaps not you) find considerably
    >more difficult.  Believe me dude, you are an EXCEPTION.  I think
    >you've heard that from three other players now.
    
    I know the capabilities of both Ken and yourself very well and
    consider you both excellent keyboard players. I would say that
    you are both, easily, better players than I am, especially
    since for many years I have concentrated on bass. I had a
    rather rude awakening recently when I tried to play some of the
    Network music I wrote no more than 7 or 8 years ago and couldn't
    play (or even remember) a lick of it. I am hardly exceptional
    in any respect.
    
    As I said, I have only learned two ELP keyboard parts, one of
    which was more like playing a pitch wheel than a keyboard. The
    other is my now infamous claim to KE#9. I don't know how much
    time either you or Ken put into this piece, and I can't really
    recall how much time I put into it either, but I would guess
    that if you had to learn it for a gig that you would, and make
    short order of it as well.
    
    Ah... one thing that just came to mind... I had the benefit
    of a well-transcribed piece of sheet music to help me. Perhaps
    that is the difference in my being able to get it easily
    and your problems trying to do it by ear. (In which case,
    we been doing a whole lot 'a pissin' over nuthin! :-)
    
    >At this weekend's gig, a biker-type told me point-blank that we
    >"suck".   Friend Brian... THAT is "criticism"!  ;-)
    
    Ouch. I'd say that goes slightly beyond criticism. But then
    again, I've had my share of musical "criticism", as well you
    know. Always take into account who is doing the criticising.
    If it is someone worth respecting, their criticism is usually
    constructive.
    
    Brian

>    As I said, I have only learned two ELP keyboard parts, one of
>    which was more like playing a pitch wheel than a keyboard. The
>    other is my now infamous claim to KE#9. I don't know how much
>    time either you or Ken put into this piece, and I can't really
>    recall how much time I put into it either, but I would guess
>    that if you had to learn it for a gig that you would, and make
>    short order of it as well.
    
    I have been gradually learning the 1st impression over many years.
    I suspect that I could learn it for a gig, although HARDLY "in short
    order" (remember this is not based on a guess, this is based on
    experience).
    
    I regard the 2nd Impression as being out of my range. The best keyboard
    player I have ever met (who does a lot of ELP stuff) feels it's out of
    his range too.
    
>    Ah... one thing that just came to mind... I had the benefit
>    of a well-transcribed piece of sheet music to help me. Perhaps
>    that is the difference in my being able to get it easily
>    and your problems trying to do it by ear. 
    
    Nope, I have the music to the 1st and 2nd impressions.
    
    >>At this weekend's gig, a biker-type told me point-blank that we
    >>"suck".   Friend Brian... THAT is "criticism"!  ;-)
    
    >Ouch. I'd say that goes slightly beyond criticism. But then
    >again, I've had my share of musical "criticism", as well you
    >know. Always take into account who is doing the criticising.
    
    The person doing the criticizing was a drunken BOUS (Biker of 
    Unusual Size) whom I believe was mainly interested in bopping
    our singer and was trying to impress her by trying to provoke/insult
    us (her best friends).
    
    As a result, I'm not terribly disheartened by the criticism.
    

    >>Jimmy Page played many "sloppy" solos (he has said this himself 
    >>in print).  Many of those sloppy solos are, in most peoples estimation
    >>(including mine) classics.
    
    >Granted... but then again, regardless of the instruments involved,
    >I find it hard to compare Wakeman's approach to music with Page's.
    >I think Page's booze and heroin haze was perhaps the most organic
    >element of his playing. Lord knows, he sounded like sh*t after
    >he sobered up!
    
    FWIW, I'm not comparing Wakeman's approach to Page's.
    
    All I'm saying is that presence of "sloppiness" does not exclude
    nor preclude "greatness".
    
    I don't even regard Wakeman to be a "sloppy" player.   However you
    said that you hadn't heard any examples of sloppiness in his playing.
    
    Actually, I can point you to examples of "sloppiness" on some of
    my demos.  Now, as you know, I have my own recording gear and I can
    spend as much time as I care to making things perfect.  But there
    are often examples of sloppiness in my finished product because if
    the "feel/groove" was there, I wouldn't risk losing it by doing a
    re-take.   It's more important.
    
    You should seem what some notation programs have done when you feed
    them the MIDI to my sloppy solos.  ;-)
    
    Now having said that, I've been known to do dozens and dozens of takes
    in the wee hours of the morning trying to get the right feel.   In 
    fact, I've been known to do that for a part that consisted merely
    of ONE side-stick snare hit!   But not to cover mistakes.   

    Brian, I don't think that more time would help me much with
    KE#9, I've tried.  
    
    Whoa, wait a minute, you guys cheated and have the music!  ;-)
        
    I still don't think that would help me...
    
    Cheers,
    Ken
    
    
    

    >You should seem what some notation programs have done when you feed
    >them the MIDI to my sloppy solos.  ;-)
    
    I once tried out a Windows notation program by feeding the MIDI
    input with the output of *another sequencer*, into which I had
    hand-entered a rather simple Bach Prelude and Fugue, just to see
    what would happen. As I suspected, the computer notated result
    looked nothing like the original score. So, I would not be
    depressed about what notation programs have done to your solos!
    
    (By the way, I purposely did not mention the name of the notation
    program involved, due to this being a "public" forum. But clearly,
    I was not impressed, although more recent programs that I have
    used have shown considerable improvement.)

    >Actually, I can point you to examples of "sloppiness" on some of
    >my demos.  Now, as you know, I have my own recording gear and I can
    >spend as much time as I care to making things perfect.  But there
    >are often examples of sloppiness in my finished product because if
    >the "feel/groove" was there, I wouldn't risk losing it by doing a
    >re-take.   It's more important.

    This brings up a good point. Perhaps Wakeman made the same sort
    of trade-off you're describing: namely, opting for a technically
    flawed performance because it was optimal in other areas. I would
    especially think is true, again, in the context of a group like
    Yes, where ensemble playing is the focus. Not to push the
    comparison to the limit, but I believe Emerson would have had
    more freedom, in the sense that as the focal point of ELP's
    instrumentation, he was the one who had the luxury of defining
    what was right and where the "groove" was.
    
    By the way, I have not had chance to do the comparison of Wakeman's
    CTTE solos that you suggested.
    
    Which "Impression" of KE#9 was the radio hit? I remember
    it being #1. I think this song was in my band's set rotation
    for at least a year; I played it four or five times a week, not
    including practice sessions, which would explain why I got
    good at it. I can't remember if I played it "sloppily" at first
    though. :-)
    
    Brian

    >The person doing the criticizing was a drunken BOUS (Biker of 
    >Unusual Size) whom I believe was mainly interested in bopping
    >our singer and was trying to impress her by trying to provoke/insult
    >us (her best friends).

    What a romantic!    :-)
    
    -b

Was he good looking?

    > Was he good looking?
    
    Not according to Heather (our singer).
    
    To me, he looked like the "Biker from Hell" in the movie "Raising
    Arizona".

    from NFTE...YES is re-scheduled for Monday August 29 at Great
    Woods...this IS subject to change

    
    	Yes will be on In Concert this Friday at 12:35am.
    
    
    	Vinny

    COOL...they did this early in the UNION tour as well, geez, I haven't
    watched that tape in a long time...
    
    thanx Vinny

    I missed the "In Concert" show....how was it, and what did they perform?

    
    	It was lame, the talked to Trevor & Anderson a little bit
    plus showed videos from the 90125 live tape.
    
    
    Vinny

Anyone out there got UK dates of when YES are playing? Can't get
onto the UK_MUSIC notes conference for some reason.

Iain Frew, Ayr, Scotland

    ANY news on the YES CD_ROM release yet ???

    I have some Notes From The Edge at home, I'll see if it's mentioned in
    one of those

   Seen as a review in the most recent _Musician_ magazine, for the album
   "Talk".

	"Shut up."

   I haven't heard it yet, but thought it was pretty funny...

   -- Sam
   

    
    Ahhh Musician Magazine.... used to subscribe, but I definitely remember
    my FAVORITE part of the magazine was the inevitable "one-line" reviews
    in the short takes section.  They usually said more than the diatribes
    you got in the full-length reviews.  :^)

    re: CD-ROM...there was nothing mentioned in the "Notes From The Edge" I
    have, but I will post if anything is mentioned....the only thing I can
    remember is that the release date was possibly pushed out to today, so
    there may be some talk about it soon
    
    Wes

From:	US4RMC::"HUNNICUTT@VXC.OCIS.UNCWIL.EDU" "jeff hunnicutt/ois/system services"  4-AUG-1994 18:26:18.24
To:	notes_edge@sol.cms.uncwil.edu
CC:	
Subj:	Notes From The Edge Tour Update

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                 N o t e s     F r o m     T h e     E d g e                   
                                                                               
                                                                               
                    THE   Internet   YES   Newsletter

                               
                            YES Tour Update
                 
                             August 5, 1994

 ______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte       nfte     =
 ------------------------------------------------------------------------------

IN THIS ISSUE
=============

- YES Tour Update

- Yesfest Current Information

 ______________________________________________________________________________
=    nfte       nfte       nfte       nfte       nfte       nfte       nfte    =
 ------------------------------------------------------------------------------

From the Associate Editor,
Mike Tiano (miketi@microsoft.com)

REVISED YES TOUR DATES:
NORTH & SOUTH AMERICA, JAPAN, & UK

There has been some changes to the US dates (looks like
Little Rock will get their Yes after all) along with more South
American and Japanese dates. Though there are no details
for the UK venues I've included the target dates below.

DATE      CITY
====      ====
August
======
Thu 4	OFF
Fri 5	New Orleans, LA
Sat 6	Pensacola, FL
Sun 7	Atlanta, GA
Mon 8	OFF
Tue 9	Tampa, FL
Wed 10	Miami, FL
Thu 11	Orlando, FL
Fri 12	Jacksonville, FL
Sat 13	Charlotte, NC
Sun 14	Raleigh, NC
Mon 15	OFF
Tue 16	Little Rock, AR
Wed 17	OFF
Thu 18	Nashville, TN
Fri 19	Fort Wayne, IN
Sat 20	Cleveland, OH
Sun 21	Middletown, NY
Mon 22	Saratoga, NY
Tue 23	OFF
Wed 24	Pittsburgh, PA
Thu 25	Syracuse, NY
Fri 26	Philadelphia, PA
Sat 27	Richmond, VA
Sun 28	Columbia, MD
Mon 29	Mansfield, MA
Tue 30	OFF
Wed 31	Toronto, CAN

September
=========
Thu 1	Montreal, CAN
Fri 2	Quebec [City?], CAN
Sat 3	Portland, ME
Sun 4	OFF (Rehearsals in NYC through 9/6)
Mon 5	OFF
Tue 6	OFF
Wed 7	Holmdel, NJ
Thu 8	Wantagh, NY
Fri 9	New Haven, CT  (Yesfest in NYC)
Sat 10	New York, NY   (Yesfest in NYC)

***SOUTH AMERICA***
Wed 14	Sao Paulo
Thu 15	Sao Paulo
Fri 16	Rio
Sun 18	Vina Del Mar, Chile
Tue 20	Santiago
Thu 22	Cordoba, Argentina
Fri 23	Buenos Aires
Sat 24	Buenos Aires
Sun 25	Buenos Aires (tentative)

***JAPAN***
Thu 29	Osaka
Fri 30	Takamatsu

October
=======
Sat 1	Kokura
Tue 4	Tokyo
Wed 5	Tokyo
Thu 6	Sendai
Fri 7	Tokyo (tentative)
Mon 10	Nagoya
Tue 11	Hiroshima

***UK***
Wed 19 - Sun 23 (Venues to be determined)

Watch future updates for additions and possible changes. Will
have additional European details when they become available.

Mike

*	*	*	*	*	*	*	*	*	*	

YESFEST UPDATE
==============

From:	IN%"r.derousse2@genie.geis.com" 

 A Yesfest update From: ROBIN KAUFFMAN    (MGPF02B@prodigy.com)
  
  Here's the scoop about the Friday night New Haven show.  We were waiting
 on word from Steve Howe as to whether or not he'd be able to make a special
 Friday night show for us.  He contacted us last week saying he just
 couldn't do it with his current solo tour schedule (he's going to send us a
 special video to play during YF though).  Since he won't be there, we've
 worked out a deal with the promoter for the New Haven show to get tickets.
 
  We WILL be providing a bus up to New Haven too. _PLEASE_ let us know if
 you'll need to ride the bus to New Haven (and for that matter the bus to
 Jones beach) so we can figure out how many buses we will need.  We don't
 want to get stuck with not enough buses or too many.
 
  OK, this is how you go about getting the New Haven tix.  We just couldn't
 afford to pay for them up front (a block is A LOT OF MONEY) like we did for
 Jones Beach and MSG so we worked out a deal with the promoter.  The tix go
 on sale on August 6.  The promoter is going to hold a block of Golden
 Circle tix for us till August 25.  EVERYONE has to pay for these tix if you
 want them, investors included.  We can't do it any other way. The price is
 $50 per ticket.  You MUST get the money in the mail, along with your
 request for tix, to Suzanne by August 19.  On August 25, Suzanne will buy
 all requested tix from the promoter. The rest of the tix from our block
 with be released to the public on that date.

 ========
 Here is the basic info again in case anyone needs it, editted
 from an original note by Robin Kauffman.
 ===========
 
 YESFEST INFO.  YesFest will be held on Friday September 9, and
 Saturday Sept. 10.  The Jones Beach date is Thursday the 8th,
 the New Haven date is the 9th, and Madison Square Garden is still
 on the 10th.
 
If you would like YesFest info and are not on our mailing list
 you can call the Wonderous Stories Yes hotline at (212) 861-5590.
 You'll be able to leave your name and address after the message
 and we'll mail the info out to you.
 
 
 YESFEST HOTEL INFO.  

 We were able to secure some rooms at a discounted rate at the 
 Hotel Penn for YesFest which is right down the street from the 
 Manhattan Center where YesFest is being held.  The rates are $95 
 for a single, $99 for a double, and that includes breakfast! This
 was just worked out today and the hotel told us that they
 have to get it in their computer system so the correct rates
 come up when everyone calls so it would be best to wait
 until Monday before you call to book a room.   The phone #
 is (212) 736-5000.  When you do call, you need to mention
 that you're booking the room in conjunction with YesFest in
 order to get the correct rate.  For everyone's information
 the address of the Hotel Penn is 401 7th Avenue & 23rd St.,
 NY, NY 10001-2062.
 
   We will be doing a mailing to all on our mailing list
 with all YesFest information now that we have the dates,
 place, and tickets secured.  If you are not on our mailing
 list and would like YesFest information mailed to you, call
 the Wonderous Stories Yes hotline # at (212) 861-5590 and
 leave your request along with your name and address at the
 end of the message.  If anyone calls to reserve a room and
 doesn't get the YF rate or has any other problems, you can
 call the hotline and let us know that too.  That way we can
 take care of any problems.


 ______________________________________________________________________________
=    nfte       nfte       nfte       nfte       nfte       nfte       nfte    =
 ------------------------------------------------------------------------------

THOSE ALL-IMPORTANT ADDRESSES:
==============================
 
New subscribers, contributions, questions/comments/criticism:
Jeff Hunnicutt (Editor)		 hunnicutt@vxc.ocis.uncwil.edu

Reviews, Surveys, Etc.
Mike Tiano (Associate Editor)    miketi@microsoft.com


                  Notes From The Edge
                  PO Box 13
                  Issaquah, WA 98027-0013


NFTE Server (lyrics, backissues, discography, rarities, surveys, GIFs):
Automated. For help send 
mail with subject line 		 yes-archive@meiko.com
"send main help" to

NFTE WWW/Mosaic Server:  

                 http://www.meiko.com:8080/yes-archive/welcome.html

 
NFTE Server/WWW Server problems, additions/corrections to the lyrics & GIFs,
and additions/corrections to the rarities list:
Mike Stok               	 mike@meiko.com

NFTE backissues, lyrics, etc, via anonymous FTP:
cs.uwp.edu			Directory: /pub/music/lists/yes

Contact for helping out with transcriptions:
Greg Utas			 utas@bnr.ca
 
-------------------------------------------------------------------------------
|The views expressed within Notes From The Edge are the opinions of individual|
|contributors and in no way reflect the views of the editorial staff unless   |
|otherwise stated. - The Editor.                                              |
-------------------------------------------------------------------------------
 ______________________________________________________________________________ 
=     nfte       nfte       nfte       nfte      nfte      nfte      nfte      =
 ------------------------------------------------------------------------------ 
                     END OF NOTES FROM THE EDGE TOUR UPDATE
 ______________________________________________________________________________ 
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 ------------------------------------------------------------------------------


% ====== Internet headers and postmarks (see DECWRL::GATEWAY.DOC) ======
% Received: from inet-gw-3.pa.dec.com by us4rmc.pko.dec.com (5.65/rmc-22feb94) id AA01596; Thu, 4 Aug 94 18:31:00 -040
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% Received: from VXC.OCIS.UNCWIL.EDU by VXC.OCIS.UNCWIL.EDU (PMDF #7214 ) id <01HFI8WYODQO8Y4XXN@VXC.OCIS.UNCWIL.EDU>; Thu, 4 Aug 1994 09:30:11 ES
% Date: 04 Aug 1994 09:30:11 -0500 (EST)
% From: jeff hunnicutt/ois/system services <HUNNICUTT@VXC.OCIS.UNCWIL.EDU>
% Subject: Notes From The Edge Tour Update
% To: notes_edge@sol.cms.uncwil.edu
% Message-Id: <01HFI8WYODQQ8Y4XXN@VXC.OCIS.UNCWIL.EDU>
% X-Envelope-To: notes_edge@sol.cms.uncwil.edu
% X-Vms-To: IN%"notes_edge@sol.cms.uncwil.edu"
% X-Vms-Cc: HUNNICUTT
% Mime-Version: 1.0
% Content-Transfer-Encoding: 7BIT
    

    
> Jones Beach and MSG so we worked out a deal with the promoter.  The tix go
> on sale on August 6.  The promoter is going to hold a block of Golden
> Circle tix for us till August 25.  EVERYONE has to pay for these tix if you
> want them, investors included.  We can't do it any other way. The price is
             ^^^^^^^^^
> $50 per ticket.  You MUST get the money in the mail, along with your
> request for tix, to Suzanne by August 19.  On August 25, Suzanne will buy
> all requested tix from the promoter. The rest of the tix from our block
> with be released to the public on that date.
    
    Investors???  Now, that's a nice euphemism...and we were wondering how
    the brokers ended up with all of the good tickets?
    
    
    

From:	SALEM::TAYLOR_J "DOS Rules  19-Aug-1994 0754" 19-AUG-1994 07:54:35.05
To:	@JAC.DIS
CC:	TAYLOR_J
Subj:	

From:	SALEM::US2RMC::"HUNNICUTT@VXC.OCIS.UNCWIL.EDU" "jeff hunnicutt/ois/system services" 18-AUG-1994 17:44:32.27
To:	notes_edge@sol.cms.uncwil.edu
CC:	
Subj:	Notes From The Edge # 112


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                 N o t e s     F r o m     T h e     E d g e

                                    # 112

                       THE   Internet   YES   Newsletter

                               August 18, 1994

______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
------------------------------------------------------------------------------

IN THIS ISSUE
=============

FUTURE TIMES
- Care to TALK with Yes' Engineer?
- Yes Rereleases
- WALLS CD ROM update
- Yestival

CONVENTIONS
- Yesfest details
- Two Yestival posts

CONCERT DATA
- NFTE at Philly concert?
- YES tix
- Notes From The Edge Tour Update
- Seeing Yes on the current tour
- Hey, it's Woodstock, man...
- Yes T-Shirt Needed
- 2 Milwaukee reviews
- Yes at Merrillville, IN - 8/19
- Need a ride from buffalo to Toronto

ALBUM DATA
- Banks/Howe/Genesis
- I'll Find My Way Home cover
- Steve Howe & Keith Emerson
- New Albums and stuff (Anderson/Banks/Wakeman)
- Wakeman releases
- Japanese version of "Talk"
- CDs available

COMMENTS, RESPONSES, & INFO
- Bruford, Flags, etc
- 'Tap, tap, tap' Is this thing working?
- YES blows off OKC again!!!!
- 'Instant Carments' gonna get you
- Again with the rehash
- You don't realize how good ya got it!
- Yesoteric duplicator for N.E. needed
- In Concert Resurrected!
- Yes Guitarists (response to post in 110]
- Trevor Interview - Guitar FTPM
- Yes video source
- Re: Constellations In TALES FROM TOPOGRAPHIC OCEANS
- Boundaries
- YES indeed

FROM THE EDITOR
______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
------------------------------------------------------------------------------

============
FUTURE TIMES
============

>From the Associate Editor,
Mike Tiano (miketi@microsoft.com)

=> CARE TO TALK WITH YES' ENGINEER?

OK, OK, I know these 'TALK' puns are getting a bit out of hand but this
time it's fairly appropriate. 8-)>

Michael Jay, who co-engineered the TALK album, has accepted our invitation to
answer questions directly from Notes' readers regarding the making of
the album and the problems inherent recording to hard disk as opposed to tape.
We thought that our readers, being both Yes and computer savvy, would 
have some interesting questions for him.

Please submit your questions no later than Monday, August 22, directly to Jeff
at the NFTE submission address below (not to the NFTE alias nor to me). We
will compile them and email them directly to Michael, who will consult Trevor
then return his answers to us to post in a future issue.

=> YES RERELEASES

Here are the dates again for the Atlantic releases of the Yes albums. Though
subject to change they appear to be pretty firm. Note that YESSHOWS is
finally on CD domestically, though the representative at Atlantic did
not know if 'Ritual' would be in two parts as it was on the LP; I tend
to assume it probably will be as it would have taken some extra production
work to put the two halves together. But as that's not confirmed it
could come to pass.

Note that the new releases will indicate on the back of the CD that they were
digitally transferred from the original masters. If it doesn't then *DON'T BUY
THEM AS THEY'RE THE OLDER VERSIONS!* The backs may also look a bit different;
for instance, now THE YES ALBUM will have the same photo that was on 
the back of the LP. Fortunately the price will be the same as it was before 
(not more).

August 16:
The Yes Album
Fragile
Close to the Edge
Relayer
Going For the One
Tormato

September 20:
Yes
Time and a Word
Yessongs
Tales From Topographic Oceans
Yesterdays
Drama
Yesshows
Classic Yes

=> WALLS CD ROM UPDATE

Still delayed due to technical problems. We'll let y'all know when we
have a new street date.

=> YESTIVAL

Thanks to Roxi Cook and Jimmy Jones for their takes on Yestival. Next issue I
should have information on how to obtain the video as well as on the different
vendors, what they had to offer, and how to contact them. If you missed
Yestival then you still have a chance with YesFest to gorge on the fab
five...er...twelve.


Mike

*	*	*	*	*	*	*	*	*	*
_______________
= CONVENTIONS =
---------------

YESFEST DETAILS
===============

From:	IN%"r.derousse2@genie.geis.com"

 YESFEST - A Reminder + More Detailed Information

 YesFest is a gathering for all fans of Yes music.  It is
 being sponsored by the Yes fanzine Wonderous Stories,  the
 'zine that also sponsored the first (and very successful)
 YesFest in 1991.  In addition to meeting other Yes fans,
 Yes-related merchandise will be on sale, videos will be
 shown (including one made by Steve Howe especially for
 YesFest), and all of the current members of Yes will be
 present.  Patrick Moraz and Peter Banks will also be
 attending, and Geoff Downes is expected to call from
 Europe, where Asia is currently touring.  Fragile, an
 excellent Yes cover band, is also slated to perform.
 Raffles and auctions will be held for various Yes items
 too, including many autographed ones.

 YesFest is being held on Sept. 9 & 10 at the Manhattan
 Center Grand Ballroom in New York City, 311 W. 34th St
 (between 8th and 9th Ave.).  Hours are from 10 AM to 5 PM
 both days.  Tickets are $20 per day or $30 for both days.
 Children 10 and under are free.  Walk-in registrations are
 OK, although pre-registration is preferred.  If you want to
 pre-register, your money must be received by Sept. 1 at the
 latest.

 Three Yes concerts coincide with the YesFest dates:  Sept.
 8 - Jones Beach, Sept. 9 - New Haven, and Sept. 10 - NYC
 Madison Square Garden.  YesFest is offering tickets to
 YesFest attendees for the Jones Beach and New Haven shows.
 Jones Beach tickets are $55 for Golden Circle seats.  They
 will be mailed to you since the show is the night BEFORE
 YesFest.  New Haven tickets are $50 for Golden Circle
 seats.  (These are great seats - somewhere around 3rd row
 center.)  Suzanne MUST have your ticket request and money
 for this show by 8/19 since excess tickets have to be
 returned to the promoter shortly thereafter.  Tickets for
 this show will be held for your pick-up at YesFest.
 YesFest does not have any more tickets for the Madison
 Square Garden show, but they are still available through
 your local Ticketmaster or through the NY Ticketmaster at
 (212) 307-7171.

 Busses from YesFest (departing from the Hotel
 Pennsylvania) are scheduled for the Jones Beach and New
 Haven shows.  When you mail in your money for tickets, be
 sure to mention whether you will be using the busses.  You
 will pay for the bus when you board it.  $5-7 is expected
 for Jones Beach, and $7-10 is expected for New Haven.

 Payment for YesFest and the concerts must be made by check
 or money order to:

 Suzanne Cerquone
 320 E 85th St. #5C
 New York, NY   10028

 Discounted rates are available for rooms at the Hotel
 Pennsylvania, which is right down the street from the
 Manhattan Center where YesFest is being held.  The rates
 are $95 for a single, $99 for a double, and that includes
 breakfast!  These rates are available from 9/7 through
 9/11.  Their phone # is (212) 736-5000.  When you do call,
 you need to mention that you're booking the room in
 conjunction with YesFest in order to get the correct rate.
 The address for the Hotel Penn is 401 7th Avenue & 23rd
 St., NY, NY 10001-2062.

 Most of this information was taken from the Wonderous
 Stories Yes Information Line on 8/13.  This service is
 always available for Yes News, but it is currently
 concentrating on YesFest news since that will be happening
 soon.  The phone # is (212) 545-3760.  In addition to
 hearing Yes(Fest) news, you can also leave a message on
 that line if you have any questions.  A fax number is also
 available:  (212) 861-5590  [This used to be the old
 hotline number, so please note the change].

 I have been to one previous Yes convention (Yes Con
 '85), and it was a fantastic experience.  People have told
 me that the previous YesFest, as well as the recent
 Yestival, were also incredible.  So, do yourself a favor
 and make every effort to attend.  You won't regret it!

 See you there!

        --Roy

*	*	*	*	*	*	*	*	*	*

YESTIVAL
========

From:	IN%"Roxanne_Cook@citynet.org"

			 A big, big thank you to Christine Holz and Lisa
Mikita for all their hard work in putting this event together. Since this
was the first Yes convention that Michael and I have attended, we didn't 
really know what to expect, but were VERY happy with Yestival. It certainly 
was the biggest Yes party I've ever been to. Hopefully this is only the first 
of many west-coast Yes conventions.

			 There were several highlights. Being an Andersonete,
the biggest moment was Jon's entrance just before noon on Saturday, and the
amazing hour that followed as he read questions from cards that had been filled 
 out by Yestival attendees. His openness and humor in answering each and every 
question held us mesmerized. Fortunately, Yestival was organized to videotape 
all these special moments. I can't wait to get a copy of the video.

			Not long after Jon's departure, Chris ambled up to the
stage. He was an absolute delight in his candidness. He had us giggling right
along with him for at least half an hour.

			Unfortunately, Trevor was ill with the flu and was not
able to make it to Yestival all weekend. Alan, however, made two appearances:
first, Saturday afternoon answering questions and being both silly and
serious. Then he came in briefly Sunday morning while he was on his way to the
airport to pick up his wife Gigi. He apologized for the other members of Yes
who were unable to come because the Santa Barbara concert which had originally
been scheduled to begin at 7 p.m. had been moved up to 4 p.m.! So the band had
to be up at the venue early that day.

		Other highlights included the door prize give-aways and the
raffle give-aways. There was so much stuff being given away (autographed
posters, flats, drumsticks autographed by Bill or Alan, Union tour
passes, CDs, etc.,etc.)--who DIDN'T win? There was an auction on Sunday and
items included tour clothes donated by band members, very special posters, two
original watercolors by Jon, and a beautiful Alvarez guitar that had been
autographed by all the band as well, etc., etc.

			   Peter Banks stopped by briefly on Saturday and played a
lovely acoustic song. Patrick Moraz also came in late on Saturday and
autographed everything that was set before him at his manager's vendor table.

   Fortunately for us, there weren't many vendors offering Yes merchandise or
we would have returned home even poorer than we did! Thomas Mosbo was on hand
to autograph copies of "Yes: But What Does It Mean" his fabulous book that
was glowingly endorsed by Jon( from Beat) Music's table was always crowded
with convention goers eager to check out the imports he brought from his
store. Nic also had prize items for sale such as Dan Hedges' "The Yes
Biography," Rick Wakeman tour t-shirts, and Yes tour programmes from the
past. The Japanese Yes fanzine which co-sponsored Yestival also had a vendor
table. Unfortunately, few of us could read the Japanese print, but the
photographs were exceptional! Mike Tiano from Notes From the Edge was there,
as was Krista, who designed the Yestival t-shirt logo and buttons. Nick
Kokoshis flew all the way from Washington, DC to sell gorgeous 8x10s of the
band from past years as well as promote spirituality. Patrick Moraz's manager
was on hand all day Saturday to sell Patrick's new CD "Windows In Time". Ed
Morgan brought along a smidgen of videos, posters, tapes, records, and CDs
from his massive collection. Several tables were also reserved for those
peddling not only Yes music, but music of other progressive music bands as
well.
	Music, of course, was the focus. When special guests were not on stage,
we were entertained with recordings from our favorite group as well as some of
their solo efforts. "Deseo," Jon's newest release, was featured immediately
upon his departure. We were also tantalized by "Change We Must" and "State of
Independence" music from Jon's next CD, "Change We Must."

   Ed Morgan entertained us by commandeering the VCR and displayed a Japvideo
Japanese recording of one of the Union concerts, as well as Yes' recent
appearance on David Letterman, Steve & Bill's performance on Regis & Kathy
from last November, and a video snippet of a Trevor Rabin solo song from his
pre-Yes days.

    Because we had tickets for the Santa Barbara show, we had to leave early
on Sunday and missed the last 3 hours of Yestival. During the time we missed,
Peter Banks was scheduled to perform an electric guitar set and Patrick Moraz
was supposed to return to perform an acoustic piano After we left Yestival
on Sunday afternoon, we were both in a euphoria. We were delighted with the
convention and with seeing everyone who was there. I am sure that all who
attended feel that they were a select and privileged group to have been part
of this special event. Hopefully this west-coast Yes convention will be an
ongoing event, perhaps not yearly, but definitely often enough to keep us all
in touch with each other and the band.rspective!

Peace & love, Roxi
--------

*	*	*	*	*	*	*	*	*	*

From:	IN%"jrjones@access.digex.net"  "Jimmy Jones"

Hi Folks!

I just got back from a 2-week vacation to the west coast, where I attended
Yestival '94 and saw YES 3 times - 2 nites at The Greek in LA and again
at Thomas & Macke stadium in Las Vegas.

Yestival was a great experience, but only 3 band members made appearances:
Jon, Chris, and Alan. One-time band members Patrick Moraz and Peter Banks
also showed up. Trevor was 'recovering from the flue'. Late arrivals caused
the other no-shows. I was disappointed, but can understand that the band
must get a little tired of all the fuss over (as the Beatles put it so well)
'just another rock band' (although a very talented one).

I got to meet Mike Tiano (Hey Mike!!)...the NFTE table was just inside the
door. NFTE was recognized by Greg Stone, the local DJ that MC'd the event.

We were allowed to write questions on index cards for band members to answer.
I asked Jon about what keyboards the band was using, and he went off on a
very Jon-like tangent about how everything we use comes from under the
ground, including computers and keyboards, and how Lasers are a gift from
the Faerie Kingdom! I'm not sure he really answered that one, but his reply
was fascinating, none-the-less :)

I think I insulted Chris Squire by asking him if any members of the band
were taking musical instruction from anyone. He made it plain that the idea
was beneath him, although he laughingly asked what members of the band I was
talking about. He said he listened to the radio, and 'really ought to play
scales more.'

The shows were great! I'm a die-hard YES fan, and believe all incarnations
of YES (including the Drama line-up) were part of a wonderful evolution.
This group seems to love the music they're playing, and has a 
well-orchestrated,
tight, and lively presentation. All three shows I saw were exactly the same
(even tho' Jon announces an intermission 'So the band can decide what to do
for the rest of the show.')

The LA crowd was rowdy - I sat midway back the first show and was treated to
drunken brawling, spilled beer, and horrible attempts to 'sing along with Jon'
by intoxicated viewers throughout the show. I did my best to shut them out,
and the show was so good it worked most of the time! Front row the second
nite was *much* better!

The Las Vegas show did not even fill half of the stadium. I guess that is
what Jon meant when he said 'We aren't selling tickets like we used to'
during his talk at Yestival. For the participants in the conversation about
YES vs Pink Floyd, Pink *did* fill RFK stadium (55,000) for 2 nites in a row
in the July heat at in Washington D.C. I know, I know, I like YES much better
too, but there seems to be no contest in overall popularity!

I'm ecstatic that the band is back together again, and I love the music of
TALK, and think it comes across even better played live than it does on the
CD. I plan to go to the New York YES festival too, and see the group a few
more times. I just can't seem to get enough!

Regards,
Jimmy Jones

*	*	*	*	*	*	*	*	*	*
________________
= CONCERT DATA =
----------------

NFTE AT PHILLY CONCERT?
=======================

From:	IN%"CROSS@MU2.MILLERSV.EDU"  "Candae Deen"

Hello!

Just got tickets for my first Yes concert at Philadelphia on Aug. 26
and I'm wondering if there will be any organized effort to get Yes fans
from NFTE together.  I'm a newbie to this discussion and I'd enjoy
meeting some other people who share my musical interests (classical,
Yes, ELP, Pink Floyd).

If you can provide any information, please email me -- thanks!

Candae

*	*	*	*	*	*	*	*	*	*

YES TIX
=======

From:	IN%"hc27@summitis.com"

I am not a member of the list but would like to ask if anyone has tickets
for sale for the Aug. 20 Cleveland (Blossom Music Center - Cuy Falls, OH)
concert. I am interested in pavilion seats only.  Thanks.

--
Dan Kelly

*	*	*	*	*	*	*	*	*	*

ME. TOUR UPDATE
===============

From:	IN%"dab@madhattr.macom.com"  "D. Belliveau @ M/A-COM"

Here's some info your New England area readership may need to know:  the
Saturday, September 3rd show that you list as in "Portland, ME" is really in
Old Orchard Beach, ME at a place called the "Ballpark", which I'm told is a
fairly decent outdoor venue....I've never been there myself.  Those in
the northern New England states who find the trek to Mansfield, MA to go to
Great Woods may like to hear about this.

I just got 2 tickets from TicketMaster, Row E, in the "reserved field"....
I have no idea how good these are...I just hope it don't rain!

--
David A. Belliveau                   Senior Design Engineer - GMIC Technology
M/A-COM Corporate Research & Development, 100 Chelmsford St. Lowell MA. 01853
PHONE: (w/Audix): 508-656-2783 FAX: 508-656-2777 EMAIL: dab@technet.macom.com

*	*	*	*	*	*	*	*	*	*

SEEING YES ON THE CURRENT TOUR
==============================

From:	IN%"schima@cais.cais.com"

After hearing all these wonderful reviews of the latest Yes tour, I really
want to go now. The problem is that my friends are not Yes fans like I am
and thus I have no one to see them with :^{

So I am asking all Notes members who are planning to see Yes in Columbia,
MD (USAir Arena?) on August 28th to please *write me email* so I can go
with somebody else!! I don't have a ticket yet, and I'm willing to pay full
price (of course) for a ticket with a fellow Notes member.

-Frank

Frank Schima
schima@cais.com

*	*	*	*	*	*	*	*	*	*

HEY, IT'S WOODSTOCK, MAN...
===========================

From:	IN%"lbutler@hubcap.clemson.edu"  "L Clator Butler Jr"

Well, last night, I went with my bass player to see Yes in
Charlotte at the Blockbuster Pavilion.  It was good to see some
people had their priorities straight...after all they -could- have
gone to the Woodstock reunion.

Anyway, they stayed pretty true to the setlist, playing Where Will
You Be near the end.  Anderson said they do not always play this
one.  do they rotate it with State of Play or something?  That was
the only Talk track they did not play.

As they were going for the grand fermata at the end of Roundabout,
Trevor broke into the famous, feedback-laden dissonant chords of
Purple Haze (After riffing to God Save the Queen/My Country 'Tis
of Thee) and Jon shouted "It's Woodstock!"

I doubt this will be repeated past the weekend, and I thought
you'd get a kick out of it.  Jeff, I know you are seeing/have seen
them up the road in Raleigh. Maybe you'll get something neat like
that too.

Anyway, a couple of questions that don't need to be posted in the
digest:
-How constant has the setlist been? This seemed to be the same
show following the one posted in the digest.
-is there any footware popping up yet from this one?  Could be
expect a really great one to come from the Japanese leg of the
tour?
--
-------------------------------------------------------------------
| L. Clator Butler, Jr.	        __O   | "The power to destroy a   |
| lbutler@hubcap.clemson.edu  _`\<,_  |  planet is insignificant  |
| A rational, romantic,      (*)/ (*) |  next to the power of the |
|   mystic, cynical idealist...	  |  Force..."            |
| Our last, best hope for peace...    |           --Darth Vader   |
-------------------------------------------------------------------

*	*	*	*	*	*	*	*	*	*

YES T-SHIRT NEEDED
==================

From:	IN%"plord@informix.com"  "Pete Lord"

Yes Fans,

A friend saw the t-shirt I got from this year's tour and really wants
one.  If anyone is going to an upcoming show and would buy a shirt for
me please contact me directly.

Thanks,

Pete Lord
plord@informix.com
(913) 599-7326

*	*	*	*	*	*	*	*	*	*

MILWAUKEE SUMMERFEST REVIEW #1
==============================

From:	IN%"r.derousse2@genie.geis.com"

 YES OPENS FEST SOLIDLY (Milwaukee Journal 6/94, by Nick
 Carter)

 In this summer of revamped classic rock 'n' roll outfits
 hitting the road again, '70s-spawned rockers Yes kicked off
 this year's Summerfest with their version of the trend
 Thursday night at the Marcus Amphitheater.

 Early in the evening came "Rhythm of Love," a hit from the
 band's second life, a renaissance in popularity that began
 in 1983 with the arrival of new guitarist Trevor Rabin.
 Next came a drawn-out mood piece rocker from the band's new
 album, _Talk_, complete with spacey keyboards, and a
 musically synchronized light show.  The visual splash grew
 strong on "Changes," followed by an instrumental and a
 couple more songs off the new album.

 It's hard to imagine the and as Yes without founding
 members [sic] Rick Wakeman and Steve Howe; the keyboardist
 and guitarist, respectively, were the band's guiding force.
 This, however, isn't meant to take anything any from the
 current line-up:  Rabin play and keyboardist Tony Kaye are
 very accomplished musicians, and Rabin played an integral
 part in shaping the band's '80s sound.  The band's rhythm
 section remains solid, held down by long-time members Chris
 Squire on bass and Alan White on drums.

 Well into the second half of the show, Yes dipped into its
 deep past, providing crowd-pleasers from classic '70s
 albums like _Fragile_, _Yessongs_, and _Close to the Edge_.
 One of the more interesting numbers of the night was a new
 one tossed in among the oldies, "Where Will You Be," an
 East Indian-styled track detailing vocalist Jon Anderson's
 interest in reincarnation.

*	*	*	*	*	*	*	*	*	*

MILWAUKEE SUMMERFEST REVIEW #2
==============================

From:	IN%"r.derousse2@genie.geis.com"

 YES SHOULD SAY NO TO ANDERSON (Milwaukee Sentinel 7/1/94 by
 Dave Tianen)

 Summerfest said maybe to Yes Thursday night.

 The veteran progressive rock band fell considerably short
 of the usual Summerfest Marcus Amphitheater sellout
 Thursday night.

 Over the years, Yes has had more personnel changes than the
 Brewers' infield.  The current line-up card shows Jon
 Anderson on vocals, Trevor Rabin on guitar, Chris Squire on
 bass, Tony Kaye on keyboards and Alan White on drums.

 To our mind, Yes would improve markedly if space aliens
 were to seize Jon Anderson.  Fey and pixie-like Anderson
 reminds us of what might happen if somebody let Richard
 Simmons front a rock band.  Musically, of course, the real
 problem is that he has a small, thin voice that has
 diminished with the years.

 Rabin, on the other hand, is a stellar guitarist and a
 better singer than little Jon to boot.  The best moment of
 the band's first set was "Changes," an operatic piece that
 lets Rabin shine on strings and vocals.

 After failing to catch fire in the first half, Yes began to
 gain momentum after a short intermission.  "Owner of a
 Lonely Heart" features one of the band's better melodies
 and prompted a standing ovation.  "Where Will You Be" from
 the new album _Talk_ provides some basis for optimism about
 Yes in the '90s.

 A life after life anthem, "Where Will You Be" has a world-
 beat aura, part blues and part Africa.  It also boasts a
 pristine Rabin solo on acoustic guitar.  With a few more
 tunes like "Where Will You Be," Yes may have a future as
 well as a past.

 Now, if the space aliens would just help out with Jon
 Anderson.

['To our mind'? Is the writer saying this is the opinion of
everyone at this newspaper, or is he too afraid to say 'I'?
Hmmm... --Ed.]

 ================

 Thanks to Roxi Cook for providing me with the text of these
 articles.               --Roy

*	*	*	*	*	*	*	*	*	*

YES AT MERRILLVILLE, IN - 8/19
==============================

From:	IN%"r.derousse2@genie.geis.com"


 Yes will be at the Star Plaza Theatre in Merrillville, Indiana on 8/19, NOT
in Fort Wayne, Indiana as previously listed in NFTE.  The Star Plaza is a
very small venue with excellent acoustics and is real close to Chicago.  I'm
really looking forward to this and hope to see some of you there!

          --Roy

*	*	*	*	*	*	*	*	*	*

NEED A RIDE FROM BUFFALO TO TORONTO
===================================

From:	IN%"ab337@freenet.buffalo.edu"

If any of you Buffalo YES fans are planning on attending the Yes concert
in Toronto on Aug. 31st, please give me a bit of e-mail.  I'm looking for
a ride to/from the show...If you can help, give me a shout...

Jay Thompson
ab337@freenet.buffalo.edu

*	*	*	*	*	*	*	*	*	*
______________
= ALBUM DATA =
--------------

From:	IN%"phil@sonosam.wisdom.bubble.org"

Coming out August 23:
Two sides of Peter Banks

In the near future...
RPM is putting out a series called the TakeIt!! Sessions.  These are supposed
to represent early session work of great English guitar players.  The first
subject will be Ritchie Blackmore '63-'68...but the second subject ...
(drumroll please)...   STEVE HOWE.

----------------
Non Yes News

Also coming out on August 16th are the Genesis remasters of
Nursery Cryme, Foxtrot, Selling England, Genesis Live and Lamb!


Later....

Philip V.

*	*	*	*	*	*	*	*	*	*

I'LL FIND MY WAY HOME COVER
===========================

From:	IN%"pjg@tesla.esl.com"

I heard a song on the "modern rock" station around here (KITS/Live105)
that sounded like Enigma (or at least used the same type of flute
instrument).  The melody of the song (no vocals) is "I'll find my
way home" by Jon & Vangelis.  Does anyone know the name of the
group and/or album?  (Live105 often plays imports that haven't been
released yet).

-gyug

*	*	*	*	*	*	*	*	*	*

STEVE HOWE & KEITH EMERSON
==========================

From: fco@wspan-cmd1.panama.army.mil

Just received a CD that I've been looking for, and yes it has both Howe
and Emerson. Unfortunately never together on the same track. At least
three tracks are from GTR second unreleased effort. It also contains
tracks from Three to the Power of 3's second unreleased album.

Robert Berry: Pilgrimage to a Point

1. No one Else to Blame  6:13
   S. Howe, R. Berry
2. You've Changed  5:12
   R. Berry
3. Shelter  6:57
   R. Berry, C. Palmer
4. Another Man  3:50
   R. Berry
5. The Love We Share  5:34
   S. Howe, R. Berry
6. Tomorrow  5:27
   R. Berry
7. Freedom  4:31 (according to the liner notes this was written for
GTR's second album)
8. The Other Side  5:37
   R. Berry
9. The Last Ride Into The Sun  10:14
   K. Emerson, C. Palmer, R. Berry

This is a Great CD if you can find it.

I thought I'd include some of the Liner Notes from Robert Berry's Pirgrimage
To A Point that refer to GTR'S second unreleased CD.
	Berry writes "One of my most satisfying writing experiences was with
Steve Howe on his farm in Devon, England. Steve had given me a tape
with several ideas. I used various pieces and hammered out new tunes
and presented them to Steve. He was very pleased with my efforts and to
my surprise, told me that no one had worked on his material to his
satisfaction since Jon Anderson. I felt we'd formed the foundation of a
solid songwriting team."
	"In turn, Steve worked on my material adding the Howe touch. One of
these songs, Talkin' 'Bout would eventually end up on the 3 album.
Instead of the big Emerson intro, Steve went in the Going For The One
style tremelo guitar sound. It was and interesting version. My year
with GTR was spent recording for the unreleased second LP. It was one
of the most productive times I'd spent with a complete band.
Unfortunately, there was some tension. Being the new guy and writing
much of the  material with Howe caused problems. I wrote one song for
GTR called Freedom. Max Bacon thought it sounded like Bruce
Springsteen. I couldn't quite figure where the comparison came from but
it showed some of the resistance to my material. I did write a song for
Max and I to sing for the soundtrack of an unreleased film about a
man's last day in prison, which both of us thought turned out quite
good. Though it was difficult to leave, I withdrew on friendly terms.
In hindsight, I wish I had stayed through the release of the of the second
record. But, I just knew something else was out there waiting for me."

The rest of liner notes concern the 3 album. Enjoy!

Michael Geren
Panama

[Ed. - Howe and Emerson do not appear on this cd but do share writing 
       credit. A decent disc, I own it.]

*	*	*	*	*	*	*	*	*	*

NEW ALBUMS AND STUFF
====================

From:	IN%"saley@ucsu.Colorado.EDU"  "SALEY DAVID WILLIAM"

Hello all,

	Snagged a few new titles this last week for my birthday and
have seen some small reviews here but thought I would offer mine.

Jon Anderson - Deseo.  From review posted it sounded like Jon was
		assisting Descimento or something but this is a
		bonafied Jon album-What Jon would sound like if he
		lived in South America. Pretty good.

Rick Wakeman-Cost of living.  Picked up today every other track is
		instrumental and excellent and the tracks with
		vocalists are rock and not opera which is a big
	      plus in my book.  One song has narration but IMHO
	      finally works as compared with Journey or Knights

Peter Banks-Instinct.  Excellent instrumental rack guitar album.  He
	      must have been working on this ever since Flash broke up
	      you can tell a lot of time and effort was put into each
	      piece.  There is a bit of experiment in this project
		and I think it turned out well.  One funny thing in
		a lot of the tracks there are noises and voices in
	      in the background and in track 5 "Shortcomings" you
	      you can barely hear this woman say a reunion but where
	      is Peter Banks?  I guess that is his shot at Yes.
	      A good album for people who like Steve Howe, Hackett
	      Vai (he admits to being inspired by Vai on one tune-
	      easy to tell which one also) etc.  A guitar enthusiast
	      must.

Well that's all for now.

				Dave

*	*	*	*	*	*	*	*	*	*

WAKEMAN RELEASES
================

From:	IN%"stgi@stud.uni-sb.de"

 Hi ... just a note of praise for Alan Mallery's round up of Rick Wakeman's
back-catalogue ... I think I can live with most of the verdicts given
there. I did think that 'No Earthly Connection' got a bit of a raw-deal;
listen to it again Alan; I think it's absolutely fabulous and my
favourite RW release by a long way. It is essentially one carefully
(musically AND thematically) structured piece of music with no weak-spots
(even 'Criminal Record' - quite brilliant - has one very duff track
amongst the classics) - the melodies are strong but arranged in such a
way that different aspects of the pieces are found on each listen - I
didn't like the album atall at first. Although I'm certainly not a
great fan of Ashley Holt's voice; I do think it blends nicely into the
rather moody texture of the album - just hear those choral arrangements
on the 'Spaceman' track - at no other stage has Rick ever attempted such
a style. Full marks for a highly underrated piece of work.
  With regards to his recent back catalogue; I find much of it pleasant
listening but far too predictable and monotonous. Many of the albums
he brings out at the moment just sound like an afternoon's work in the
spare room (just listen to his 'Greatest Hits' CD! The project to
rerecord old Yes pieces I thought was a very exciting one and it is a
terrific disappointment hearing the lack of variety and ideas - it is
overall 'pleasant' to listen to but comes off as being a bit of an
insult to fans who've been listening to those pieces for years and years.)
  So, dare I suggest just taking a few months of work to prepare ONE damn
good, original album with a few different styles and sounds (I'm not
implying digging out mellotrons or anything - just not that same sterile
keyboard sound ...) - the talent's certainly there - I think just a
little inspiration is needed.
  I saw Rick and the E.R.E. at the assembly Rooms in Derby in 1990 - and
I too thought that Ashley's voice ruined parts (notably Merlin ... why oh
why did they do vocals here?) although 4 years on; listening to 'Make me
a Woman' (from 'The Time Machine') - there's certainly SOMETHING appealing
there...
  On a different note; I do hope TALK is the last album to come from this
configuration of YES. I think it's a great album but there's nothing new
in design from the 'Big Gen.' or '90125' thing (though thankfully it's
light years better than either of these two!) Their efforts to 'Break
Away From the Past' to me seem sad and ironic; I hate the way they keep
returning to the 90125 material as if it's classic - it isn't! It was
just a short lived popular style which has tired with age and it's now
time to REALLY move on into new ground and building on ideas developed
in the 70s. I nearly cried when I first saw the set lists for the UNION
tour - only AWAKEN was adventurous and inspiring. I thought the absence
of ABWH songs was a travesty, the classics played were the same ones
played on practically every tour (including those by the 90125 combo).
Rick and Steve's presence was almost pointless in terms of set selection.
  The solos were boring. Why didn't Steve play a track off 'Turbulence' -
augmented with Rick and Bill perhaps - much better than 'Clap' - could
Rick and Jon have done 'The Meeting and Angkor Wat' together ? The
only worthwhile version of The Fish was on the 78/79 tour where it was
played BY THE WHOLE BAND in a great medley (with Anderson singing lines
of Survival on top!) One of the few positive things I thought about the
new set was that 'Hold On' had finally been laid to rest! Imagine what
a nice surprise it was to see it re-emerging as an encore!
  I was almost tempted not to buy Talk as a result of the cover -
fortunately the quality of the album exceeds it by far. Maybe I can
understand them not wanting to use Roger Dean - but I think that if a
chimpanzee was forced to look at a Yes logo for long enough and given
a paint brush; it could probably have come up with something marginally
better!!
  Any news on the release of ABWH2? This brilliant piece of work can't
be kept under wraps forever .... so here's to ABWH3 - and soon!!
         Steve.
----------------------------------------------------------------------------- 
    After all, your soul will still surrender
     After all, don't doubt your part,
     Be ready to be loved.         Jon Anderson 1975
-----------------------------------------------------------------------------

*	*	*	*	*	*	*	*	*	*

JAPANESE VERSION OF "TALK"
==========================

From:	IN%"quanta@MIT.EDU"

Hello all,
	Just wanted to find out what the bonus track on the Japanese
version of "Talk" is, since cdconnection.com lists a "Talk +1".

--Doug
quanta@mit.edu

[Ed. - The bonus track is the long version of 'The Calling'.]

*	*	*	*	*	*	*	*	*	*

CDS AVAILABLE

From:	IN%"dtratt@voyager.Jpl.Nasa.Gov"  "David M. Tratt"

I no longer have need of the 2CD "Domino" (Houston '88). Mail me if interested.

*	*	*	*	*	*	*	*	*	*
_______________________________
= COMMENTS, RESPONSES, & INFO =
-------------------------------

BRUFORD, FLAGS, ETC
===================

From:	IN%"nash@chem.wisc.edu"

>DOES BRUFORD KNOW THE MARTIAL ART?
>==================================
>
>From:   IN%"ASPITZER@ccmail.sunysb.edu"
>
>     On the cover of the Bruford-Moraz flags album there is a picture of Bill
>and Patrick grappling with each other.... That made me wonder if either of
>them >or both of them know Judo.  To my surprise, soon after seeing this CD
>cover, I

The liner notes on the album list a judo consultant, implying that (at the
time, at least), the judo move was posed, and that neither knew judo.
That's my take on it, anyway.

>...why does Bill, an English
>speaking person, live in a country where the major languages are German,
>French, and Italian but not English.  Does he speak one of those three
>languages?

Judging from the amount of time Bill has spent in France in recent years
(he was in Paris at the time of the ABWH album, and much of the Earthworks
material was done in France), I would hazard that he likely speaks French.
It is not surprising to me that Bill, as a supporter and contributor to
jazz, spends a lot of time on the Continent.  In a past interview, he
expressed his dismay at the state of jazz in England, and the genre seems
to be much more alive in continental Europe (e.g. Montreaux, Switzerland).

>Please send an instant comment to NFTE and let me know.  I'm dying to find
>these things out.
>
>P.S.   Is it just me or do the guys sing, "send an instant 'carment' to me"
>instead of "instant 'comment' to me" during Your Move in the 9012live video?

Instant Karma's gonna get you....

Shine on,
        john nash

-===-John R. Nash-==-nash@chem.wisc.edu-==-UW-Madison Chem. Dept-===-

*	*	*	*	*	*	*	*	*	*

'TAP, TAP, TAP' IS THIS THING WORKING?
======================================

From:	IN%"SQUILLACIOTI@vaxvmsx.babson.edu"

Howdy to all ye in Cyberspace....

I hope all who read this, and those associated with those
who read this are having splendid summers!

I don't know....
Maybe it's just me,
Perhaps it is the impending destruction of the universe by way of
the solar collisions of trivial sized dirty ice cubes, into a planet
500 million miles away, that is basically, like a bad meal,
all different gases in different forms....
Or maybe it has to do with "Deseo" being released....

Or maybe, there is something larger at work here.

Pardon me, but which gnat's ass of difference does it make that
Wakeman was on the 700 club?  AND also, what is the REAL consequence
of people's ranting and raving about another person's view on that subject?

Really?

Look at it this way:  If McCarthy (NOT McCartney) were alive...
what would HE think of this "Long-Distance" persecution?
And more over, which side would he choose to align with?

To all the people crying SUBVERSIVE in the light of WAKEMAN on the 700
club....You all remind me of a really "Brilliant" statement by the
world famous economist, (and - by the way- Liberal) John Kenneth
Galbraith, who I had the opportunity to see speak at Babson College:

"We need a greater FORCED participation in Democracy..."

Maybe he was being silly, (or maybe he IS that silly).  BUT what it
comes down to is this:  Why must it always be YOUR equality,
at the expense of MY freedom?

I mean, I really don't care, because I have plenty of freedom to go around,
but to listen to what you have to say strikes me as very,
very puerile and selfish....Now I know where people get ideas for
books with titles like "A Nation of Victims"!

To all the people crying foul at those crying subversive:
[From an objective point of view] You're being AS silly, as your
make-believe foes.   I mean, for a person to just take ONE step
away from the conversation would be to see that both sides of
the issue are just trying to get heard....

I think it was S0REN KIERKEGAARD who said:
"...The most terrible fight is not when there is one opinion
against another, the most terrible is when to men say the same thing-
and fight about the interpretation, and this interpretation involves a
difference of quality."
(From his personal Journals, written concurrently with his book
"The Attack Upon 'Christendom.'" around 1855  funny name for a
book?)

This brings me to my point:  I don't care!
I don't care if Wakeman is on the 700 Club.
I don't care if People don't like the fact that Wakeman was ON the
700 club.
(Why don't I care?)
Because Rick Wakeman is the most brilliant Rock Keyboard Player
living today...regardless of his religious views.
And if people don't like THAT fact, then find a new, (pardon the
expression) IDOL.

Which leads me to my REAL point:

DESEO finally came out today,
and you know what, it is a beautiful sounding album.
Jon Anderson should feel proud for all his time and effort.

AND if it,(for some reason)WEREN'T so beautiful, he should have
still felt proud.

Let's keep the NFTE space clear for thoughts about music,
not the "divine" inspiration behind it....

Mario Squillacioti
Can't we see through this past of uncertainty?
(Oh, excuse me, 'Holy Lamb' was after all, a "religious" song.)

*	*	*	*	*	*	*	*	*	*

YES BLOWS OFF OKC AGAIN!!!!
===========================

From:	IN%"greg@gale.nssl.uoknor.edu"

Deja vu!  All over again!

For the second time in a row, YES has canceled a show in Oklahoma City
due to lack of ticket sales.

I really wonder how many tickets were sold (we had 4)?  One word of advice...
don't plan on seeing *real* bands in a town where Garth Brooks and
Kenny Rogers can sell out in hours.

I wish YES would have realized that there are faithful fans here (I'm sure
mostly displaced from the East or West Coast, as am I), and play anyway.

Well, I've been here for 5 years, and bought tickets 4 times.  Two YES
shows canceled, one ABWH canceled, and got to see the Union YES in Dallas.

why bother anymore....I'll just move...

Greg Stumpf, Nat'l Severe Storms Lab

[Ed. - We contacted Yes' management who advised us that the promoter went 
       bankrupt, which is why the show was canceled. Unfortunate for those 
       OK Yes fans.]

*	*	*	*	*	*	*	*	*	*

'INSTANT CARMENTS'GONNA GET YOU
===============================

From:	IN%"sullivan@unix1.circ.gwu.edu"  "Steven Sullivan"

In #111 ASPITZER asks if Yes aren't singing "send an instant carment
to me" invarious versions of Your Move.

In fact the truth is loopier. While ostensibly the line is
"send and instant comment to me" -- and is occasionally sung
that way by Jon -- the background vocal [sounds like] "send an instant
karma to me", obviously a nod to Yes' Beatles/Lennon
influences.  Combine the two vocals and you get a word
like "carment".

*	*	*	*	*	*	*	*	*	*

AGAIN WITH THE REHASH
=====================

From:	IN%"joe@lilith.ndhm.gtegsc.com"

In the last issue of _Notes_, Trent Wickman wrote:

> I've been wanting to say the same thing for a long time.  I can't believe the
> way some people on this list rip on the new incarnation of yes and 
Trevor, etc
> It's like they want to see the same old songs from the 70's somehow re-made
> today - that just doesn't work.  Bands have to evolve over time, or they will
> be left behind.
[...]
> Everyone has a certain "era" of their bands they may prefer, but that doesn't
> mean that all other "eras" are crap.  People have to open their minds so they
> don't miss the chance to enjoy some great music!

Trent is not the only person to suggest this sort of thing here, which
is why I'm posting in _Notes_ rather than replying to him directly.  I
in no way intend to flame him--his words were simply the very small
straw that broke this camel's tired hump.

On the whole, I think Trent makes a good point:  bands change (or die),
and your preference of one era doesn't make the other crap.

But what I object to is the assertion that those of us (myself included)
who complain about the current music somehow want to see the same old
stuff remade or redone or rehashed or whatever.  Ladies and gentlemen,
it just isn't so.  Why is it that every time I suggest that Trevor
Rabin is a lousy musician (or at the very least, a musician who is
completely out of his league when it comes to composing Yes music),
people jump on my case and accuse me of being unable to adapt to the
times?  It has nothing whatever to do with my ability to live in the
present!!  What it has to do with, is my opinion of the music!

I do not expect Yes to keep replaying or re-recording 20-year old hits.
Nor do I expect them to maintain a particular flavor or style in their
music (shoot, does anyone out there expect me to believe that _Fragile_
or _Union_ are stylistically uniform, even with themselves?  Homey don't
think so).  However, that doesn't mean I won't scrutinize the music now
the same way I did when those hits were new.  The fact is, I liked _Going
for the One_, and I don't like _Talk_.  What's so hard to accept about
that?

Is it really so hard to believe that when I listen to _Union_, I skip
right over "Lift me Up" and "Saving my Heart"?  It's not because I don't
accept the changes Yes has made, it's because the songs stink (IMO).
Besides, I don't quite see how anyone can claim that the ABWH songs
on that album (or on _ABWH_) are somehow the same stuff as _Close to
the Edge_ or _Fragile_--it just doesn't wash.

OK, so why is this such a big deal?  I mean, why can't I just say that
I like certain songs and I don't like others or whatever?  Well, I guess
it all comes down to vanity over the name.  I don't like the fact that
they're still calling it "Yes", because it flies in the face of a lot
of the things "Yes" has come to mean to many of us.  If they just stuck
with "Cinema", then they could go off and have a great (or lousy, I
really don't care which) career of it.  Or hell, maybe they should stick
to "Trevor Rabin and a Few Other People Who Don't Seem to Be Doing Much
Else Right Now".  Whatever...it doesn't matter to me.

OK, I get bent out of shape over the name.  Probably some of you other
readers do, too.  I promise to try to ease up on the name issue if you
promise to try to ease up on the accusing me of being unable to adapt.
I mean, shoot, all the other prog bands I like have changed--it's just
that I tend to *like* what they've changed into.

Cheers,
-joe

*	*	*	*	*	*	*	*	*	*

YOU DON'T REALIZE HOW GOOD YA GOT IT!
=====================================

From:	IN%"davidh@ozemail.com.au"  "DAVID HAGUE"

I have been receiving NFTE for the last 4 or 5 editions, and I confess my jaw
has dropped at the amount of info and news I see that has previously been
totally unknown to me.

Let me explain:

Based in Australia, I have been a Yes fan since 1970 odd, with the first album
I heard being Fragile. Yes toured here in 1971 with Yessongs, but being at
that time way, way out in the country and over 2000 miles from civilization (I
kid you not!), I had no chance of seeing them.

Over 20 years later, Yes in any form at all have not been back to this 
country, and I now stand a good chance of never seeing them at all.

In addition, I read in NFTE mention of videos, books,  CD's and all sorts or
other assorted paraphernalia I have never heard of, let alone have access to.

Whether I like Talk or not seems to pale into insignificance in reality (as it
happens, after many listenings I do like most of it) when I see Yesser's in
NFTE complaining about this and that, the current lineup are not as good as a
previous lineup, a concert was not as good as expected etc. etc.

I would just about kill to just see them Live. And what I would give
for a copy on video of Yessongs or any other tour for that matter is beyond
description (All donated copies on PAL preferably accepted with gratitude).

All that has been released in Oz on video is Yesyears and the Yes Videos. Jon
Anderson CD's stopped at Animation, Steve Howe solo stuff at Beginnings,
(although I did manage to find a UK copy of Symphonic Music of Yes in
a second hand store by accident) Rick at Aspirant Sunshadows 1 and just about
everything else I have read about is totally unobtainable.

Consequently, my heart bleeds when I read about moans and groans. At least my
friends, you have the chance to see or hear something to moan and groan about!

I can't even get out of the record companies the details of where to buy a Yes
tee/sweat shirt. Yes who?

As for the Yes CD-ROM, in Oz most in the record industry can't even
spell CD-ROM.
 (I admit to some expertise here as I was Promo Manager for SBC  ...
er ... CBS records for a year in 1979)

Now that is off my chest, can anyone assist in:

1.  A fax number for Jon's Yes Foundation

[Ed.- There isn't one, you'll need to use the address provided.]

2.  A contact point (pref. fax or email) for Roger Dean
3.  A  listing of ISBN numbers of Roger's books ( I have Dragons
Dream with the  details of TFTO etc.  but that is all that has been released
in Oz.)
4. Is there anyone with a *complete* listing of all titles of albums by all
members complete with catalogue numbers, and a contact point of a location in
the U.S. or anywhere else I can purchase them by mail order?
5. A location of GIF/BMP or whatever files of concert shots I can
download (NOT  CompuServe - too damn expensive from here!!) Particularly of
Alan White.
6. Any textual material of Jon's philosophies? I hear he has lots of 'em, but
have no idea what they are apart from what I have gleaned from TFTO and other
snippits.

Finally, in the area of likes/dislikes Troopers vs Generators and so
on. I for one have heard no Yes album I didn't like. Individual tracks I may
feel suss about - but a bad album? No. Life, music and Yes progresses. Some
directions we take are the wrong ones, some are right. You don't know 
until you
try them generally. For example with Leave It, I can easily Leave It but
Endless Dream is fantastic and to me, a Trooper Yes track at its best. If
there was one track I could honestly, honestly say I did not like absolutely
though, it would have to be ... er.... I'll get back to you!

In the meantime, please keep the info in NFTE coming. If I can't see 'em, at
least I can read and imagine what the concerts were like!

Cheers!

David Hague

davidh@ozemail.au

*	*	*	*	*	*	*	*	*	*

YESOTERIC DUPLICATOR FOR N.E. NEEDED
====================================

From:	IN%"ron@vicorp.com"  "Ron Peterson"

Hi,

   Due to other obligations I'm not going to be able to duplicate
Yesoteric tapes for the New England area any longer.  I'll finish
off the seven sets I have pending but someone else shall have to
take over from there.  Any takers?

  ron@vicorp.com

*	*	*	*	*	*	*	*	*	*

IN CONCERT RESURRECTED!
=======================

From:	IN%"mfraser@rs.com"

Yes fans!

   I hear that A&E on cable TV are resurrecting the old ABC In Concert
series. They mean to run the old shows. That means that sooner or
later they will run their tape of Rick Wakeman doing "Journey to the
Centre of the Earth". This is with the orchestra, and narrator, and
band. It is a MUCH hotter recording than the "official" CD. The narration
is dramatic (sometimes overly so) and the solos rip! This version of
"Journey" is to die for. Watch for it!

   The news about A&E by the way is from, Russ Pierce. I saw this in
the ELP Digest and noticed that NFTE was not copied.

   - Mark McCarron-Fraser


*	*	*	*	*	*	*	*	*	*

YES GUITARISTS
==============

From:	IN%"mfraser@rs.com"

[A response to the post titled YES GUITARISTS ANALYSIS from NFTE 110.]

Yes fans!

   Thought some of you might be interested in this.

Eve -

   In the main, I agree with your analysis of Yes guitarists. There are
a few points I would like to add.

   As regards Trevor's playing and composing, I think the guy has
matured quite a bit between 90125 and Big Generator.
   While 90125 is mostly pop-rock oriented, "Hearts"
is quite a good tune. It is the closest to old-style Yes that 90125
gets. (Jon Anderson's opinion too.) Trevor's playing on "Hearts" is
not over flashy or excessive. (Some of what sounds like guitar is
actually Tony's keyboards.)
   On "Talk" listen to Trevor's playing on "Where Will You Be". Again
he is playing the piece rather than showing off what Trevor can do. I
found his playing live on this one to be especially nice. Also, his
work on "I Am Waiting" is very good, and I can't see where
you might complain about "Endless Dream".
   While I don't think that "New Yes" is without counterpoint - the
beginning of "Changes", "Endless Dream", the end of "Our Song", - I
have noticed that Trevor tends to stay in the same key or mode. Whereas
Steve slips from one scale or key to another constantly. That's one thing
I really like about Howe's playing, and I think most progressive guitarists
use this technique. (Listen to Fripp, Latimer, and Hackett for example.)
This is one area where Trevor's playing lacks sophistication.
   Conversely, listen to Howe's playing on "On the Silent Wings of Freedom".
I think Howe is terrific, and he's been quite an influence on my playing (I
hope). Nevertheless, his playing on "Silent Wings" stinks. It's excessive,
grating, doesn't go with the rest of the music, and can't even be argued as
an "outside" jazz excursion. Listen to Steve on "South Side of the Sky", and
then listen to "Going for the Cash". While cleanliness is not necessarily
close to godliness, "GFTO" is awful. While Howe was and is great, he has also
turned in some clunkers. (As Andre LaFosse pointed out in his response
to you in NFTE 111.)
   I have my reservations about Trevor's guitar work. When he plays acoustic
guitar it usually sounds like he's using a rusty nail for a pick. Also, I
think that Trevor uses far too many guitar overdubs. If you can't do it live,
why fake it in the studio? An interview with Howe towards the end of his stint
in Yes revealed the same thing (loads of guitar overdubs).
   I think that Trevor dominates the band too much. On "Talk" the keyboards
are really an afterthought. That's one reason it's much better live. The
other players in the band get to stretch a bit, and Trevor can only play
one guitar at a time.
   Still, Trevor has done some fine work. Take another listen to "Shoot High,
Aim Low" or "I'm Running". Howe is great, but his work on "Going for the One"
and "Tormato" was suspect at best. Listen again to "Drama". That
album is great because of Chris, Horn, Downes, and Alan. I think it was time,
maybe past time for Steve to leave Yes.

   Lastly, for those concerned with Trevor's place in the band: If not for
Trevor there probably wouldn't be a Yes at all. And if you think ABWH was
great, listen to "Teakbois" again, and how about "Quartet" or "Brother of
Mine". Some of that is so derivative of previous Yes work that a serious
listener should be armed with pepto-bismal. Talk may not be perfect, but
it's the best album Yes has made since Relayer.

   - Mark McCarron-Fraser
     responses, flames, comments etc. gladly received at:
     mfraser@rs.com    [No ".edu" here!] ;-)

*	*	*	*	*	*	*	*	*	*

TREVOR INTERVIEW - GUITAR FTPM
==============================

From:	IN%"r.derousse2@genie.geis.com"

 I don't know if this has been mentioned before or not, but
 there is a 2 page interview with Trevor Rabin in the August
 1994 issue of Guitar For The Practicing Musician.

 Trevor talks about the recording process and new technology
 used in the recording of Talk.  We've heard most of the
 technical details already, by now, but he talks at length
 on how the new technology has actually helped the creative
 process.  Pretty interesting.  He also mentions the genesis
 of the reference to Steven Hawking in Real Love.  He only
 had one writer's block while working on Talk, and he "had
 just finished a book recently, 'A Brief History of Time,'
 by [physicist] Steven Hawking.  In 'Real Love' the lyric
 goes, 'Far away, in the depths of Hawking's mind/to the
 animal, the primalistic grind/you bring me reason, the
 simple fact of life...'  The love thing, you know:  that
 whether you're as far ahead as a guy like Hawking is, or
 as primitive as an ape, you still have emotions.  That was
 kind of inspired because I think I had a crash [on the
 computer system, presumably].  I thought, 'Oh damn.' And
 I was having a mental block on what lyrics to put there.
 Jon had written some lyrics in the chorus and called this
 'Real Love.'  I thought, 'I've got to put this bridge in
 there, and I want it to relate and have that contrasting
 thing from this extreme to that extreme.  How am I going
 to get that across?'  So I came out and I was finishing
 off the Hawking book - actually, something I've read three
 times before - and thought, 'There it is!'  But other than
 that, when I have a mental musical block I do something
 technical which would kind of move things along.  It kind
 of helped in a way.  It was almost therapeutic; musically
 therapeutic."  [He's referring to earlier comments he made
 about how the new technology helped him avoid such blocks.]

 There is a nice color photo of Trevor too.

          --Roy

*	*	*	*	*	*	*	*	*	*

YES VIDEO SOURCE
================

From:	IN%"markp@Plexus.COM"  "Mark Payne"

In NFTE #110, Teddy Tse posted the following regarding a source for Yes
videos :

>        Got a huge video list from a dealer called Mike Covher on the net.
>   He has tons of videos of Yes, Yes members, as well as a lot of
>   progressive and pop bands.  Nearly all of the videos seem to be bootleg
>   tapes.  The way it works is that you pay him to compile a 120 or 160
>   min tape with footage of your choice (one or multiple bands), rather
>   than buying individual items.  I have not dealt with him.  Ask for a
>   listing at vidcom@crash.cts.com.  Can anyone who has dealt with him
>   please email me?

I had ordered and just received a custom-compiled video from Mike, and I
wanted to report my experience.  Mike's selection is very large and
impressive, and he recorded my particular selections just as I had
requested.  He was prompt in responding to my order and with my
correspondence, which means a lot to me.  As to the tape quality, it was
as good as can be expected considering the quality of the source
material.  He rates the quality of his selections, and I found his
assessments to be generally accurate.  In other words, his duplicating is
excellent.  His prices are reasonable, considering that he supplies high
quality tape and pays for postage, as well as allows a mix-and-match
service.  I recommend that anyone who is looking for Yes Video (or a
multitude of other bands as well) should contact Mike.

*** I have no affiliation with Mike or his service - I am simply a
satisfied customer! ***

Another order of business:  I would like to offer my sincerest apologies
to everyone on the subscriber's list for my ignorance in sending a
request for materials directly to the list server.  My inexperience in
Internet Etiquette was immediately revealed to me by the number of
responses (both good and bad) that I received.  Sometimes one has to
learn lessons the hard way - I'm just sorry that I disturbed a number of
good people in learning my personal lesson.

*	*	*	*	*	*	*	*	*	*

RE: CONSTELLATIONS IN TALES FROM TOPOGRAPHIC OCEANS
===================================================

From:	IN%"JEREMYW@num-alg-grp.co.uk"  "JEREMY WALTON"

>> From:   IN%"BWorkman@aol.com"
>>
[...]
>> There are five or six other asterisms that could be constellations. I
>> wonder if anyone could ask Roger Dean if any of them mean anything. The
>> far upper left on the back cover looks like Libra. I wonder if Roger
>> Dean is a Libra?
>>
>> Anybody have any ideas?

As I recall from "Views", Roger Dean's first book, this cover was made
up from a hodgepodge of various images - the Inca temple, the shape on
the ground, the rocks (which came from some postcards that his girlfriend
had bought while on holiday in Dartmoor).  He said that the band had
made various suggestions of stuff to put in and - I think - that one of
these suggestions was the constellations.

Sounds like a dreadful way to create a picture, but I think it'll always
be my favourite album cover of all time.  Long ago, it was the images
that attracted me to the band - so much so that I still find it hard to
listen to the first two albums, just because the cover art is so
dreadful.  The third album is still borderline, too...

Cheers,

Jeremy

------------------------------------------------------------------------------
|  Jeremy Walton                                  nagjpw@vax.oxford.ac.uk    |
|  The Numerical Algorithms Group Ltd, Oxford, UK  jeremyw@nag.co.uk         |
|                                                  Tel: +44 865511245   
     |                                   |                              
                    Fax: +44 865310139        |
------------------------------------------------------------------------------

*	*	*	*	*	*	*	*	*	*

BOUNDARIES
==========

From:	IN%"saley@ucsu.Colorado.EDU"  "SALEY DAVID WILLIAM"


Boundaries off Animation has to be one of my all time favorite Jon
solo songs.  Despite the fact that many of you are annoyed with the
idea of discussing songs, I thought I'd ask anyway.  I'm curious what
many of you think of this piece and any ideas to what it means.

	Thanks

			Dave

*	*	*	*	*	*	*	*	*	*

YES INDEED
==========

From: Richard G Portnoy ; RGPORTNO

Hi,

I had a great time at the YESTIVAL.
I am glad I took off early to go to
the show in Santa Barbara. It was the
five I've seen on this tour. I managed
to get a 4th row center pit seat at
the last moment.

A woman in a white dress handed Jon
a tambourine during AND YOU AND I. He
brought down the house by accepting it.

I would like to be kept informed of any
opportunity to meet Jon and the rest in
the future. The whole experience was/is
very deep. It will take me a few days
to recover.

Thanks for your help,

Richard Portnoy
(408) 754-1400 x7142

*	*	*	*	*	*	*	*	*	*

FROM THE EDITOR
===============

Whew! What a weekend! Just got back from the Yes show at Walnut Creek in
Raleigh. Great show, great time, and got to meet many great people and some
old friends as well. (Hi Ingrid, Russ, Caprice!) Many thanks to those that
helped to hand out the Notes flyers. They were well received and I've gotten
responses from them already. I was fortunate enough to meet Alan White, Trevor
Rabin and Jon Anderson. Really nice guys.

I'd also like to take this time to plug an NC band that was playing the
Pavilion at that Creek. Cloud Nine...NC prog at it's best. A combination of
King Crimson and Magma. Killer stick and violin. If you have the chance to
see them...Do It! I'm also awaiting info on how to buy their cassette. Let 
you know as I know.

As a reminder..PLEASE don't send anything to the notes_edge address...it 
causes me MUCH trouble. Thanks for helping me with this.

When #111 went out two weeks ago I got many bounced messages. I'm usually 
very tolerant of these because I know quotas can be exceeded, machines
are down. etc. However it's become such a problem on my end I'm forced to
institute a new policy. 3 issues, 3 bounces and I'll have to remove the 
address from the mailing list. I don't want to be anal about it but I also
don't to lose access for Notes here. That's a real possibility if the 
bounces continue and increase. 

I'd like to apologize for being so delinquent on the Banks interview. Summer
has been hectic at work and home and I haven't been able to find the time to
complete it. I will, I promise, and it will appear soon. Thanks for your 
patience. On that note we do have other interviews in the works. Stay tuned 
for more info as it arrives.

I'll be at Yesfest in NYC...hope to see many of you there! Thanks to Roy and
Mike for giving me the pep talks to get me there ;-)

Until next time...take care.

--jeff

______________________________________________________________________________
=     nfte       nfte       nfte       nfte      nfte      nfte     nfte     =
------------------------------------------------------------------------------

THOSE ALL-IMPORTANT ADDRESSES:
==============================

New subscribers, contributions, questions/comments/criticism:
Jeff Hunnicutt (Editor)		 hunnicutt@vxc.ocis.uncwil.edu

Reviews, Surveys, Etc.
Mike Tiano (Associate Editor)    miketi@microsoft.com


                  Notes From The Edge
                  PO Box 13
                  Issaquah, WA 98027-0013


NFTE Server (lyrics, backissues, discography, rarities, surveys, GIFs):
Automated. For help send
mail with subject line 		 yes-archive@meiko.com
"send main help" to

NFTE WWW/Mosaic Server:

                 http://www.meiko.com:8080/yes-archive/welcome.html


NFTE Server/WWW Server problems, additions/corrections to the lyrics & GIFs,
and additions/corrections to the rarities list:
Mike Stok               	 mike@meiko.com

NFTE backissues, lyrics, etc, via anonymous FTP:
cs.uwp.edu			Directory: /pub/music/lists/yes

Contact for helping out with transcriptions:
Greg Utas			 utas@bnr.ca

-------------------------------------------------------------------------------
|The views expressed within Notes From The Edge are the opinions of individual|
|contributors and in no way reflect the views of the editorial staff unless   |
|otherwise stated. - The Editor.                                              |
------------------------------------------------------------------------------- 
______________________________________________________________-_______________
=     nfte       nfte       nfte       nfte      nfte      nfte     nfte     =
------------------------------------------------------------------------------
                     END OF NOTES FROM THE EDGE # 112
______________________________________________________________________________
=     nfte       nfte       nfte       nfte      nfte      nfte     nfte     =
------------------------------------------------------------------------------


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    anyone out there going to the show at Great Woods ??  
    
    Wes

    The YES CD-rom project has been delayed , in favor of a full
    CD-rom project

Steve Howe at the Orpheum, 10/7/94....if you missed this, you Missed a Great
show...somehow I've avoided the Paradise all these years (good move, eh db ?)
but I didn't have any problems with the place...in fact, I expected it to be
bigger, so I was pleasantly surprised to be so close to Maestro Howe...

he played a 45 minute set, a 15-20 minute break, then a set that was about
70 minutes in length...he played a handful of songs with "backing trax" as he
called them...but mostly he played unaccompanied on electric 6-string, acoustic 
steel 6-string, electric 12-string, acoustic "nylon" 6-string and his 
double-neck steel guitar, which took a tumble after he put it to the side..
"well, these things do recover"

yes, Steve did sing, but I've still heard worse, and his voice isn't that bad,
IMO....I mean, he's no Axel Blows, and that's a Good Thing  :)  

HIGHLIGHTS were "Turn of the Century" (I said to a friend that happened to be
there, I'd love to hear turn of the century..skip the vocals, and everything
else, just play the guitar parts...) so this was a real treat, he sang it, 
which was at least weird to hear him sing Jon Anderson's parts an octave lower,
but I really thought he did the song justice...plus, to hear him play those
beautiful guitar parts 10 feet away from me...sing all you want, Steve !!!

"Soon", accompanied by backing acoustic trak, he played Soon on his steel 
guitar, and the whole place was singing along, a beautiful moment...

"Classical Gas"...this is a completely new song, the way Maestro Howe performed
it...

"Mood For A Day", to open the 2nd set, on classical..."Clap", of course, was 
part of the encore...

someone actually yelled out Close to the Edge during the 2nd set, which got a
rousing good laugh from those that heard it...well, he played an acoustic 
version of "I Get Up I Get Down" that blew the place away....

"The Valley of Rocks", "Blinded by Science", both from the new disc

an acoustic version of "Heat of the Moment" from the Asia daze to close the show

a Grate night, a Grate performance by an enthusiastic, sincere, master guitar
player...don't miss him on his tour next year...highly recommended

Wes
    

You mean the Paradise, not the Orpheum.

The smoke nothwithstanding, it was uncrowded and quite enjoyable.
I was lucky enough to sit on one of the dividers between two booths. 
The layout there is absurd - you can't see anything if you sit on
the benches. I liked the old layout much better.

Steve's technique was excellent, much better than on the ABWH and 
Union tours, and he was much more animated. His singing is still
awful (no range) but he sounded reasonable on Blinded By Science
and one or two others. His voice seems deeper than it was on the 
first two albums. I wish he'd just play steel guitar on Soon
(from Gates of Delirium) or hum the vocals. BTW, I heard that he 
had a band with him earlier in the tour, including a singer.

Turn of the Century was a treat. If only he'd play it on electric 
guitar, he wouldn't have to skip over the intense part at the end.

Classical Gas was a real surprise. The only other time I've heard
him play it is on a Yes tape from 71 or 72. The song, from "The
Mason Williams Phonograph Record", was a big hit back then.

Barry

    
    He played "Misty" backwards, too, don't forget that!

    tjw

Subj:	Notes From The Edge Special Announcement


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                                                             (tm)
                 N o t e s     F r o m     T h e     E d g e

                            Special Announcement

                       THE   Internet   YES   Newsletter

                             November 22, 1994

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                      Jon Anderson Appearance Update

______________________________________________________________________________
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JON ANDERSON APPEARANCE UPDATE
> From Editor Mike Tiano (miketi@microsoft.com)

Jon Anderson will be making special appearances in record stores and on various
radio stations across the country to promote CHANGE WE MUST and future projects.
To support Jon in those areas we're alerting our readers and we encourage you to
post this to your network service to alert others. If you speak to Jon tell him
you found out about his appearance from Notes!

We'll be advising you about future appearances, including ones for CNN and a 
live performance for the cable show 'America's Talking,' the latter of which 
will include a string quartet.

> November 22: Los Angeles
==========================
- KUSC-FM 91.5, 4PM - Jon will be a guest on Bonnie Grice's Commuter Classics
show for approximately one hour. This station is a part of the USC Radio
System so if you have a local affiliate that is a part of that network tune in;
included are the following stations:

- 91.1 KCPB Thousand Oaks
- 88.7 KFAC Santa Barbara
- 88.5 KPCS Palm Springs

> November 27: Philadelphia
===========================
- Appearance at Tower Records on South Street, 4-5:30PM

- WMMR, 8-11PM - Interview and selections from CHANGE WE MUST. Jon will 
also sing live in the studio, accompanied by pianist Gwen Mok.

**** Watch for more dates as they become available! ****
	
______________________________________________________________________________
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------------------------------------------------------------------------------

THOSE ALL-IMPORTANT ADDRESSES:
==============================

Editors:

Jeff Hunnicutt   hunnicutt@vxc.ocis.uncwil.edu
(New subscriptions, deletions, contributions, questions/comments/criticism)

Mike Tiano       miketi@microsoft.com
(Reviews, Surveys, Tour and Release dates, etc.)

                    Notes From The Edge
                    PO Box 13
                    Issaquah, WA 98027-0013

                 -----+-----+-----+-----+-----

                    Please Support...

                    The Opio Foundation
                    409 Antionette Road
                    Wilmington, NC 28412

                    Only $25.00 per year

NFTE Server (lyrics, backissues, discography, rarities, surveys, GIFs):
Automated. For help send
mail with subject line 		 yes-archive@meiko.com
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Contact for helping out with transcriptions:
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-------------------------------------------------------------------------------
| WHEN SUBMITTING ANY INFORMATION FOR INCLUSION IN NOTES, PLEASE INCLUDE:     |
| - your full name                                                            |
| - sources for any information                                               |
| - date and location of interviews, appearances, etc.                        |
|                                                                             |
| Submissions should be in straight text format with hard line breaks, no     |
| longer than 80 columns wide.                                                |
|-----------------------------------------------------------------------------|
|The views expressed within Notes From The Edge are the opinions of individual|
|contributors and does not necessarily reflect the views of the contributor's |
|provider of the online service, employer, or school. These views also in no  |
|way reflect the views of the editorial staff unless otherwise stated.        |
|    - The Editors.                                                           |
-------------------------------------------------------------------------------
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                     END OF NOTES FROM THE EDGE 
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                                                             (tm)
                 N o t e s     F r o m     T h e     E d g e

                              Special Announcement

                       THE   Internet   YES   Newsletter


______________________________________________________________________________
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IN THIS ISSUE
=============

Patrick Moraz Appearances

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> Notes From the Editor Mike Tiano (miketi@microsoft.com)

PATRICK MORAZ APPEARANCES

Patrick will be appearing at the Baked Potato in Pasadena, CA on January 3 and
January 10; there will be two sets for each of the nights and our source has
advised us that each set may share some of the same songs but overall will
differ. Patrick will play selections from his albums, including the recent
WINDOWS OF TIME, a great collection of pieces played strictly on piano, as
well as various improvisations. Price of admission will be $10 at the door;
call 818-564-1122 for more information.

Patrick will be one of a roster of great keyboardists as part of a concert
sponsored by Keyboard Magazine to be held at Celebrity's Theatre in Anaheim,
CA, on Friday, January 20, between 7:30 and 10:30. Patrick will close the
first, acoustic set; other musicians scheduled to appear include George Duke,
Bruce Hornsby, Jan Hammer, Joe Zawinal, and tentatively Keith Emerson
(depending on on the condition of his hands). Tickets are only available
through Keyboard Magazine; price is $25 and the seating available to those
outside the industry is limited, so check out the latest issue for more
details.

Mike
	
______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
------------------------------------------------------------------------------

THOSE ALL-IMPORTANT ADDRESSES:
==============================

Editors:

Jeff Hunnicutt   hunnicutt@vxc.ocis.uncwil.edu
(New subscriptions, deletions, contributions, questions/comments/criticism)

Mike Tiano       miketi@microsoft.com
(Reviews, Surveys, Tour and Release dates, etc.)

                    Notes From The Edge
                    PO Box 13
                    Issaquah, WA 98027-0013

                 -----+-----+-----+-----+-----

                    Please Support...

                    The Opio Foundation
                    409 Antionette Road
                    Wilmington, NC 28412

                    Only $25.00 per year

NFTE Server (lyrics, backissues, discography, rarities, surveys, GIFs):
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Contact for helping out with transcriptions:
Greg Utas			 utas@bnr.ca

-------------------------------------------------------------------------------
| WHEN SUBMITTING ANY INFORMATION FOR INCLUSION IN NOTES, PLEASE INCLUDE:     |
| - your full name                                                            |
| - sources for any information                                               |
| - date and location of interviews, appearances, etc.                        |
|                                                                             |
| DO NOT SUBMIT COPYRIGHTED ARTICLES, INTERVIEWS OR LIKE MATERIAL.            |
| IT WILL NOT BE INCLUDED.                                                    |
|                                                                             |
| Submissions should be in straight text format with hard line breaks, no     |
| longer than 80 columns wide.                                                |
|-----------------------------------------------------------------------------|
|The views expressed within Notes From The Edge are the opinions of individual|
|contributors and does not necessarily reflect the views of the contributor's |
|provider of the online service, employer, or school. These views also in no  |
|way reflect the views of the editorial staff unless otherwise stated.        |
|    - The Editors.                                                           |
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Subj:	Notes From The Edge, A Message From Patrick Moraz.


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     ```:::::::::'''    `::::|||::::::::::::::::::.
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                             `::::||||||:::::::||::'
                               `:::::||||||::|||:::
                                 `::::::||||||:::'
                                    ```:::::::''



                                                             (tm)
                 N o t e s     F r o m     T h e     E d g e


                       THE   Internet   YES   Newsletter


______________________________________________________________________________
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                      "A Message From Patrick Moraz"

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Dear Notes Subscriber,

As you may be aware, I, Patrick Moraz, recently released my piano solo debut,
WINDOWS OF TIME. It is, without a doubt, the most intimate work of my entire
career. I've promised a tour for this album, but it's a major challenge to 
recreate this intimacy in your typical tour settings. These performances 
should be purely acoustic without distorting amplification. It should not be
in a smoke filled bar with one obnoxious drunk ruining for all. You shouldn't
be chased out after the performance by intimidating security personnel. This
should be a total experience for you and me. But with venues, promoters and
other involved parties looking out for their own interests, the total experience
is so often damaged.

Therefore, in order to rise to the challenge , to offer you a total experience
fo WINDOWS OF TIME, I have decided to take a radical step and eliminate the 
middlemen. I will be, in effect, booking a PRIAVTE TOUR! This may be the only
time I ever do this. What I am offering you, the fan, is the opportunity to book
a private performance in your own home or other designated space (churches have
excellent space, as do hotels, party rooms, parks and recreation property, etc.)
for a private gathering of you and your friends! I will charge a flat fee of
$800.00. With this fee I will cover my own costs for transportation, lodging, 
etc. You provide the space and the piano. To reserve now, please call my manager
Gary Davis, at 216-945-4923. We expect to start this tour around the end of 
February and will need to hear from you by January 31.

If you feel you don't have all the necessary resources (space, piano, $800),
call anyway. We'll put you in contact with other callers in your geographic
area to pool your resources. Also Steinway and Sons is supporting this tour and
has agreed to provide pianos when needed. Rental will be free. You'll just need
to cover transportation and tuning fees.

This is a once in lifetime tour and not likely ever to be repeated! This is the 
way royalty experienced music in Mozart's time - in their parlor sipping
Champagne. If you will be my royal patron for this tour, I will be your willing
Mozart. Something is going to happen - something wonderful! There's music to
experience. You and I. Please call today!

Yours in the love of music,

Patrick Moraz

	
______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
------------------------------------------------------------------------------

THOSE ALL-IMPORTANT ADDRESSES:
==============================

Editors:

Jeff Hunnicutt   hunnicutt@vxc.ocis.uncwil.edu
(New subscriptions, deletions, contributions, questions/comments/criticism)

Mike Tiano       miketi@microsoft.com
(Reviews, Surveys, Tour and Release dates, etc.)

                    Notes From The Edge
                    PO Box 13
                    Issaquah, WA 98027-0013

                 -----+-----+-----+-----+-----

                    Please Support...

                    The Opio Foundation
                    409 Antionette Road
                    Wilmington, NC 28412

                    Only $25.00 per year

NFTE Server (lyrics, backissues, discography, rarities, surveys, GIFs):
Automated. For help send
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and additions/corrections to the rarities list:
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Contact for helping out with transcriptions:
Greg Utas			 utas@bnr.ca

-------------------------------------------------------------------------------
| WHEN SUBMITTING ANY INFORMATION FOR INCLUSION IN NOTES, PLEASE INCLUDE:     |
| - your full name                                                            |
| - sources for any information                                               |
| - date and location of interviews, appearances, etc.                        |
|                                                                             |
| DO NOT SUBMIT COPYRIGHTED ARTICLES, INTERVIEWS OR LIKE MATERIAL.            |
| IT WILL NOT BE INCLUDED.                                                    |
|                                                                             |
| Submissions should be in straight text format with hard line breaks, no     |
| longer than 80 columns wide.                                                |
|-----------------------------------------------------------------------------|
|The views expressed within Notes From The Edge are the opinions of individual|
|contributors and does not necessarily reflect the views of the contributor's |
|provider of the online service, employer, or school. These views also in no  |
|way reflect the views of the editorial staff unless otherwise stated.        |
|    - The Editors.                                                           |
-------------------------------------------------------------------------------
______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
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                     END OF NOTES FROM THE EDGE 
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Great idea, Patrick!  Any DECjam organizer types out there who might feel like
putting this together?  Maynard Elks, perhaps? :-)

-Lance-

(who can't even organize his desk drawer, but would be happy to contribute to a
fund or buy "tickets" for something like this...)

    I would be willing to go in on such an event... but I think 2
    rules should be enforced... 1. No alchohol served at the event.
    2. No smoking.
    
    Further, I recommend that the event be held at Longview Farm
    recording studio... there is an excellent sound stage, and
    more than adequate seating. If Mr. Moraz was inclinded, the
    event could easily be recorded. And... there's a Steinway
    piano available.
    
    I will call the people I work with at Longview and explore
    the idea. I would most certainly be willing to put the time
    into staging and promoting such an event, which by nature,
    would be by invitation only (only to keep the riff raff out).
    
    -b

    I've started the ball rolling... I called Longview for open
    dates and I tried to get through to Gary Davis (phone was busy)...
    but I'll chase this down and make it happen.
    
    Another advantage to Longview is that it's a residential studio...
    that means there would be a place for Mr. Moraz to stay (and
    eat). And, there's full video and audio production facilities
    (SSL 4000 G series), if Mr. Moraz was so inclined.
    
    -b

    I'd be into this...but what would the cost break down to...Moraz is
    looking for $800, how many folks would have to be invited to make this
    a happen ??  for instance, I would be buying 2 tix, I'm just wondering
    how much it would run
    
    but I'm interested fersher, that's why I posted it, and thanx Brian for
    putting in the effort you already have...
    
    Wes

    
    	Who's Patrick Moraz?
    
    	Pretty nice of him to offer an appearance for a measly $800, isn't
    	it?
    
    	If anyone's interested, I would like to make the same offer to all
    	of you, for a mere fraction [1/2, to be exact] of Patrick's price.
    
    	I will perform for 2 hours on my sister's 49-key Recoton keyboard,
    	complete with 50-100 rhythms.
    
    	I can provide my own transportation and tuning for the keyboard.
    
    	And most importantly, smoking and drinking is encouraged ... the
    	more you drink, the better I sound.
    
    							GTI
    

    My guess is that tickets are gonna range $50 each. The $800 bucks
    is not the only cost involved... but I won't know exactly for a
    while. It depends on how many tickets I can sell.
    
    I'd need to sell 16 just for PM, then there's the cost of the
    studio, which will probably run another grand... so that's
    20 more tickets. I figure I'll need to sell 50 tickets to
    break even.
    
    BTW: Patrick Moraz is a monster keyboardist of the Emerson/
    	 Wakeman class (and no, I don't care to debate that db :-)
    	 He played on the Yes "Relayer" album (which was probably
         their most experimental album). He has also played
         with the Moody Blues and several tours (and an album
         or two as well... I think). He has a number of solo
         albums as well. Emerson once said of Pat Moraz that
         he's the only other rock player that Emerson thought
         was really great... besides Emerson of course! :-)
    
    -b

    I just talked with Gary Davis, and things are coming together. I will
    be getting more information soon. I'm hoping, as I said, to hold the
    concert at Longview Farm recording studio, in the "A" room where there
    is a Steinway grand piano. There is also a Hammond B3 with a Leslie
    there, plus a few synths, and I might make the Fairlight Series III
    available too... as Gary Davis said, Patrick is "not opposed to using
    other instruments that happen to be there."
    
    My plan at the moment is to have a "wine and cheese" social along with
    the concert... although I did say no alchohol, I doubt anyone will get
    'faced from a bit of wine.
    
    What I would like is for people to send me mail indicating their
    interest in attending this concert... at $50 a ticket. I know
    that's steep, but I know I need to get that much just to break
    even. I'm even willing to go a little bit into the hole, although
    I'm not sticking my neck out for >$2000... consider that I have
    to pay Patrick, pay for the studio, hire a cop, hire a piano
    tuner, etc. etc. $2000 won't take me very far... so please folks,
    send me mail here, or at:
    
    		crl::"bmarkey@world.std.com"
    
    so I can do a little planning.
    
    -b

    To those that have sent me mail about the Patrick Moraz concert...
    thank you. I have a long way to go before I can do this though.
    Everyone who sent me mail will receive further notification
    regarding tickets and pricing...
    
    I know some of you think the $50 price is steep. But consider
    the following:
    
    1. It takes quite a bit more money than what is required to
       pay the artist. There really is no point in holding a
       concert of this type in a place that is not acoustically
       adequate. Which rules out 99.99 percent of the buildings
       in the area. And there are always extra "hidden" costs
       that no one considers... like the need for police.
    
    2. For me to make the ticket price less, I would have to
       sell a lot more tickets. That would mean a much larger
       venue... and a _much_ larger risk for me that I simply
       could _not_ bear. Sorry, but as much as I would love
       to stage this concert at (for example) Mechanics Hall
       in Worcester, I don't have the financial resources.
    
    3. This will be much more "intimate" than a normal concert
       setting... and it is my intention to include a social
       (at which you could meet Mr. Moraz) in the ticket
       price. So, your ticket price basically includes "back
       stage passes." It also includes parking, which in
       most settings, would be an additional cost.
    
    4. I have to pay Mr. Moraz 100% up front. I have to pay the
       studio 50% up front, the other 50% the night of the show.
       I have to pay the police department and the caterer
       the night of the show. This is a lot of money. If I
       don't charge $50 for a seat, I'm likely to take a
       hosing.
    
    -b

    Personally, the intimate setting and small audience are they main
    attractions for me; I probably wouldn't be interested if you were doing
    this at Mechanics Hall.  As it stands, it would be something unique.
    Besides, $50 isn't so bad; imagine what the scalpers will be getting
    :-)

    Although I'm having a small bit of problem with the $50 tab, in my
    heart I know that this could be very special and thus you can count me
    in.
        
>    BTW: Patrick Moraz is a monster keyboardist of the Emerson/
>    	 Wakeman class (and no, I don't care to debate that db :-)
    
>         Emerson once said of Pat Moraz that
>         he's the only other rock player that Emerson thought
>         was really great... besides Emerson of course! :-)
    
    I agree with Keith Emerson (and disagree with with part of Brian's
    claim but we won't go into that).
    
    Moraz is an exceptional player and composer.   I rank his "i" album as
    one of the most important albums (to me) of the progressive age.
    
    	db

    Welcome aboard db! By the way, I will be completely open about the
    cost of this show, and when the costs have been met, ticket sales
    are complete. Again I apologize for the cost, but I really think
    it is necessary.
    
    re Wakeman/Emerson
    
    I was just teasing you of course. Everyone knows that Wakeman and
    Emerson aren't in the same class. Emerson has a long way to go...
    
    :-) :-) :-) :-) :-)
    
    Now, here's something I found interesting. When I talked to Gary
    Davis yesterday (Patrick's manager), he told me that the "Going
    For the One" album was originally recorded (in its entirety)
    with Patrick Moraz, but when Wakeman returned, all of his parts
    were rerecorded. Further, the song "Awaken" (easily my favorite
    piece of Yes music) was written mostly by Patrick, even though
    he is not specifically credited on the album and doesn't even
    get any royalties for it. And... apparently, in the "secret"
    vault of tapes Patrick has are the original sessions, as well
    as live performances of him doing Awaken. I take it that Patrick
    is not keen to press this as a legal issue, but that's a very
    interesting piece of trivia...
    
    -b

    re .191:
    
    That's interesting about Awaken.  I swear to this day that some of the
    keyboard parts on that song are played by Moraz -- they just don't
    sound like Wakeman to me.
    			
    			- Paul

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                 N o t e s     F r o m     T h e     E d g e

                                    # 122

                       THE   Internet   YES   Source

                                January 4, 1995

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                       Conversations with Alan White

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CONVERSATIONS WITH ALAN WHITE by Mike Tiano
Conducted November 1, 1994 & December 30, 1994
-----------------------------------------------------------
The entire contents of this interview are (Copyright)
               (c) 1995, Mike Tiano
               PO Box 13
               Issaquah, WA  98027-0013
               for Notes From The Edge,
               Jeff Hunnicutt & Mike Tiano, Editors
               All rights reserved
-----------------------------------------------------------

This interview is being posted exclusively to Notes From The Edge,

   (Copyright) THE Internet YES Source

 If you see this interview or any portion appear anywhere else, please
 let me know (miketi@microsoft.com).
 THIS INTERVIEW HAS NOT HIT THE PRINT MEDIUM.
 PLEASE DON'T EXPOSE YOURSELF TO LITIGATION BY POSTING IT ELSEWHERE
 (EITHER THROUGH ELECTRONIC OR PRINT MEANS). Thank You.
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MOT: The band on this last tour is the tightest I've seen in years, but despite
this a lot of the venues didn't seem to sell that well from what we've heard
from people on the Internet. Some online fans said they didn't know about the
show until practically the last minute. Did the problem lie in promotion?

AW: I think we fell into a trap this year. The band has always been a steady
selling kind of act, and obviously with tours like UNION where they want to
see the spectacle of everybody playing together we sold a lot more tickets.
We decided this time to do it with this format, so what I believe is we fell
into the trap; there's been like five bands, you know, the Eagles, Pink Floyd,
those kind of concerts that have been charging enormous figures for tickets,
like eighty-five, a hundred dollars, and stuff like that. So we fell into the
trap of the people, the extra people, other than the cult fans that come to our
concerts, to see what the band is all about that couldn't afford it, basically.
I think we ran into that pretty much right through the tour. Funnily enough in
South America the band did great, and in Japan the band did great too. Plus in
Japan we played a couple of new areas we'd never played before which were kind
of a little bit slack, but most of the gigs there were very good because the
album did very well in Japan. But I think we fell into the trap of just 
too many people out in the market and they could only decide to go to a certain 
amount of concerts that year, and I think a lot of Yes fans came and enjoyed 
what we were doing. But it was slack, we must admit that, but apparently we 
were doing same or if not better business than a lot of bands that were out at 
the same time. But obviously we like to see the places full.

MOT: What about those fans who say they didn't know about the show until close
to show date?

AW: That confuses me because it's not our job and we hear these things all the
time, that on the business end of things people are not doing their job, and
it's usually the local promoters that that is allocated to, and if they 
see that a concert is going to do this much business because they see what the 
reaction is to the tickets going on sale sometimes instead of putting more 
money into it they just don't put any money into it because they knew the 
nature and the climate of what the business was like that summer, and they all 
talk to each other, all of these promoters. So once you see these guys talking 
to each other and stuff like that, and they say, 'Well, it's a little slack on 
Yes, and do I spend more money here, or do I not spend any money,' kind of 
thing, and I think we fell into that trap too, this summer.

MOT: Do you think it affected the band, seeing these venues weren't all that
full?

AW: No. I don't think it affected the band at all because every night the band
played as tight and had a good time on stage because this band doesn't get
affected by things like a lack of audience. Most nights you know you 
see if it's a half house or something like that, that's fine for us; it's when 
it's like 800 people we start getting worried, or something like that, but 
it's never really been like that, we always play to the full because I think 
everybody in the band has a reputation individually and a standard to live up 
to between each other and collectively together towards the public that has to 
be respected so I think every night we come up with a good...so, no, I don't 
think it affected us. I think Jon got a little, kind of dismayed about some of 
the lack of attendances at one time, but at the same time he was totally, 
every night he was there singing and he's totally into the band from this tour;
I mean he's totally into everybody's playing and everything the band was doing 
collectively together. I think Jon thought that this tour is one of the best 
tours we've ever done.

MOT: So Jon might be a little down before the show but once he hit the stage he
gave it his all...

AW: No, this has been for Jon, two or three years more than I have but it's
like a big part of your life, and Yes is a big part of our lives, he just
wanted to see at this point in time a little maneuvering, a little change
just to make this an ongoing thing, which it is, we're now formulating other
stuff. It's like kind of regrouping and say, OK, that formula didn't work here
so we'll try this formula, but I think it's a collective kind of thing.

MOT: What for you were the high points of the tour?

AW: Basically going on stage. We've traveled so much and we've been to so many
places so many times that for me actually getting up on stage every night and
performing music and feeling it being played so well every night and everybody
performing is kind of a high point of every day for me, and I think that
culminated at the end of something like 80 shows we did, we're still performing
as good as was in the first two weeks--it takes a week to warm up--but then the
standard was really high, the musicianship stayed all the way till the end of
the tour.

MOT: We noticed the set list tended to shrink a bit as the tour went on, what
was the reason for that?

AW: It was, all of a sudden we'd run into a gig whereby we had to get the gear
off stage by a certain time, or we had to be off stage by a certain time, and
we'd just run into time problems with whether we had an intermission or 
not, and every gig was individually different, we asked whether we had an 
intermissioncthat night, or whether we had to cut the intermission, what time 
we had to be offstage because of union problems; so once we'd done that we had 
like an A, B, C, D set kind of thing, we'd choose each night which set we were 
doing and if it was a really important gig we'd do like the A set, and if then 
we can do an intermission that night--there were all kinds of combinations so 
every night before the show we'd say to each other, what set is it tonight, A, 
B, C, D, or whatever. So you may have just caught some shorter sets, or 
people's reaction to shorter sets or longer sets. For instance in South America 
we didn't go on stage till 10:00 every night, we'd play until 1:00 in the 
morning, and in Japan we started 6 and come off the stage at 8:30 [because] it 
was basically being governed by people around us, not the band themselves, 
because the band always likes to give everybody their money's worth, and we 
did for an awful lot of shows.

MOT: I recall when you played here [George, WA] someone was yelling out, 'Play
till sunset, play till sunset!' But what people don't understand is if you play
after a particular time then you have to start paying...

AW: We don't, the promoter does, and then ultimately it affects the Premier
promoter, the guy that's running the whole tour. Really, it wouldn't affect us
except I think contractually at the end of the day when it comes down to all 
the bookkeeping, they'd say at this gig we had to pay $10,000 because you went 
on for an extra minute, and things like that happen, so every day we had the
production manager stand there and say you've got three minutes, two minutes
...in Japan, I saw him standing at the side of the stage and I told Trevor, cut
the solo down, and we watched the clock; in Japan it's an absolute fortune if
you stay overtime. So, I mean, that's the reason why a lot of that came down. I
think inherent in that kind of question is the fact why we didn't play--there's
also a lot of material that people thought we should play that we couldn't that
we just didn't have the time to do.

MOT: Did you play 'State of Play' anyplace in the tour?

AW: Yeah, I think we played it in the first week, in about two or three gigs,
which was good, it was sounding really good, but my problem...one of the most
problematic kind of things about playing that on stage was because it has a hip-
hop skip kind of style with a very laid-back heavy kind of style, and to play
the two it could be done with a computer with a sequence going and then
I can play the live drums to it, so I had to kind of sample it and it never
exactly sounded exactly like it should have for the song which it probably would
have gotten to the stage where it did. But it was a song that was a little
weaker unfortunately on stage than some of the other material, so that's why we
passed on it, but at the same time we could go right now and just play it and
it'd sound great. It's just a question of what was right for the time 
and we had to drop something and that one wasn't quite coming up to the mark.

MOT: It was reported that at YesFest Jon said the band had rehearsed some
songs from DRAMA, is that true?

AW: No. I've never heard Jon sing anything from DRAMA.

MOT: Were there any other songs rehearsed that didn't make it onto the tour?

AW: Let me see...I don't know, we went through a lot of stuff...no I don't
think so, I think pretty much, that was pretty much what we rehearsed because
we came through an absolute kind of list that we didn't have the time to get
into anything else.

MOT: The album [TALK] was, too, one of the strongest ones the band had 
produced in years, yet it quickly dropped off the charts. What do you 
attribute that to?

AW: Record company, basically...I think we went with a new record company
that was struggling, we got offered a deal we couldn't refuse, and I think they
could have put a lot more into the album than they did. Plus it came out at
the time where there was a bunch of stuff out there on the market, and I
actually think it's one of the best things the band has ever done, I really
got behind the album and I think everybody in the band did. It's just a
combination of things; lack of promotion...every time we do this we're in the
top five airplay singles in the country, and the album just gets to the wrong
people, who didn't want to buy the album. I think we had the initial sales of
a lot of Yes fans which helped it, but that's what happens, it just goes bang
in the charts then out, you've got to have that sustenance. And, I don't know,
a lack of forethought basically by the record company, it was all on their backs
but they haven't really had a hit yet, and the guy who's running the record
company is a big fan of the band, has known us all for many, many years, used
to work for Atlantic [Phil Carson], and, I don't know, things just didn't all
gel together, which they should have because the product was there, and I don't
think it had enough behind it. If somebody wanted to pour another few million
dollars into it it could have definitely made it and made it really big but I
don't think it was them [Victory].

MOT: It's been suggested that TALK, both the album and the tour, didn't do too
well because there was a backlash to the fact that Steve and Rick weren't a 
part of it. How do you feel about this?

AW: I enjoyed TALK, and I enjoyed the band that made it...I see that that was
just another step in the evolution of what we're doing. I enjoyed all of the
music of TALK, and it was great to play on-stage, and now we're taking another
step, and I don't think it will be a regressive kind of step, I think it'll be
a step forward. What combination of the band I don't know right now. Everybody's
just sitting back and looking at the whole thing and kind of saying, we're just
going to move forward from here. I think all of us are just taking a big breath
until the beginning of the year. I'll let you know a lot more in January as I'm
going down to L.A., we're going to have some meetings and reformulate. I know
one fact, that Chris has been calling me all the time, he wants to really move
on fast, so I don't think there's going to be any procrastination about what's
going on, so whatever's happening is going to happen pretty quick, right now.
Jon's definitely involved, he has a project that he may play in China, which
he's asked me to go with them, and that's in the early part of the year, maybe
March or April, I'm not sure, so that will be happening. But I know there's also
plans to do some kind of recording and some kind of album to come out, which
will probably include some of the live stuff from the last tour but also new
material, and come as a package with a view to touring to promote that. That's
what people are talking about. So in what shape or format that is I couldn't
really say right now.

MOT: I'm a little surprised to hear that mainly because Jon seems to have so
much going over the first three-quarters of this next year, there seems like
there wouldn't be any time to squeeze in anything involving Yes.

AW: No, we're talking to Jon and working everything out and what's happening...
sometimes with Jon he's got these things in his head that the direction and
everything should go but nothing's concrete.

MOT: So when you met in December you didn't really talk about direction, which
should happen in January...

AW: Yeah, there was a couple of reflections on that but nothing substantial,
that will probably come down more in January. I've got to go down to a NAMM 
show but I'm going about five days early to do that.

MOT: Is Victory Records pretty much out of the picture altogether now?

AW: Yeah, I think so. I think we're going to move on to another record company,
and Atlantic Records has been mentioned again, I know Jon is talking to them;
and they're interested in doing a whole thing with the band again, which would
be great

MOT: Is the idea of Steve [Howe] and Trevor being in the band together 
something that really won't come to pass?

AW: No, I don't think so, I don't thing that'll happen unless we blatantly do
something like a UNION thing again, and with it being so blatant is the only
fact that they probably would work together, the way I see it, but you never 
know.

MOT: I know that Trevor called Steve in L.A....there's really no animosity
between them, is there?

AW: Not really...it comes down to a professional kind of position where it's an
attitude more than everything else; 'I think it should be this way,' 'I think it
should be that way and obviously they agree sometimes, but disagree sometimes
too. So different things like that. It's a style thing and it's an attitude
thing, and it's really something else that's outside of whatever the band was
doing, it was something between those guys and really didn't affect us that
much.

MOT: I was curious as to why the long version of 'The Calling' didn't appear on
TALK.

AW: But it did in Japan...

MOT: Right, but as an additional track.

AW: Right, as an additional track...because it's just politics in the business,
they got 'The Calling', and it comes out, it's going to be a single, and dadada,
and they want to do that, but they didn't want to confuse people by having
pieces missing out of the CD and stuff like that...it's just a record company,
radio kind of thing. But, yeah, I was surprised to see that in Japan, they
included both versions.

MOT: What about ConcertSonics, so you think that was a success?

AW: You know, I thought it was a great idea and I saw a lot of interest in it
and I heard a lot of great reaction to it, but I never ever saw that many people
using it, at least in the first twenty rows, which may have been a fact that
they had too much of the PA coming at them or something like that, but I thought
it was initially a great idea. Unfortunately--you can get a lot of clarity
through it but--I think basically a lot of people would start listening to the
show and then they'd end up taking of them off because they had to do something
and just forget to put them back on, kind of thing. I thought it was not a big
success, but I think people became aware of what was happening and I thought it
was a start to something that could be big in the future.

MOT: Part of the problem I had with it at the Gorge was that I couldn't get the
reception to come in, and you're there to see the show, and you don't want to
spend a lot of time fiddling, so you're missing what's going on...

AW: Messing around, yeah...yeah, just taking the time to do it...

MOT: You're not paying attention to what's going on stage, you're paying
attention to trying to get it on the radio...

AW: Did they announce it beforehand?

MOT: I heard there were some places where they didn't announce it.

AW: Really...well, I don't know, that's sort of out of my jurisdiction
[chuckles], I never, ever heard them announce it but apparently they did it
before every show.

MOT: I take it it didn't bother the band that this was an opportunity for
people to actually record the show?

AW: No, basically, because the quality would be of radio quality; I mean it
would be a memento, but you could never do anything with it, I don't think,
you can get some guy to try to sell it as a bootleg but I don't think you'd
ever make it to that point. Plus we've got tapes of nearly every show, so I
think eventually we may do a live album out of this tour because there's some
great gigs, some fantastic gigs we did.

MOT: Where does Billy Sherwood stand with the band today?

AW: He's a great friend of everybody, he's basically a sixth gear we can pull
in, he knows the music so well and he just enjoyed the tour so well, I'm sure
he'd love being a part of the band.

MOT: He filled in really nicely.

AW: He did some really nice things, nice vocals.

MOT: Was there a lot of leftover music from the TALK sessions?

AW: Not really, no. I think there may have been a couple of extra tracks that
are hanging around that didn't make it to the album but nothing to speak of.
We pretty much had a goal ironed out of what we wanted to do with the album.

MOT: What happened with WALLS, the CD-ROM that was originally going to be a
CD single but got canned in favor of the full CD-ROM version?

AW: Right, I'm not sure because once people saw the album kind of dipping
and diving like this and then the tour doing mediocre as well as opposed to a
really good tour, some of those things got kind of canned and some of them
didn't. But I hear the CD-ROM's coming out...I saw the initial presentation of
what it was, which is pretty interesting, you can click on anybody's head and
we talk about different things, and then it has stuff from the album on
there, different parts of the album.

MOT: Are any of the leftover cuts on the CD-ROM? Because originally there
were supposed to be one or two on WALLS, like the long version of 'The 
Calling', anything like that?

AW: No. Nothing like that.

MOT: Whose idea was it to make a CD-ROM?

AW: We were approached by a company in LA through the management who's done
something else before, I think it was Bill Idol or Tom Petty, one of those guys,
that's with the same management, and they've done this similar thing before, and
there's a lot of people doing it nowadays.

MOT: For the record could you clear up this big rumor where Jon and Trevor were
quoted as saying this is the last time Yes will record with this present lineup.
Do you know how all that manifested?

AW: I think that what happens is that you do so many interviews and I think
it's ones frustrations kind of get compounded and you might be doing an
interview and say, well, I'm kind of fed up with doing this kind of thing and
this is the way I feel today and I don't think I want to ever do this with this
lineup again, I think that's the kind of thing that people are misinterpreting
because we all have different moods and change every day, and say things some-
times that you don't believe yourself until you read them later, and that's the
unfortunate part because Jon and Trevor did an awful lot of interviews for this
album and it just might have been a bad day. I really don't believe that there's
a full kind of conviction in most of those statements.

MOT: I know you've seen the editorial 'Change Yes Must' from Yes Magazine,
which we also posted. What was your reaction to it?

AW: I think sometimes when people like that kind of know so much about the
inner workings of the band that it sometimes gets distorted because basically
a lot of those things are feelings between each member of the band and that's
what it is at that time, and you can't really take that much influence from the
outside like that. So I think a lot of the band would probably read that, and
it's just another kind of opinion, obviously the opinion of somebody who's been
in depth into what the band's done and everything about it...what's happening is
that the communication between each member of the band as it is is more one of,
we'll carry on regardless, and it's always been the same from day one with the
band Yes. They really don't like getting pressured, don't like to be pressured
even by the record companies, the industry, the reviews, or whatever around it,
they'll just do whatever.

MOT: Do what you think is best for you.

AW: Yeah, exactly. And usually we never bend any of our own rules to make it
good for somebody, it's usually what the band is doing, just goes ahead and
progress. I think that's a strong characteristic in the band that's been there
for a long time...

MOT: ...despite the fact that everyone else is saying that--

AW: --you should be doing this thing, exactly. The band will always do that.
Of course [Yes] have a certain amount of influence from what's going around them
but there's opinions within the band collectively, and usually that turns out
what's happening. We find a thread to link on to and that will be what's going
to happen, whether it's successful or not.

MOT: At this point the core band--yourself, Tony, Trevor, Chris, and Jon--are
committed to staying together.

AW: At this point, yes, we just want to move forward, that's what's happening
right now, but who knows? It's just like we wanted to finish touring, have a
certain amount of formulation for next year which we did, and then revamp it in
January and get on with the future of the band.

MOT: What's important to you is to carry on the momentum of TALK even though it
wasn't a resounding success...

AW: Whether we look at that and kind of say, well...I personally think,
I think everybody in the band thinks it was a great album. But whether we look
at that and go, well, it wasn't just quite right for this, or for that, and we
need to restructure this and move in this direction, is something that we're
formulating, is the next thing that happens, but there's definitely no signs
of the band stopping what they're doing right now, they're just going to carry
on.

MOT: When I spoke to Steve [Howe] in Los Angeles he mentioned the fact in '95
what he wants to do is compile a lot of the video that Yes had shot during the
70's and he would pretty much be the organizer of it and get it into a form that
would be released to the public, with the approval of Yes--

AW: Right, it would have to be the approval of Chris and myself, and Jon,
basically, on a lot of it...

MOT: How do you feel about that, though?

AW: I think that it could be good, I don't see why we should hold a lot of
archives from the past away from the public, I think if it's there we should
spend some money on it and make some good edits and make sure it's of quality
as some things that came out which we didn't have any kind of control of, came
out and they were just lacking in quality; sound, everything we didn't like but
we didn't own the rights to them unfortunately. But most of this stuff we do so
we'll make sure it's good, if and when it comes out, but obviously you have to
talk about that.

MOT: You think at this point you and the others wouldn't mind him actually
coordinating this effort of releasing this...

AW: No, if he wants to do this as a project, and spend the time to do it I
don't personally see any problem with it...I know we have some vault in England
where a lot of this stuff's kept, the band's had for a long time, and I don't
mind, I think it's good to get things out, moving from the past, and still move
onto the future, it's only a part of the band from the past, actually

MOT: It's almost like what the Beatles are doing now with their own stuff,
they're assembling their official video...

AW: Yeah, because there's no reason just to sit on all that stuff, wherever it
happens, it may as well be available for the public.

MOT: Yeah, for one thing the public wants to see, another is that if it's
released from the original masters then it'll defeat the bootleggers, and the
third thing is to generate income for the band members...of course we all want
you all to be successful; if you're not then you're not making music.

AW: [Laughs] I know, absolutely, exactly, it's a big circle, goes around...

MOT: To reiterate, though this all has yet to be finalized what you're saying
is that the plan hopefully for the first part of '95 is to put out something by
Yes...

AW: I wouldn't say the first part of '95, I think probably taking about the
second quarter of '95, I think there's a lot formulating to be done in the
first quarter and get sorted out.

MOT: You said something about touring...are you saying Yes touring [in 1995]?

AW: Yeah. In fact Chris actually wants us to tour as quick as possible, so you
could see us on the road on the second quarter of '95...

MOT: Before Jon does all his solo stuff...

AW: That's something we're working out so it's a little premature to say that,
but it's a possibility of that, subject to a lot of bouncing around of dates and
stuff...that's the way people are feeling right now.

MOT: I would assume any tour would not be as extensive as the TALK tour was.

AW: I don't think so, it may be isolated, it may be a different kind of
tour, I don't know.

MOT: Maybe play places you didn't hit last time; a lot of people in Europe
wanted to see you.

AW: There's a possibility of that, yeah.

MOT: And there are people in Australia that are dying to see Yes..

AW: I know, I know...to do the Australian thing is a big operation, to move
everything and do everything like that. We're probably going out there [touring]
with another new thing yet again, and promoting possibly a live album and things
like that, and getting across to people again. And maybe fans who didn't like
this, or didn't like that, maybe try to pull all this kind of thing into one
thing so the fans are always back to the core kind of thing, who knows.

MOT: Are you thinking more about merchandising?

AW: It needs to come into the equation, that's for sure.

MOT: Maybe even in tandem with Roger Dean and the older stuff?

AW: Yeah, there's a possibility of that. Nothing is outside the realms of what
we control because pretty much control all of that stuff, still, and the only
members of Yes Music are myself, Chris, and Steve Howe. We pretty much control
what can be done with a lot of that stuff.

MOT: You, Chris, and Steve? Not Jon?

AW: Jon's not a member of Yes Music, no. He left years and years ago. He formed
his own kind of corporation, and Rick did, too, they're separate entities. The
people who own the name are Chris, myself, Tony Kaye, and Trevor, that's who
owns Yes, the actual name. Yes Music is the back catalog that's prior to Trevor
Horn, basically. DRAMA wasn't involved in that, and when Trevor came into the
fold it was like a separate entity. So everything prior to that is really under
a company called Yes Music of which we're still directors.

MOT: I was hoping you could comment on something Patrick Moraz has been saying.
According to him he wrote substantial portions of 'Awaken'. What do you have to
say about this?

AW: [Laughs] That's funny. Well, I wrote a lot of it too. Patrick's just a
strange guy to get along with...I mean I could say the same thing about
TOPOGRAPHIC OCEANS because I wrote a lot of chord sequences in that but never
got the publishing for it because it was basically Jon and Trevor's kind of--not
Jon and Trevor, Jon and Steve, Freudian slip [laughs]--it was their, kind of,
thing where they had these songs set up and I did bunches and bunches of pieces
of music that I never got credit for or subsequently the publishing and paid
for, but it was just the way it was and I think the same thing with 'Awaken', I
did some parts of 'Awaken' that you can't really grasp as a whole entity, a
piece of music was just part of what was going on at that time. So you just have
to live with it basically.

MOT: So did Patrick contribute *anything* to 'Awaken'?

AW: I'm trying to remember back, it's a long time ago, this is 1976 [laughs]
and you know we may even have sat around one day and Patrick said, no, let's
change this chord instead of that chord but that's not writing a song; it's
when you come up with a whole series of chords that contribute to a whole piece
of a song. I really couldn't tell you right now. It's a possibility but one
just has to live with that fact.

MOT: I'm surprised to hear you say what you did about TOPOGRAPHIC 
OCEANS because the whole band is credited with all the music on that album.

AW: No, it's Jon and Steve.

MOT: The way the credits read on the actual album is lyrics by Jon and Steve,
music by Yes...

AW: Yeah, but the publishing doesn't work out like that [laughs]. No, that's
different because there's a lot of music that I wrote on TOPOGRAPHIC and all
that side three [sings piece of 'The Ancient'], parts of 'Ritual', and even
parts of side 2 I wrote at that time, so no, it didn't work out that way, the
whole thing.

MOT: What about the Lennon [tribute album] we spoke about a while ago?

AW: When Nicky Hopkins died that was put on the back burner for a while. So
whether that happens or not I don't know, but I need to forward that out...that
could be interesting to do that. Certainly wouldn't mind doing it.

MOT: How about a solo album?

AW: I've got plenty of material, I have a whole sack of thirty DAT tapes that
are full of material that I have to sift through and just work out, and work on
something new.

MOT: You're pretty much an acoustic drum player. Have you looked towards
electronic drums at all?

AW: Well, you see, my whole kit is set up for acoustic or electronics, and
they can use electronics any time they want for what I do and I have all the
equipment beneath me on stage that they can do exactly the same as every other
thing; I've got samplers that can emulate all the different sounds that anybody
with electronics can, so I have the capability of doing it. It's just that I
choose to, and the band chooses to have, an acoustic sound on-stage.

MOT: Is there anyone you'd like to play with outside of Yes?

AW: It's kind of more commercial but I like Roger's stuff, Roger Hodgson, you
know, Supertramp, and actually he's working on one track that we recorded a
while ago with Trevor and myself. I think I'd like to adapt some of more of my
jazz instincts with a few more jazzy kind of players, do something on the side
like that, incorporate that in a solo kind of thing too, something just off the
wall, no names really, I just like playing with good musicians. I'm interested
in doing some kind of production too, there's a couple of bands around Seattle
that are apparently very good and they're looking for that kind of thing, so I
might get into that as well.

MOT: At this point would you say that you're waiting on what Yes decides to
do before you decide what to do on your own?

AW: No; I consider myself to be part of the Yes egg, as I always say, it's
rolling along and whatever I do on my own is something else I'm doing, I've
got another ten projects that I'm kind of doing, so I'm kind of like Jon, at
the same time. I'm starting to work on a new CD ROM of samples, and I'm
starting to work on a new one of those with Reek Havok, and I have lots of
interesting ideas of what I want to put in this one, and I don't know whether
I'll be doing it with anybody else; I might just do it by myself, with Reek.
[So] that, and I'm writing, I'm finishing my studio at home so I can kind of
get writing while I'm doing clinics, and I'm doing a clinic in San Jose with
Carmine [Appice] and Ginger Baker, a triple clinic, the three of us together;
I think it's around the third week of February. And I'm doing the NAMM show
for three days and I've got a bunch of programming to do in one of the booths,
and Cue Up Arts, who does all my CD ROM stuff through Reek, I'm going to do
some stuff for them, Ludwig, Ziljian...all that kind of stuff, I mean last
year I never sat down for three days. I've got to got to England for about ten
days in February too so I've got all that stuff to do before March...taking to
Chris about possibly recording in March...and April we may be on the road. So
there's a lot of things building up right now.

MOT: When you say with Chris, do you mean Chris as a solo, or Chris with Yes?

AW: No, Chris with Yes, and he's got a solo deal in pending right now. I just
talked to Chris' manager yesterday, he says that Chris might actually come up
here for a couple of weeks to rehearse with me...'cause Chris really likes
Seattle, they [Chris and wife Melissa] spent a couple of days here, and they
came down to my house and stuff, and I think they both really like the area,
so whether or not Chris moves up here is another [story]...it's interesting,
he's Mr. Health at the moment, he works out all the time, and I think that's a
lot of the reason he's, kind of, real straight and he just wants to get on, he's
[got] a little bit of gusto in him right now and he just wants to make things
move on. He's always been a strong driving force as far as that goes, as far as
the actual feel of the band, as far as the one person who's played on every
album. Chris has always been like that, so he's very, very together right now
and he's working out three or four times a week and he just calls up and wants
to do this, he wants to go; he says 'You've got to get down to L.A. or [I'm]
going to be up here,' and he's setting these meetings up, so he's moving along.
Jon's just like that too; forever, the mind is working on different things.

______________________________________________________________________________
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==============================

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Mike Tiano       miketi@microsoft.com
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                     END OF NOTES FROM THE EDGE #122
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    Here's Alan White's comments on the Moraz claim to having written
    "Awaken" (extracted for the benefit of those that didn't read the
    entire 800 lines of .-1).:
    
MOT: I was hoping you could comment on something Patrick Moraz has been saying.
According to him he wrote substantial portions of 'Awaken'. What do you have to
say about this?

AW: [Laughs] That's funny. Well, I wrote a lot of it too. Patrick's just a
strange guy to get along with...I mean I could say the same thing about
TOPOGRAPHIC OCEANS because I wrote a lot of chord sequences in that but never
got the publishing for it because it was basically Jon and Trevor's kind of--not
Jon and Trevor, Jon and Steve, Freudian slip [laughs]--it was their, kind of,
thing where they had these songs set up and I did bunches and bunches of pieces
of music that I never got credit for or subsequently the publishing and paid
for, but it was just the way it was and I think the same thing with 'Awaken', I
did some parts of 'Awaken' that you can't really grasp as a whole entity, a
piece of music was just part of what was going on at that time. So you just have
to live with it basically.

MOT: So did Patrick contribute *anything* to 'Awaken'?

AW: I'm trying to remember back, it's a long time ago, this is 1976 [laughs]
and you know we may even have sat around one day and Patrick said, no, let's
change this chord instead of that chord but that's not writing a song; it's
when you come up with a whole series of chords that contribute to a whole piece
of a song. I really couldn't tell you right now. It's a possibility but one
just has to live with that fact.

    Well, things are plugging along. I've had two hour-long conversations
    with Gary Davis, and I've talked to Longview and everyone feels very
    positive about this. That's not to say there are no problems. Here's
    some more info:
    
    The tour will be set up according to travel logistics. This means
    that the dates will be arranged to minimize the travel distance
    involved. This means that dates will not be set until Gary knows
    where all of the dates will be. That means that dates will not
    be set before early _February_. The "end of march" time frame
    still applies though.
    
    As for days of the week... no concerts will be scheduled on
    Sunday and one other day of the week, which has yet to be
    selected.
    
    I have to pay the full amount to Gary Davis by the end of
    January. I'm in for a real financial hosing if people back
    away from their commitments... I hope this won't happen.
    If by some unforseen circumstance, Patrick must cancel the
    show, they will reschedule. They will not refund, and
    therefore I will not be able to refund. Sorry.
    
    On the other hand, Patrick is excited about the possibility
    of this being at a studio like Longview, and thus may
    avail himself to the facilities while he's there. This
    would increase the likelihood of his making the date,
    I'm sure.
    
    Patrick merchandise will be on sale at the event. Other
    merchandise will be available as well. Patrick is willing
    to attend an autograph/hello session, but no pictures or
    recording will be permitted during the concert itself.
    
    There are other very nice aspects to this which I can't
    go into at this time... suffice it to say that a very
    good time will be had by all!!!!!!
    
    -b

    So if I understand, money will have to paid before we know an exact
    date.  Correct?
    
    /rick

    Rick,
    
    Actually, I haven't decided that part yet. I have a few weeks to sort
    it out. I'm trying to get Gary Davis to come up with a tentative date.
    
    I can understand people being reluctant to pay $50 per ticket for a
    show when they don't even know the date! On the other hand, I'm
    a bit reluctant to send a check for $800 out of my account with
    no ticket sales to show for it... after all, I'm not doing this
    for profit, but I'm certainly not eager to lose money either.
    I may ask for a %50 non-refundable deposit on each ticket (i.e
    $25.) That reduces my liability considerably. How does that
    sit with everyone? Anyone have any other idea how we can balance
    everyone's interests here?
    
    -b

    As much as I'd like to take the risk, I think Patrick's position is
    not very reasonable and I am NOT willing to put $50 out without knowing
    the date.
    
    I hope it happens, and I hope there's some way I can go, but for
    now I'm out.  I.E., view me as uncommitted.
    
    I'm very busy and the chances of a conflict are too great, especially
    at this price.

    db,
    
    I stated in .197 that I was trying to come up with an alternative
    to the $50 outlay up front... and mentioned $25... all the
    interestted parties please read .197 and respond specifically
    to that proposal.
    
    Further, I think everyone needs to understand why this is being
    done this way. When you buy tickets to a concert, the promoter
    has already put up a large amount of money up front, and has
    gone through the trouble of setting the date. In this case,
    the promoter is engaging in risk... for which he will be
    compensated by profits. The _same_ thing goes on in every
    show, except that you never see this because the promoter is
    assuming the risk (go back to the scalping topic where I
    discussed this). The promoter doesn't sell tickets until
    the date is firm... this is part of the risk you're paying
    for.
    
    In this case, I am _not_ doing this for profit. I am doing it
    so that everyone (including myself) can see a great show. But
    such a grass-roots effort means that things have to be done
    differently than they are normally done. Is it not fair that
    the risk be spread evenly over all who will benefit? The
    benefit of this show far outweighs the usual concert setting...
    you'll be at a world-class recording studio (with a clientele
    that includes the Rolling Stones, Deep Purple, Vanilla Ice,
    J Geils, Living Colour, Aerosmith, Stevie Wonder and countless
    others), eating wine and cheeze and meeting and seeing a
    performance by Patrick Moraz and a special guest recording
    artist... not a bad night by any standard. But this is
    certainly _not_ a typical concert...
    
    I'm really bending over backwards to make this happen, but
    I can't... simply cannot... assume 100% of the risk. It's
    that simple. I'm not rich and don't pretend to be. I can't
    do this if people are not willing to share a little bit
    of the risk involved. The idea is that we all contribute
    a little toward the risk instead of expecting one person
    to assume it all... I'm even willing to 1.) not only
    organize this event, but 2.) to assume a larger percentage
    of the risk than anyone else. But there is a limit...
    
    -b

    
    	In a nutshell, Brian's looking at an $800 risk while all of
    	the potential ticket buyers are looking at a $50 risk.
    
    	A good word to remember here is "commitment".  Brian's just
    	making sure that anyone seriously interested in going is
    	willing to make a commitment, just as Brian will be committed
    	[or should be 8^)] to paying Patrick as soon as a date is set
    	and a contract is signed.
    
    							GTI
    

    
    I like the $25. deposit idea.  It will be easier paying the balance
    when the time comes!
    
    /ab

    I also think Moraz (or his management) is being unreasonable in asking
    for full payment before agreeing to a date.
    
    Having said that, I (and 3 others I have signed up) are willing to take
    the risk.  The fifth person simply can't without knowing the date due
    to his weekend gigging schedule.
    
    Thanks again for arranging all this, Brian.  It seems like a real
    hassle for you.
    				- Paul

    The normal arrangement for a booking is 50% up front... 50% at
    the gig. However, since Partick is not traveling with his agent
    (to keep everyone's costs down), they want to avoid the situation
    where Patrick shows up, plays the show and then can't collect.
    This is not an uncommon situation and Patrick can't tour and
    be expected to handle such conflicts as well. He could take
    Gary Davis along for every show, and of course the show would
    cost even more...
    
    Also, as for the day of the week: Since a lot of the people who
    are expressing interest in this are musicians, it might be
    worthwhile to avoid a weekend night... and I can most likely
    arrange this. I will make every effort to make sure that the
    concert is scheduled between Monday and Thursday (I originally
    suggested Sunday, but no shows are to be scheduled on Sunday).
    
    I will be setting up a mechanism for accepting the $25 deposit
    soon... possibly as early as next week.
    
    -b

    Brian,
    
    Your reply was incredibly defensive and yet not only did I not
    fault you, I explicitly faulted Moraz (as did Cerqua).
    
    I would not fault you for refusing to take ANY risk (not even 50%) and
    as the kind of person who frequently organizes events with similar
    logistical problems, I fully appreciate the nature of the situation
    AND appreciate your efforts.
    
    > Is it not fair that the risk be spread evenly over all who will benefit? 
    
    The answer to that is "yes" but you seem to be forgetting one person
    "who will benefit" and that is Moraz.   Moraz does not seem to be
    assuming ANY of the risk and yet he seems to be increasing risk by
    not pinning down dates.
    
    However, I understand that this is a kinda grass-roots tour and
    requires new thinking.  I'm not upset with Moraz, but as you
    yourself said "I'm not a rich man, nor do I pretend to be" and
    I'm not going to apologize for refusing to spend $50 on a ticket
    that I'm not sure I can even use!
    
    That's all I'm saying.  Not blaming you, not even really blaming
    Moraz.   Just saying "I can't do that".
    
    	db

    db,
    
    Sorry I _sounded_ defensive... I wasn't trying to be. What I
    was trying to do was explain what makes this situation
    different. I'm really learning a lot from this experience,
    and frankly, that's the primary reason I'm doing it...
    
    There's a lot of information I'm trying to convey here and
    I think in being terse I sound defensive/upset/what-have-you.
    That's not the case. This is incredibly complicated (more
    than I would have imagined) and thus it's been difficult
    for me to explain...
    
    Anyway, please don't think I was attacking you for your
    decision. I was just trying to explain why this is all
    necessary.
    
    I would, however, still be interested in hearing more
    responses to the idea of putting %50 down...
    
    -b

    I think that with the uncertainty involved that Brian's request for a
    50% deposit is fair...boy, when I posted Moraz's original note from the
    NFTE, I never thought it would happen around here, my intention was
    more informational, but hey, this could be cool...
    
    Wes

	I'd commit to 50%, refundable ONLY if there was no contract/no show.
	
	Jay

    If we can make it a non-weekend night, you can commit me for 5 folks;
    otherwise, 4.
    			Thanks,
    			  Paul

    Haven't posted anything in this thread, so I just wanted everyone to
    know that, basically, nothing has changed with the Patrick Moraz
    concert. I did pick up a "partner" for helping to put the event
    together (a non-DECie).
    
    I think it's also worth noting that this person is a _brilliant_
    keyboard player... absolutely out of this world... and he recently
    picked up the new Moraz album and considers it a masterpiece. He
    has promised to write a review which I will post here. It is solo
    piano music, which is why the concert is being presented in this
    format. According to my friend, who has heard Keith Emerson's piano
    concerto, it is not even _anywhere_ near the same class....
    this Moraz album blows it away. My friend should know too, he's
    a graduate of both Berklee and Hart, is an associate professor
    at Hart, is on the advisory board for the computer music journal
    at MIT, has headlined at Carnegie hall as a classical pianist,
    and has a new CD out (Frog a la Peche) which is getting rave
    reviews of its own.
    
    -b

    Brian,  what's your friends name ???

    OK, time for a quick check-in on this.
    
    $800 !!!! HAH!!!! Nice try what they put on Internet, but...
    $800 !!!! HAH!!!!
    
    Still, the check is actually "in the mail". I will be making a big
    noise to make sure that the actual date is set no later than the
    end of next week. It appears though that the date will slip
    until early April. This is OK for two reasons:
    
    It gives me more time to sell tickets and get the shirt I'm losing
    back. You don't know the HALF of it!!! AND... it also makes no
    shows due to transportation problems less likely... March can
    still be pretty nasty weather here in the Northeast.
    
    The review promised previously is coming. I want to keep names
    under wraps for right now... for a reason. A reason that will
    become clearer later.
    
    -b                   

          In concert:      PATRICK MORAZ,  piano and pipe organ

               Friday & Saturday  March 31, April 1, 1995

  to benefit AIDS Project Worcester & Heifer Project Int'l (world hunger)

    Gourmet Desserts & socializing with Patrick 7 p.m., concert 8 p.m.
      In the gallery:  "Spring Argon"  (Neon Art Sculpture Exhibit)

Patrick Moraz, the classically trained former keyboardist for Yes and the Moody
Blues will be performing an intimate  solo piano  &  pipe organ  concert at the
Sherwood- Bershad Residence, Sterling, Mass. (just north of Worcester on
I-190). Patrick will include pieces from his recent album _Windows of Time_, as
well as unique improvisations of the moment.  An unusual aspect of these
Sterling concerts is that he'll be performing on a 21-rank pipe organ as well,
in the setting of a small residential concert hall-- seating is on the main
floor and the first balcony.  The spectacular desserts (chocolate included!)
and coffees may be enjoyed both before, during, and after the music. 

Each night's concert is a benefit-- 3/31 proceeds go to HPI, and 4/1 proceeds
go to APW-- with a ticket price donation of $50 per person and seating is
limited to 60.   Your donation (minus the proportion of Patrick's fee) is tax
deductible to the full extent of the law.  (All other expenses [food, printing,
postage] have been donated.) 

Contact sherwood@ricks.enet.dec.com to receive more information, or send
your U.S. mail address to receive charity information and a hardcopy invitation
(designed by Boston artist Steven Burdick).  Reservations are on a
first-checks-received basis, and you may wish to send your check (made out to
either "APW" or "HPI") immediately to 171 Rowley Hill Road, Sterling, MA 01564. 
(About 600 invitations are being mailed at the end of February.)

From:	US4RMC::"HUNNICUTT@UNCWIL.EDU" "jeff hunnicutt/ois/system services" 21-MAR-1995 21:36:51.39
To:	notes_edge@sol.cms.uncwil.edu
CC:	
Subj:	Notes From The Edge #129

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                 N o t e s     F r o m     t h e     E d g e

                                     # 129

                         THE   Internet   YES   Source

                                 March 21, 1995

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                              IN THIS ISSUE
                              =============

                      Conversations with Tony Levin

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Conversations with TONY LEVIN- Conducted March 12 & 13, 1995
-----------------------------------------------------------------------
The entire contents of this interview are (Copyright)
	       (c) 1995, Mike Tiano
	       PO Box 13
	       Issaquah, WA  98027-0013
	       for Notes From The Edge,
	       Jeff Hunnicutt and Mike Tiano, Editors
	       ALL RIGHTS RESERVED
-----------------------------------------------------------------------

This interview is being posted exclusively to Notes From the Edge,

   (Copyright) THE Internet YES Source

 If you see this interview or any portion appear anywhere else,
 please let me know (miketi@microsoft.com).
 THIS INTERVIEW HAS NOT HIT THE PRINT MEDIUM.
 PLEASE DON'T EXPOSE YOURSELF TO LITIGATION BY POSTING IT ELSEWHERE
 (EITHER THROUGH ELECTRONIC OR PRINT MEANS). Thank you.

 Special thanks to Tony for spending two late nights (for him) participating
 in this online chat. We worked out certain details for 'conversing' online,
 and that's what Tony refers to in his first answer. --MOT
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MOT: Thanks for joining me tonight for Notes.

TL: This should be fun - maybe it'll take me a few minutes to get the protocol
together.

MOT: Let's begin with your origins as a member of King Crimson. How did you
happen to hook up with the other members?

TL: They called me in about 1980 - to audition / rehearse. At that time I'd
played with Fripp on P. Gabriel's first album. It went well, and we decided to
try things out.

MOT: Were you a fan of progressive rock during the 70s?

TL: Not really. I've always been a player who gets wrapped up in whatever I'm
doing, and doesn't listen a whole lot to all the other things that are going
on. I started as a Classical player, and was immersed in that for years. Then
Jazz - by the time I played rock, I had missed some of the great stuff that
everyone else knew about. (I) hadn't heard Genesis when I first recorded with
P.G.

MOT: So because you weren't into the rock idiom in general all that creative
stuff from the 70s kind of passed you by.

TL: Well, I seem to have hooked up with a lot of it 10 or 20 years later!! I
guess the test of whether it's really special is whether it holds up for more
than a season or two.

MOT: When did you first hear any Crimson, and what was it you heard?

TL: Again, I've got to admit I hadn't heard a thing until I was in the band!!
That first rehearsal was funny since I didn't know any of the old material.
So, the first Crimson I heard was while I was playing with Crimson.

MOT: That gives you a certain advantage. You're called on because of your
expertise as well as your musical point of view, so there are no preconceived
notions that may be inherent if one was exposed to what was done before.

TL: They never say why they call me -- and I've never been interested enough
to ask -- usually I and the people I'm playing with are just pretty focused on
the new music. There sometimes are "preconceived notions" but not usually, and
not with Crimson -- R. Fripp is usually busy looking for something brand new
anyway. (as, in fact, is P.G.) Quote from Robt. from the making of our new
album, "If you've ever played it before, or ever heard it before, don't play
it."

MOT: Great. As much as certain factions would like people to believe that
groups like Crimson feed off the past actually the opposite is true, as it is
with the members of Yes/ABWH...

Earlier you said 'they' called you. How many other members were already
involved when you got the call?

TL: All of them, as I remember. (You'll find that, though my typing is
excellent, my memory is of a smaller caliber. I'll state now that I don't
guarantee that any statements involving said faulty chips, will be found to be
100% accurate.)

MOT: To someone like myself who lived with that music it's intriguing when
someone discovers it later...what was your first reaction to the type of music
they wanted to play?

TL: Well, allow me, at the risk of offending, to group the Crimson catalogue
together with the Yes, and Genesis material - none of which I knew about until
I had to learn it to play on the tours. I remember being given a tape of 'Red'
-- and hearing it, thinking, wow, this is fantastic. Also, "Lamb lies down on
B'way" thinking, "Why did he leave Genesis? But "Close to the Edge," my
thoughts were more like, "How the H%$# am I going to play THIS??"

MOT: What did you find intimidating on the latter? The parts, or the length,
or...?

TL: It might have been the other songs, but it was the frequency and accuracy
of the notes coming out of the low end instrument! Frequency, not referring to
pitch, but how many of them occurred within a second! More than I could play,
for sure.

MOT: Was working with ABWH the first time you heard 'Close to the Edge'?

TL: Yup. I think it's "Roundabout" that was one of the main technical problems
for me. "Close to the Edge" was just a nightmare for background lyrics. Still
don't know them. Had them pasted to my keyboard, ran out of room on the
keyboard!

MOT: That song is regarded as probably Yes' best. Did it blow you away when
you first heard it, or did you react otherwise?

TL: "Close to the edge, down by the water, how did it go, I'm a forgotter."
er,, what was the question? Oh, did it blow me away -- well, the truth is, I
didn't have the option of getting blown away - I had a few weeks to learn all
the material and, frankly, that involved me improving my technical speed quite
a bit - so I didn't stop to evaluate anything until later.

I was impressed, but worried about technique, I'm afraid. At that time, I
decided, instead of trying to play fast with a pick, to develop a new
technique I had tried a bit - two drumsticks attached to my fingers -- I call
them funk fingers -- I felt this would be a trebly sound in keeping with the
tradition, but would be somewhat new too, and VERY trebly.

Maybe I'm saying my emotional reaction was ... fear! Not really -- I dug the
material, and very much enjoyed the challenge it presented me with.

MOT: The funk fingers give your bass playing a different, interesting sound.
How did you first discover or invent this technique?

TL: On a P.G. song called "Big Time" I had the drummer, Jerry Marotta, play on
the strings while I fingered the notes. Then, live I had to try to play it
myself. I used one stick and ... shall I say I did the best I could. One day,
Peter saw me, and suggested I try to attach two sticks to my fingers. I simply
turned to Andy Moore, my tech at the time, and said "Can we do that?"
Andy fashioned them, we spent many months improving the details, and then,
having heard Chris Squires parts, I spent weeks practicing like hell.

MOT: So it ultimately gave you a way of playing those trademark Squire parts.
It worked great.

Let's go further in discussing ABWH, of which you were a major contributor.
How did you become involved in this project?

TL: Well, they asked me!! Bill and I had played together in Crimson, and it's
he that pushed the others to give me a try. I joined with them at the making
of the album, so by touring time, I knew the new material - just had to learn
a bit of history!

I'm flattered you speak of me as a major contributor - I think that I was more
of a player to hold things down while the real "band members" shown at the
things they do so well. I enjoyed this role, since I got to do what I love;
play good music on the bass. Also, Bill and I got to play a duet section in
the show, which became a wide open improvisational thing - good fun.

MOT: It was definitely a high point. At what stage of the recording did you
come in and which band members did you interact with during recording?

TL: Jon had the whole thing written - was bringing everyone in singly, though
Bill and I of course, needed to be there together. Matt Clifford was there
programming while I was in Monserrat, Jon directing things, and me and Bill
pounding away. Only later did I hear what Rick and Steve had played.

By the way, Rick is a mean Boggle player. We played just about every night
backstage - sometimes until moments before he (not me) was due onstage.

MOT: Which tracks from the ABWH album worked best for you; what were your
favorites, both on the album as well as in concert?

TL: Not a great subject for me - tour was a long time ago, we then recorded
more. I've done dozens of other albums since, and many a tour -- I'm afraid I
cant be specific about anything but my overall feelings about the show and
tour.

MOT: You became ill towards the end of first leg of the ABWH tour. Who's idea
was it to continue with Jeff Berlin?

TL: Well, the illness came on very fast. I don't know at what point they
decided how to continue (having been, at that time in a Houston hospital) but
I do know that Bill had worked a lot with Jeff [previously]. I'm sure he
called him, knowing Jeff has the chops to learn the material.

MOT: The fact that the band later toured Japan and returned to the US shows
would indicate that the band was committed to remaining together. Was this the
case?

TL: Again, I wasn't in on the board room discussions. All I know is, when I
had recovered, the management asked me to continue with the European leg of
the tour.  I did, though without the verve I had had earlier. It seemed at
that time, to be an ongoing project. Later we met in France to record the next
album. Much later, I found that there was a new reunited plan for that album.
Don't know at what point things changed.

MOT: UNION seemed like it was a calculated move, perhaps by the label: 'ABWH
didn't sell like wildfire so maybe if we get the other guys in'... It almost
seemed as if Arista lost faith. How were the actual UNION sessions; any
indication of what was to come?

TL: The sessions were fine, and fun. Jon rented a horse, I brought my racing
bike, we loved staying and working at the Chateau. As for Arista losing faith,
I wouldn't look to a company like that for faith in a band as artistic as
ABWH.

MOT: If you can answer this, then, what are your feelings about the UNION
album as was released? Which tracks fared best...and worst?

TL: Not my area of expertise. Once I record something, I'm prepared to do my
best to let it go -- don't know what'll happen in the mix, or even whether
I'll end up on the track at all. Once I heard of the project changing, (and it
did change a lot,) I just hoped it came out well. Didn't get hung up in
looking for my best parts, etc. Would only lead to frustration.

MOT: Steve has said he'd like to remix both ABWH and especially UNION. Do you
think there's a great album in those UNION tracks with what the five of you
originally recorded?

TL: Um. .... I'll take Steve's opinion anytime!

MOT: Steve told us that you were contracted for the UNION tour.

TL: Nope. I did the album, then, after we had done our S. France tracks, their
overall plan changed to include a reunion. I don't recall who told me, but it
obviously meant I wouldn't be touring with them, which was fine with me (not
many bassists would love a two - bass - band) and I went to the show in
Albany, near here, to say hi to the guys.

MOT: So was it evident that ABWH was over, or did anyone ever indicate to you
that UNION was temporary and ABWH was just on hold and would resume?

TL: No, I didn't have a clue about plans, either at the beginning, or at the
end. I also liked the musical situation we had, but - record company wise - I
didn't have high hopes for it to have a long life -- call me a pragmatist.
To be an "art rock" band, and not NEED attempts at hit singles, I think ABWH
would need a label that was small, or just treasured them for their artistic
value. THEN they could make the music from their hearts. Otherwise, there's
always the pressure from the company, subtle or not-so-subtle (or sledge
hammer subtle) to have a hit - and I don't think that line-up is best off
looking for a hit.

MOT: It was an incredible lineup and time.

After a hiatus King Crimson is back in an enhanced version of the band of the
80s. How did it come back together?

TL: It was Robert's idea -- don't know how or why he came up with the 6 man
idea, but I trust his musical vision, and went with it. It's working out well
-- two stick players in a band isn't the usual way to work, but we're learning
ways to find new patterns of playing.

MOT: I understand Bill originally wasn't involved. What convinced him to join?

TL: Don't know -- there were just tentative get-togethers before Robt. decided
to ask Bill. From then it was full speed ahead.

MOT: How is it having two stick player/bassists? Are there times where you're
both playing the same instrument at once (i.e. two basses?)

TL: Well, surprising! With Crimson, there's always the plan, and then the
reality is quite different. I thought there'd be lots of 2 stick stuff, maybe
as basis for songs with others joining in but it turned out that I gravitated
(well chosen word) to the bass, and to the electric upright, while Trey tended
to play more on the stick top than he had planned. Don't know why, but we went
with it. So, in the final music, I'm more 'the bass player' than I had been
before in Crimson, and Trey is more of a guitar-stick player than he usually
is.

MOT: Will we see any duets between like musicians in concert?

TL: Yes.  Crimson will tour Europe in May, and the U.S, in June. I don't have
the dates handy, but I believe they're being publicised.

I'm looking forward to the tour - recording with the new lineup was exciting,
but  the best part should be discovering what we can get up to live. I think
we'll do quite a bit of the old material as well as the "Thraak" stuff. And
hopefully we can get into some drum duets, Stick duets, and other experiments.
(not the least of which is the "double trio" concept we had tried to
incorporate on "Thraak" - didn't come to fruition except that I think there's
a mix of the piece "Vrooom", which has Fripp, Mastelotto, Gunn on one side of
the mix, with Bruford Belew and Levin on the other - listeners can check out
either trio as they like!) Maybe Bill and I can duo again too in the live
show, but probably there won't be time.

MOT: Please elaborate on the 'double trio' concept. Are you saying this is
only as far as the mix goes? Or is also musical in some way?

TL: For now, it's just a mix concept. The original plan, which we hope to
pursue in the future, was the two trios playing separately, sometimes joining
together as a sextet.

MOT: Like playing two separate pieces that can come together?

TL: It's one of those things we thought would happen from the start, but
didn't turn out than way. Well, like dividing sections of one piece up for
separate trios, then, maybe, both trios together at the end. Who knows? Not
me!

One trio going to the bar for a drink while the other plays half the show??
One going out into the audience and interviewing the listeners??

Seriously, it could work well on the OLD material.

MOT: We'd expect to hear old stuff too since usually new stuff isn't enough
for a full show. Can you let us in on any titles you're currently rehearsing?

TL: I imagine we'll do "Red" and "Larks Tongues" like we used to, but with all
6 guys playing. We haven't rehearsed yet for this tour -- if we're going to
add some other classics, I haven't heard about it yet. "Red"'s still one of my
favorite pieces to play.

MOT: So rehearsals haven't begun yet, and you've yet to discuss material?

TL: Yup.

MOT: When do rehearsals begin, and where?

TL: Rehearsals start in England, April 22. First show is about May 1st. (we're
quick learners.)

MOT: Really? Is this because you're pretty much together from the gigs in
South America?

TL: Yeah .. I especially don't like rehearsing long -- sometimes it seems like
I've spent half my life rehearsing! I'm always pushing every group I'm in to
rehearse less, and this time I seem to have succeeded. Yes, having played live
in South America, we're more ready than usual. We do have a lot of work to do
to play the new material like the record (tempo changes, b.vox, etc.)

MOT: Isn't that also risky from a production standpoint? It doesn't give the
sound and light crews much time to get their acts together.

TL: Nope - we're not a huge production band anyway - main focus is on the
playing. We find that if you make that clear to the lighting people, they do
their job in the time you give them. The sound will be done by George Glossop
who did our tours in the '80's. And he came to Argentina last Sept. with us
too, so he's as ready as a house engineer can be.

MOT: Is the songwriting a collaborative effort, or are certain people pretty
much leading the way (like Robert and/or Adrian)?

TL: You've got it. Robt and Adrian "leading the way" i.e. bringing in somewhat
complete compositions and then watching as we "Crimsonize" them -- meaning we
utterly change them with our individual styles...a process which I believe
Robert has compared to watching your child be molested!

MOT: LOL... He must not mind TOO much.

Is the direction of the music markedly different than it was before?

TL: No .. it just has elements of torture. As does much of the intense
creative job of being in and writing with as intense a band as crimson.
Regarding the direction, I'd say it has elements of the '80's band, lots of
new elements, and a surprising bunch of references to the old '70's music.

MOT: More and more bands are going to South America it seems. For bands like
Crimson (and Yes) it's seems almost surprising as their musical culture is so
different from what you guys play.

TL: Don't know ... I know we loved it in Argentina -- very receptive and
sophisticated audience, decent coffee ... what more does a band need.

MOT: How was the band received down there? Any funny or interesting stories?

TL: The scene in Buenos Aires is quite European -- up to date and all that,
though, of course, groups don't come there often. They have a wonderful
"Tango" tradition, of course, but there's a lot more going on there. No
stories come to mind, but I took lots of photos of some fascinating places --
with an eye to someday doing a photo book of Crim in the 80s and 90s...

Oh yes, one day off, Bill and I took a long boat ride away from the city down
the river into sort of a suburb of islands. Just a 20 seat boat with mostly
people going home -- across from us sat a couple, the man looking at me. An
hour into the trip he came over, and said he's vacationing w. his wife,
they're from Paris, and he remembers seeing me interviewed on tv there -- he
reminded me of a strange thing I had said...it was this: in a typical
embarrassing situation, the tv interviewer went around the Paris studio asking
each musician how it was to be in Paris recording with ... I believe it was
Catrine Lara, a French singer. I was too embarrassed to answer directly, so I
said (in English, which they didn't understand very well...) "Did you know I
almost played with the Rolling Stones?" This caused a stir as it was
translated, and they said "really?" I replied, "Yes, I called Mick and asked
if I could join the band. He said no. Can't come any closer than that!"

All this a decade later, on a remote ferry boat outside Buenos Aires.

MOT: How knowledgeable about the music are they? down there i.e., did anyone
shout 'Schizoid Man'?

TL: Very in the know. But too polite to shout. Clearly, I think, the best
audience Crim has had, and that's saying a lot.

MOT: Attentive and enthusiastic without being rude?

TL: Yeah, and quite respectful too -- a bit too much for my taste.

MOT: If you're not rehearsing now what are you up to?

TL: Putting the finishing touches on my own project.

MOT: Tell us about it...title?

TL: Title: WORLD DIARY. The album is a series of instrumental duets, trios and
more, with some of the fascinating musicians I've met in my travels. I
recorded it while on the road, in houses, hotel rooms (with an ADAT) and in
local studios in Paris, Bath , Oslo, and Toronto I played the Stick on 8 of
the 13 tracks - some tracks  are bass w. funk fingers, and two tracks on the
new NS electric upright.

There is a duet with Shankar playing violin while I play the stick. There are
two tracks with Ayub Ogada playing the nyatiti, a W. Kenyay lyre type
instrument. Two duets with a guy named Bill Bruford. One with him taking the
melody role on electronic percussion while I accompany on stick - kind of an
extension of some duets we played on the ABWH tour, and a track we did on the
album - it was called, I think, Eventide. The other track I did with Bill,
called Etude, is more of a busy Crimson-ish thing.

There are two tracks with Nexus - a five man percussion ensemble with hundreds
of percussion instruments at hand. I did a duet and a trio with Levon
Minassian who plays the doudouk - an Armenian double reed instrument. (Levon
can be seen on P. Gabriel's live video.) On one of these tracks, Manu Katche
plays drums. Brian Yamakoshi - koto player - we did a duet, and a trio
including Jerry Marotta on drums. Bendik is a sax player from Norway - we used
to play together in a band called "Steps" - we did two tracks together in
Oslo, again with me playing stick.

MOT: So it's a collection of things that were caught surreptitiously as well
as sessions you had done (which I assume you initiated....or is that
correct?).

TL: Regarding the sessions, I arranged them all for this project, but while I
preferred the comfortable atmosphere of hotel rooms, I couldn't always have my
ADAT with me. And there's nothing wrong with local studios. In all places, I
put a premium on spontaneity. (i.e. there are real MISTAKES on it.) Also, I
tried when possible to have the music reflect the atmosphere and mood of the
day and place. There are my diary entries for the days of recording, as well
as some photos.

MOT: Sounds really cool, so it is a diary in that regard.

TL: Yes, that's the idea -- a musical diary, with accompanying notes.

MOT: How will you be distributing it?

TL: I'll be selling the CD mail order only, through a company I've started,
Papa Bear Records. It should be ready by about mid-April, and I'll try to
notify e-mail users the day it's ready - well ahead of public advertising. How
I'll get the ordering info to potential buyers is something I haven't worked
out yet. As I said, I'll put some kind of word out on Internet when I have the
CDs in my sweaty palm.

MOT: Thinking about playing any of it on Crimson's tour or is that out of the
question?

TL: No, it's very much a different thing - quite small in scope, intimate, and
as far as my current plans, only a recording, not a live project.
(Having said that, who knows.)

But the Crim energy and live vitality are going to be very exciting - I really
can't wait to put away my paint brushes and PLAY!!

MOT: Given the music industry today is a unit as innovative musically as
Crimson able to thrive?

TL: Yes, I believe so. Because we're smart, somewhat mobile, and don't throw
away money on limos. We can't play arenas, but musically that's a good thing
for a band like us. This first tour will be smallish theaters. (Though, I
fear, not great sounding ones) But at least we'll be in contact with our
audience, which I think we need for this first year back at it.

MOT: Let's wrap this up with a question on Lennon. How did you get involved
with him, and what do you remember most?

TL: Typically, I was just called for the album. Never asked why me. It was
fun, and a great pleasure working with John. The first day, he came up to me
and said, "They tell me you're good, but I don't know, so just don't play too
busy." "Don't worry," I said, "you've got the right guy."

MOT: Which tracks of his did you play on?

TL: The "Double Fantasy" album and the one they later made of other takes from
those sessions.

MOT: So you played bass throughout?

TL: Yup.

MOT: From what you said it sounds like he may have been apprehensive. Was he
generally pleased with what you did?

TL: Very much. He was just being upfront and clear about what he wanted, and
that he wasn't going to accept others' ideas about what would work for him.
Right away things got comfortable, and later I was much complimented to see
that he doubled a lot of my bass lines with horns, making them them bigger
parts of the songs.

MOT: What a compliment!

Thanks a lot for taking this time to speak with me.

TL: OK, thanks again, we'll talk some day in .... actual reality!!

[We'll post the info on how to order WORLD DIARY as soon as it's ready to
ship. --MOT]

*	*	*	*	*	*	*	*	*	*
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                     END OF NOTES FROM THE EDGE #129
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From:	US4RMC::"HUNNICUTT@UNCWIL.EDU" "jeff hunnicutt" 22-MAR-1995 02:54:29.65
To:	notes_edge@sol.cms.uncwil.edu
CC:	
Subj:	Notes From The Edge #130


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                                                             (tm)
                 N o t e s     F r o m     t h e     E d g e

                                    # 130

                       THE   Internet   YES   Source

______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
------------------------------------------------------------------------------

IN THIS ISSUE
=============

FUTURE TIMES
- Rick and Yes

CONCERT DATA
- Patrick Moraz: Los Angeles, CA  3/3/95

PATRICK MORAZ PERFORMANCE HUB
- Updated list of Patrick Moraz's shows
- Baltimore, MD area on April 8
- Melbourne, FL on April 10

ALBUM DATA
- Asia,Alpha,Astra,Aqua,Aria
- Notes on Remastered RELAYER

CD ROM DATA
- YES ACTIVE (2 posts)

MAGAZINE DATA
- Guitar Magazine: TFTO Transcription from NOT NECESSARILY ACOUSTIC
- Record Collector: Tomorrow retrospective

WANTED
- Phrase in Something's Coming?

NEWS, COMMENTS, RESPONSES, & INFO
- BASS PLAYER Chris Squire Interview
- Push the albums, not the fans
- Anderson, Bruford, Wakeman, Rabin...?
- Out of print
- Pick-a-Yes
- 90125/Beatles
- Sign me up!
- Page/Plant: Yes take note
- Just my two cents...[on Moraz and Squire]
- Yescellaneous
- Yes Observations, past and present
- CD ROM...and Bootlegs
- Organ on GftO (RE: YES PILGRIMAGE)
- Copyright Infringement

TEMPUS FUGIT
______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
------------------------------------------------------------------------------
________________
= FUTURE TIMES =
----------------
> From Mike Tiano (miketi@microsoft.com)

RICK AND YES
============
This just in from Nic Caciappo at Yes Information Service: he just heard from
Rick who has advised that in regards to his rejoining Yes nothing is set in
stome yet. He and the other members have not conversed for weeks and Rick has
not heard anything from anyone. Seems as usual Yes is moving at a snail's
pace...we'll keep you posted.

MOT

*	*	*	*	*	*	*	*	*	*
________________
= CONCERT DATA =
----------------

PATRICK MORAZ: LOS ANGELES, CA  3/3/95
======================================
From:  <mcbride@JULIET.CALTECH.EDU>

Although this is a week late, better late than never.  First of all, IF
there is a Patrick Moraz show being organized by someone in your area, my
advice is GO!  at all costs, GO to the show.  Patrick is phenomenal!  And
that's an understatement.

Patrick played here in Los Angeles at the La Canada Presbyterian Church on
Friday, March 3rd.  It was a dark and rainy night. . . .   But, all those
pre-paid showed up (almost all, anyways).  And were treated to 3 1/2 hours
of Patrick at the piano.

He arrived at 7, (we were expecting him at 6:30), and the audience was
arriving while he was still warming up for the 7:30 showtime. (When he came
into the church, he shook everyone's hands and introduced himself! It was
GREAT!) However, since the piano at the church was an old one, (1880's I
think), it took him a while to get the regulation of the keys.  His warmup
lasted unitl 7:40.  Then, with a sip of bottled water, he started in on his
concert.

I will have to let someone else fill you people in on the songs he played,
I don't know his music well enough to give you the names of them.  Plus, I
was sitting in the foyer, waiting for late arrivals to see much of this
first part, anyways.

However, I can tell you that our 50 strong audience had a complete blast.
At first he had us screaming into the piano!  THAT was great.  Then we were
singing, then we were pounding out rhythms on hymnals, the floor and our
seats/pews to match time for his playing.  Now, we were all surrounding him
and the piano from all sides, bringing up chairs, sitting on steps of the
dias, etc. His hands move zen-like over the keyboards, with a grace and skill
quite unlike that of any novice or pro

He took a 20 min. or so intermission, no autographs yet.  Then back and
improvised some songs.  (Course, I should have written this last week,
while it was still fresh in my head, because now I'm thinking back and its
not too clear.)

After the show, he was back in his "dressing room", which was the ministers
room.  BTW, Everyone there was great, also.  The fans didn't crowd into the
dressing room, they went in 2 - 3 at a time, got their autographs, got a
picture w/Patrick and left for someone else to come in.  The audience gets
my kudos!  Thank you for being as wonderful an audience as could be.

One thing that may have helped this situation, (organizers take note) was
there was NO BOOZE! no beer, nada, nothing to kill your presence of mind,
at a church.  So, not only was everyone aware of the music, they were aware
of how to behave!

After the show, like I said, he signed everything.  Then he came to the
"organizers" party afterwards.  Sat on a couch with Huge Patrick fans, and
chatted about everything, from Yes, to Moody Blues, to his new tour, to old
tours, to inprovising, to what is the meaning of the album cover.  Patrick
is a complete gentleman, answered all questions, I just can't say enough.
Larry Deckel, how was it sitting on the couch next to ledgend?  I'm dying
to hear what you have to say!

This review is getting a little lengthy, but I want to attach some mails I
got from new friends after the concert.

---------------------------------------------------------------------------
Thanks.

For providing us with a unique and very rewarding opportunity to be
part of such a special night. We thoroughly enjoyed ourselves, especially
when Chuck had the chance to play with Patrick. By the way, you have
a wonderful smile, I got a chance to see it while you were up on the
stage. Hope you had a nice weekend despite the rain.
-Jeff

-----------------------------------------------------------------------------
KC,

Thanks for organizing a great evening. It appeared that you had a great
turnout, and Patrick was wonderful!! It was truly a once-in-a-lifetime event.

Sorry we couldn't make it to the reception afterwards, my friend Pauline was
pretty tired after a long day of work and we had a long trip to get 
back. I hope you had a nice time there. I would have loved to be able 
to chat with
him, especially to tell him how much the Moody Blues have blown it by having
their ego problems and losing him. Like your program said, they have never
been able to replace him.

Again, thanks a whole bunch for your hard work.

Rich Payne
rpayne@ccgate.hac.com

---------------------------------------------------------------------------
K.C.,

What a great guy.  He was quite a fun guy to watch play.  This is the way all
concerts should be.  His playing was fascinating.  I have never really
followed his work (I'm not a big Moody Blues fan), but have on occasion heard
and read murmurings about him on the net and elsewhere.  I was quite impressed
by the new material and I will probably go out and get the CD.  Thanks for the
invite.  Catch ya later.

Christopher Trotta
----------------------------------------------------------------------------
This is K.C. back here now. Looks like I forgot to mention one small little
detail, Patrick asking the audience to play after the show.  And 3 slightly
(ha) hesitant folks actually DID!  Chuck (mention above) played a lower
blues riff while Patrick dabbled high a lead! Really cool.

Well, that's it for now. I invite all who attended to fill in my missing
memories (i.e., SONG titles!! ;)  And to those going to the shows later
this month and next, Have a Great Time, I wish I could do it all again.

K.C.

*	*	*	*	*	*	*	*	*	*
_________________________________
= PATRICK MORAZ PERFORMANCE HUB =
---------------------------------

[This section is for those around the country to connect for Patrick's private
tour. If you live in or near one of the areas below please contact the poster
to coordinate your efforts. -Eds.]

UPDATED LIST OF PATRICK MORAZ'S SHOWS
=====================================
From Editor Mike Tiano

Here is the list of dates for Patrick's shows from here on in, including new
ones that were added recently.

If you should find yourself along the route with a gap in between dates and
would like to host your own date, call Gary Davis at 216-945-4923. Though it
may be too late there's always a possibility you can be squeezed in if you can
act quickly.

Pri = Private
SP = Semi-private
Pub = Public

DATE	TYPE	CITY			CONTACT
======	====	====			=======
MARCH
Fri 24	SP	New York, NY		Glenn Gottleib, 516-462-9442
Sat 25	Pri	New York, NY		(none)
Sun 26	SP	New York, NY		Rick Neuhoff, 212-581-1244
Mon 27 Pub	New York, NY		TRAMPS, 212-727-7788
Wed 29	Pri	Newburyport, MA		(none)
Thu 30	SP	Boston, MA		Mike Stok, 508-371-0088 x124
Fri 31	Pub	Sterling, MA		Will Sherwood, 508-422-7195

APRIL
Sat 1	Pub	Sterling, MA		Will Sherwood, 508-422-7195
Sun 2	Pub	North Brookfield, MA	Brian Markey, 508-842-4422
Mon 3	Pub	Brattleboro, VT		Andrew Laitres, 802-257-0753
Wed 5	Pub	Ithaca, NY		Ralph Shortell, 607-844-8211
Thu 6	Pub	Philadelphia, PA	Mira Yardumian, 215-947-3262
Fri 7	Pri	Stafford, VA		(none)
Sat 8	SP	Baltimore, MD		Wine O'Neal, 410-760-4825
Sun 9	SP	Wilmington, NC		Jeff Hunnicutt, 910-686-4064
Mon 10 SP	Melbourne, FL		Rick Leuck, 407-254-3539
Tue 11	Pub	Nashville, TN		Jim Golden, 615-352-4067
Wed 12	Pub	Jackson, MS		Morrison Bros Music, 601-352-0135
Fri 14	Pub	Mount Vernon, WA	Ken Coffman, 360-422-7520
Sat 15	SP	Seattle, WA		Mike Tiano, 206-936-2066 (Closed)

*	*	*	*	*	*	*	*	*	*

BALTIMORE, MD AREA ON APRIL 8
=============================
From: 	CygnusA@aol.com

Mythology, in Association with String of the Shoe Productions, Invites You To
A Private Concert With Patrick Moraz

We request the pleasure of your company as we proudly present Patrick Moraz
in a private solo performance.  The show will be held Saturday, April 8, at 8
P.M. in Columbia, MD, and will be Patrick's only appearance in the greater
Baltimore area.  The event will be held in a private living room, providing
an intimate, personal experience for all.  Tickets are $25, and attendance is
limited to 48 people.  Patrick looks forward to meeting the guests
afterwards.  Refreshments will be served.

Call: 410-760-4825 for information; or send check or money order to:  Wind,
P.O. Box 304, Glen Burnie, MD 21060

*	*	*	*	*	*	*	*	*	*

MELBOURNE, FL ON APRIL 10
==========================
From:	IN%"HARRIS.RLUECK@IC1D.HARRIS.COM"  "RLueck"

I am hosting a semi-private Patrick Moraz show in Melbourne Florida on April
10th. While this is not a public event, and we are limiting attendance, we
still have room for a few more. We are all kicking in $30 each to cover
expenses. This a show you really must see. If you are in Florida, this will
be your only chance to see Patrick Moraz on this tour. If you are
interested, please email me at.

Rich (yes they spelled my name wrong on the itinerary) Lueck [Corrected! MOT]
rlueck@ic1d.harris.com

*	*	*	*	*	*	*	*	*	*
______________
= ALBUM DATA =
--------------

ASIA,ALPHA,ASTRA,AQUA,ARIA
==========================
From:	IN%"ASPITZER@ccmail.sunysb.edu"

Recently I acquired a copy of Asia Astra for $6.50, tax included.  It didn't
say Geffen Records on the face of the CD.  Instead, it said MCA special
products.   I asked a guy in my local cd store and he told me, "I hope you
didn't pay more than $5 dollars because special products sound like shit."
After listening to the album a few times, I have to say I'm partial to it. I'm
especially partial to such songs as Love Now to Forever, Count Down to Zero,
and Go.  I saw some copies of Astra for $18 which had stickers on them which
said they were from France.  The ones for $18 had booklets in them and they
were from Geffen.  Mine didn't have the booklet.  It only has one sheet of
paper with the Album cover.  What I'm wondering is, how does the MCA disk
compare to the Geffen disk?  Has anybody heard both? You can't really hear the
bass too clearly on the MCA disk, at least not as clearly as you can see the
lady saddly looking in her white lace, but then again bass playing was never a
prominent feature of Asia's music.  But God bless them, I love them anyway.  I
guess I'm just an 80's cheese kind of guy.  I love their anthems.  Also, Jon
Wetton's vocals have alot of reverb for a studio album.  Can anybody who has
the Geffen copy of Astra tell me what the bass is like on their copy, (i.e. is
it pronounced) and do Wetton's vocals have alot of reverb.

I have the first three Asia albums, and God Bless
those boys, I love all three of them.  I'm just an 80's kind of guy.  90125 is
my favorite Yes album.  What can I do?  I won't put on any airs of
sophistication.  What I don't understand is why the live Asia album is called
Live in Moscow.  Shouldn't it be called ARENA?  I mean that would be more
appropriate:

Asia,Alpha,Astra,Aqua,Aria,Arena(Live).

Anyway, I thoroughly explored the John Wetton Band, except for Arena, I mean
Live in Moscow (why didn't they do any of their cool songs like One Step
Closer, Wild Wet(ton) Dreams, My Own Time, or Never in a Million Years.   It's
like, why doesn't Yes ever play any of their cool songs like Sweet Dreams,
Astral Travler, or Our Song.  Afterall, there really is method in the key of C.
I'll show you suckers, Music is magic!)   I have not, however, explored any of
the John Payne band cds.  I went to a John Payne band concert in 1992 when
Steve Howe was their special guest. (God bless those boys, I mean the way they
gave that art rock dinosaur a chance at stardom, I mean letting him play with
the likes of Geof Downes, the King of Keyboard samples, Mr. Sampler himself.
Don't laugh, Rick Wakeman is always bragging how it's not enough to sample,you
have to know how to come up with your own sounds, but all he ever uses these
days are factory samples, none of that cool moog stuff  anymore.)   I enjoyed
that concert tremendously.  WHAT I'M WONDERING IS, how do the John Payne band
cds compare with the John Wetton the bed's cds.  Do they have any good anthems
like Rock and Roll Dreams or Midnight Sun or Without You or One Step Closer?
Does Geof Downes' use all the cheesey samples that I've grown accustomed to?
Did they come up with any more gems like GO?

Is John Payne American Indian?

These are questions which must be answered!

A. Spitzer

God Bless Asai and good night.

aspitzer@ccmail.sunysb.edu

*	*	*	*	*	*	*	*	*	*

NOTES ON REMASTERED RELAYER
===========================
From:	IN%"burley@gnu.ai.mit.edu"

Regarding remastered _Relayer_, there definitely is an audible difference
versus at least the Japanese CD I "traded up" to (and, having heard
no difference in it vs. the domestic, sold the domestic).

The easy way to tell the remaster from the original CD is to listen to
the last few seconds of Gates of Delirium.  If the noise/distortion
fades out, causing the last chord to fade out faster (too fast IMO),
then it's the remaster...if the noise/distortion stays at basically
the same level as the chord fades out, then it's the original.

I'll have to try comparing Sound Chaser among the original CD, the
remaster, and _YesYears_ to see if I, too, can hear that _YY_'s version
is superior!  Maybe someday I'll finally unpack and set up my LP
system and records somewhere (we only moved last August, so we're
not done unpacking :-), and compare that as well.

        tq vm, (burley)

*	*	*	*	*	*	*	*	*	*
_______________
= CD ROM DATA =
---------------

YES ACTIVE (POST 1 OF 2)
========================
From:	IN%"RICHWHITE2@delphi.com"  "RICH WHITE II"

EGGHEAD Mailorder (1-800-EGG-HEAD) is selling it for $22.93 (+ s/h).
It took less than 24 hours for them to deliver it to me, but then again,
one of their major warehouses is about 20 miles from me!

It runs pretty well on my DX2-66.  When the 'Live' scenes fade-up on the
screen, the sound jumps once or twice, but it clears up once the fade-up is
complete.  The discography is (as noted) missing everything before TfTO.
All the music (except the two bonus tracks on the CD) are compressed.. but
their nice.  I esp. like how "Endless Dream" plays in the background when
you read the history.

BTW:  Did anyone click on Jon Anderson in the "PROFILES" section.  I just
discovered that you could click on the members for a quick "speech" in that
section.  (The Computer is God?  Not while its running WINDOWS!)

Its nothing spectacular... but it IS what is says it is: Interactive Liner
Notes.  (I wish you could print some of the stuff too... capturing the pics
isn't a problem w/ PC-Brush for windows though)

Lata...
                Rich  <-=-> richwhite2@delphi.com
...................................................................
   Yes.Pink Floyd.Rush.Genesis.Gabriel.Sting.Police.Who.Collins
        "I know what I like... and I like what I know..."

*	*	*	*	*	*	*	*	*	*

YES ACTIVE (POST 2 OF 2)
========================
From:	IN%"74147.3727@compuserve.com"  "Tom Martin"

I got my copy of Yes Active at Egghead Software in Campbell, California
(corner of Hamilton and Bascom Avenues). They had a bunch in stock. It only
cost $22. I run mine on an Apple Macintosh Centris 610 with 8 MB RAM. I have
the ConnectixRAM Doubler (complements of the new Microsoft Office) and found I
had to disableit (hold down the left apostrophe-tilde key in the upper left
corner of the keyboard at boot time) to get glitch-free video clips. One CD
covers Mac and Windows. For Mac, there are three versions: 4MB, 8MB, and 12MB
(I may be a little off on the memory sizes here - I'm writing this from my own
failing 40 year old memory). I run the 4 MB version with no problem.

The CD has three tracks. The first is the computer stuff. The last two are in
standard audio format - the first is State of Play and the second is
Where Will You Be, both lifted straight from the Talk audio CD. (Why were
those two chosen? There's lots of extra space on the CD. Why weren't other
cuts added, especially I Am Waiting that Jon raves about so much in one of the
video clips? I agree with Jon about the song, by the way.)

Track one is not playable on an audio CD player - it comes out as 50 minutes
of hiss with occasional low frequency hum. (I have listened to the whole
thing.) On a computer, it contains the entire album - compressed format that a
computer can decode, but not your audio players - plus a bunch of graphics,
video clips, text, and alternate audio clips. The discography on the Mac
version starts at Tales and covers up to the present. What about the Bruford
era? There is a history that does cover the whole band's history. I don't
understand the inconsistency.

For the songs, you can either go to a jukebox to play them - one track or
whole album, or you can go to an interactive section. In the interactive
section, you can simply play the song, or you can play a video clip of one of
the group members (usually Jon or Trevor) commenting on the song. For some of
the songs,  there are alternate takes - State of Play has a really rough
practice session version. For some of the songs, there are videos - I Am
Waiting has the first two minutes of what looks like a live video. For each of
the songs, you can call up the lyrics to read along.

In another section, you can choose one of the group members. Their image will
fill the screen, and you can search around with the mouse for different
sections of the image that change colors. When the color changes, click and
different things will happen. For Allan White, its his drum heads that change.
When you select them, you get different parts of an interview where he admits
that he uses a metronome in his headset during live performances to keep time
(Does Bruford do this? Are his time signatures even metronomable?) For Tony
Kaye, it's his keyboard. Hit the keys, and get an interview. In one of his
interviews, he shows how his keys are mapped to audio samples. (Does Wakeman
do this? Vanilla Ice or Millie Vanillie, yes; Yes, no!) For Trevor, you see
three different openings to The Calling. They're the same notes, just played
on different guitars. (Would Steve have limited his variations to the guitar
he played?)  Chris's section is forgettable. (Does he care anymore?) Jon...is
Jon. (Earth to Jon.)

They bill this as an audio CD with interactive liner notes. One significant
difference is that, since the audio is compressed, you cannot play it in the
background while running a different application like Word or SIM City 2000.
The computer is dedicated to playback. Hence, you need to buy the audio CD as
well if you want the music in the background during your computer session.
(Assuming State of Play and Where Will You Be are not enough for you.)

That's all for now. Hope that gives you a good idea of what it's all about.

By the way, I don't want to slam these guys too much. Talk was a good
album, but more at the pop tune level, rather than at the progressive level. I
always say that Trevor was good for Yes because he revitalized the band and
brought it down to Alan White's and Tony Kaye's levels, which got things in a
better balance, than when, for example, Alan tried to keep up with Steve,
Rick, and Chris. Alan's thrashing about on Yessongs shows the lack of balance
that existed before, especially when juxtaposed against the wonderful balance
of Perpetual Change with Bruford on that same album. (The latter is my vote
for their best recorded live set.) However, on the whole, I'd rather they'd
kept at the higher level of Steve, Rick, Chris, Bill, and Jon - nobody, but
nobody, plays at that level!

*	*	*	*	*	*	*	*	*	*
_________________
= MAGAZINE DATA =
-----------------

GUITAR MAGAZINE: TFTO TRANSCRIPTION FROM NOT NECESSARILY ACOUSTIC
=================================================================
From:	IN%"noodle@csulb.edu"  "Jennifer Hartig"

     I just wanted to let the guitar-playing readers of NFTE know that
the April issue of GUITAR magazine has a great 19 page transcription of
Steve's 'Excerpts From Tales From Topographic Oceans'.  Keep up the good
work.

*	*	*	*	*	*	*	*	*	*

RECORD COLLECTOR: TOMORROW RETROSPECTIVE
========================================
From:	IN%"dtratt@lmg.Jpl.Nasa.Gov"

The March issue of UK mag. Record Collector has a retrospective on Steve
Howe's old group Tomorrow. I found the article very interesting in itself,
but others on Notes may enjoy reading the Steve quotes it contains - many
of them illuminating.

*	*	*	*	*	*	*	*	*	*
__________
= WANTED =
----------

PHRASE IN SOMETHING'S COMING?
=============================
From:	IN%"fess@umich.edu"

Hi! I had a question about a certain phrase in "Something's Coming". From
about 4:25-4:40 or so in the box set version, they play a certain
classica lsounding phrase. The strange thing is, this same phrase also
appears in ELP's "I Belive in Father Christmas." Anyone know what this
phrase is from? Thanks!

            .____________________________________________.
            |     David A. Fessler        fess@umich.edu |
            | http://www.umich.edu/~fess   313-764-3632  |
..-----------;____________________________________________;--------.
|"A seasoned witch could call you from the depths of your disgrace|
|      And rearrange your liver to the solid mental grace         |
|   And achieve it all with music that came quickly from afar     |
|Then taste the fruit of man recorded losing all against the hour"|
|   ....isn't that just _so true_?                                |
 -----------------------------------------------------------------

*	*	*	*	*	*	*	*	*	*

_____________________________________
= NEWS, COMMENTS, RESPONSES, & INFO =
-------------------------------------

BASS PLAYER Chris Squire Interview
==================================
From:	IN%"TCLorenz@mail.biosis.org"  "Lorenz, Tom"  

     The interview Chris Squire did in the November issue of Bass Player 
     Magazine is available for viewing at the Bass Player Archive:
     
     gopher://gopher.enews.com:2100/00/alpha/af/bass_player/Archive/110194.1
     
     Also, I got the latest catalog from Carvin the other day and who 
     should appear inside the front cover but Chris Squire. It's a posed 
     picture of him playing a green Bunny Brunel model 5-string bass. The 
     only odd thing about that is that Carvin guitars seem to have been 
     embraced by the country community, so the pictures that surround 
     Squire's are mostly of country players.
     
     Oh well.
     ____________________________________________________________
     
     Tom Lorenz
     tclorenz@mail.biosis.org

*	*	*	*	*	*	*	*	*	*

PUSH THE ALBUMS, NOT THE FANS
=============================
From:	IN%"CptnApathy@aol.com" 

>CHANGE WE MUST A MUST
>=====================
>From:   IN%"mroland@eden.rutgers.edu"  "Franklin's Tower"
>
>    Hello, my name is Marc Roland and have been reading NFTE since 
>I was 16.  I am now twenty and feel it is time to speak my peace.  I have 
>been reading in the magazine about the low sales of Jon Anderson's 
>"Change We Must".  This really bothers me.  The only people I feel are 
>to blame for this is US, the core of YES fans.  I purchased this album the 
>first week it came out.

So did I.  And so did, I would venture, most people on this list.

As much as I hate to say this, I am getting tired of people blaming the fans
for not purchasing new releases.  We ARE.  As soon as I could, I bought a
copy.  But the bottom line is this:

There are just not that many of us that know about it.

How many people are on this list spread out across the planet?  Be
realisic, if all of us bought the album tomorrow, it would not make that
 much of a dent in sales percentage.

Do not alienate/insult the fans that are buying Yes-related material by
insinuating that we are not.  The problem lies in a lack of promotion.  It
was the same problem on the Talk tour.  There was very little promotion for
the  album, unlike Union which had a HUGE amount of promotion to it.

So what happened?  After the big media blitz on ABWH & Union, the albums DID
NOT SELL. They were critically panned.  Record companies do not get  burned
twice when it comes to promoting material, people.  If it doesn't work  the
first time, then they won't do it again.

The question is: what do we do about it?

Push.  Push the albums as best as we can.

Call the radio stations.  Ask them to play the album, if they don't have it,
ask them why not.  Get your friends to call.  If you have friends who are
DJs, get them to play the album.

Play the album when friends are with you.  Play it in the car.  (This works
the best.  They have to listen now, or else jump out of a moving car.)

Those of you who really want the album to succeed, you have to push the
album.  In a world where MYV rules the airwaves, it's very difficult to get
the stuff you (or I) like onto the airwaves.  But we can do it.  Just push!

--Jeremy

*	*	*	*	*	*	*	*	*	*

ANDERSON, BRUFORD, WAKEMAN, RABIN...?
=====================================
From:	IN%"ASPITZER@ccmail.sunysb.edu"  

Greetings,
I hope its true.  Wakeman is back in Yes.  The group I would like to see is
Anderson, Bruford, Wakeman, and Rabin.  I'm tired of Howe's country picking
and quaint English folk tunes.  The group needs some real power. (Just kidding
about Howe.  But I would like to see ABWR.)

*	*	*	*	*	*	*	*	*	*

OUT OF PRINT
============
From:	IN%"david@porsche.visix.COM" 

Shawn McCann writes:
>
>As an example from another prog-rock group, take ELP.  Victory
>records' insert in the most recent ELP album advertises 10 reissued
>albums...conspicuously missing is _Love Beach_, my guess is it's no
>longer in production.

You guessed wrong.  Atlantic had dropped "Love Beach" from production
many years ago.  But Victory did re-issue it, even if it didn't get in
the ad you saw.  I got my copy a few months ago after a few years of
searching.

>Not that I'd compare _Love Beach_ with _Yesshows_ on an artistic
>level.  Far from it.

The two are entirely different kinds of albums.  One is a concert
album and the other is studio stuff.  And ELP's style is completely
different.  But I wouldn't say "Love Beach" is a bad album.  "Memoirs
Of An Officer And A Gentleman" is one of my favorite ELP songs.

*	*	*	*	*	*	*	*	*	*

PICK-A-YES
==========
From:	IN%"DanKitti@aol.com"  

"talbert@math.vanderbilt.edu"  "Robert Talbert wrote:
>What I want to just briefly talk about is the vitriol that has passed for
>intelligent dialogue concerning Yes in NFTE for... well, since a few
>months before _Talk_. Let me explain. I am a Yes fan. I do not restrict
>myself to a particular sound, lineup, year, era, astrological sign,
>retina pattern, etc. when I say that. I like all the "eras" pretty much
>equally, all for their own independent reasons.
[much rant edited]

>Sorry if I am now guilty of the very vitriol I am trying to speak out
>against. But it is a little...disappointing, I guess, to see so many
>people who claim to be Yes fans argue about the "true" Yes (a false
>dichotomy) and put Yes down again and again and again. It would be a
>shame to see NFTE go the way of alt.music.yes and devolve into
>alt.music.yes.sucks.unless.it.has.steve.howe.

I agree!  Enough with that yes/not-yes bizness!  Anyway, I finally hit on the
answer to all that.  I call it Pick-A-Yes, and it's very simple.  Instead of
getting only ONE Yes album by ONE Yes lineup, we would get several.  As many
configurations of Yes that are possible with time & management politics would
get together & record different versions of the same album.  Of course there
would be a LOT of duplication between albums, but it is unlikely that fans of
one lineup would even acknowledge the other ones exist, so for you there will
only be ONE version of the CD. 

The next phase in Pick-A-Yes would include a special interactive technology.
 All past and current members of Yes play on a special CD that includes
performances by all of them.  But it gets played on a special disc that
filters out all but one of each instrument -- thus, you would hear Howe but
NOT Rabin.  You would have your choice of any keyboardist, and you can even
turn Chris Squire into Tony Levin turning the band into ABWH.  

Special electronically controlled glasses would be required at the Pick-A-Yes
concerts that will allow you to see five members of the band -- using the
same criterion as before.  Special lighting techniques would assure that
without these glasses, the members of Yes will be invisible, and of course
the special Interactive Headphones would be linked up to the special glasses
making sure you are seeing and hearing the same line-up.  That way, everyone s
ees and hears only *their* Yes, and everyone is happy!

--------------------------------------------------------------------
  /\_/\    Dan The Kitti Man
 ( . . )  
   =;=    "take a trip on a rocket ship, baby, the sea is the sky" -ta
--------------------------------------------------------------------

*	*	*	*	*	*	*	*	*	*

90125/BEATLES
=============
From:	IN%"76111.3636@compuserve.com"  "Neil J. Cavanagh" 

This is something it took me years to finally notice, so if this is
old news...

It seems that on 90125 producer Trevor Horn was trying his best to throw many
Beatlesque elements into the record. These are the ones I have found:
	1)"It Can Happen"--Sitar--This is the most obvious
reference...This song
opens with a major key sitar glissando which is terribly similar to
the opening
of "Love You To" from the Beatles record "Revolver."
	2)"It Can Happen"--Random Voices--During the middle interlude
some voice
is heard making some garbled commentary. For years I thought it sounded like
Tony Kaye, but at YESFEST '94 the YESmen, when questioned about it, said that
they had tracked some random speech from the radio. This is precisely what the
Beatles (and producer George Martin) did at the end of "I Am The Walrus"
(Magical Mystery Tour.)
	3)"Leave It"--ending--This song ends with an unexpected piano gliss and
the forcefully intoned "Leave It!" At the end of Sgt. Pepper's "Lovely Rita,"
the Beatles take off into some acid groove for a few bars, which ends with,
you guessed it,a quick piano glide down the keys with Lennon saying "Leave it"
(Which is common Brit-speak for "Stop".) Since Horn had a hand in the writing
of "Leave It," he may have had the original idea for the song, which would
make up for any loose coincidences.
This may all be the most inconsequential piece of trivia ever unearthed but I
thought someone out there might be interested. There may be more Beatle
references on 90125...i'd like to hear if anyone knows of any others...
As Thomas Mosbo notes in his book "YES..But What Does It Mean?"
(which I highly recommend) Big Generator is rife with soundalikes;"Rhythm of
Love"-Beach Boys opening,"Shoot High,Aim Low"-Rush,"Love Will Find A Way"-
Beatles...since Horn had a hand in producing BG, it seems this concept of,
forgive me, "Let's be progressive by copying all other progressive groups" was
Horn's approach to 80's YES production. I myself have always noticed that
Rabin's guitar in the "It Can Happen" verses is pure Pink Floyd (The Wall,)
while the rocking part of "Hearts" is pure Kansas.

Sorry this is so long -
Peace brothers and sisters
Neil Cavanagh
P.S Any "Power of Silence" news?
P.P.S Does anyone know anything about an Anderson bootleg listed in
the back of
Hedges' YES book, called "The Sky and His Shadow?"

*	*	*	*	*	*	*	*	*	*

SIGN ME UP!
===========
From:	IN%"brule002@maroon.tc.umn.edu"  "brule"  

Additionally, In issues 123, 124, & 125 of the excellent Steve Howe interview,
unreleased material from Asia's Alpha sessions was mentioned - namely a track 
called "Jody". I have been aware of this and several other tracks including 
"Barren Lands" which were those that Steve wrote and were eventually scraped
by Geffen - do you have any additional information on these tracks? I know
someone,  somewhere has copies of them, but I've failed to locate them.
Fortunately, Steve mentioned in the interview that he intends to include
"Jody" on his second Moth  Balled LP - do you know if that project is still
happening? Any help in this area is greatly appreciated.

brule002@maroon.tc.umn.edu

*	*	*	*	*	*	*	*	*	*

PAGE/PLANT: YES TAKE NOTE
=========================
From:	IN%"marcrez@freenet.scri.fsu.edu"  "Marc Resnick" 

I just got a new tape deck and hope to renew my pledge to send stuff to 
Yesoteric, especially my "Gaelic Park" version of "Yours is No Disgrace" 
(with Tony and Bill).

Thanks for all the Great Issue.

On a related band, i just saw Page/Plant in Pensacola and love what
they're doing.  The incorporation of world-music into there reworkings
of Zep tunes is great.  I hope Yes might do something like that as an
aside.  Actually, I wish several of these bands might get together for
a big festival and cover/play each other's music with new twists.
Imagine Jon singing "The Trees" or Robert Plant doing "Onward" or
Peter Gabriel doing anything by many of Progs great bands.

Take Care,

Marc Resnick (in Sunny but 30 degree Florida)

-- 
                ____________________
               | Cruising on the   /
               | Electronic Ocean /
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
*	*	*	*	*	*	*	*	*	*

JUST MY TWO CENTS...[ON MORAZ AND SQUIRE]
=========================================
From:	IN%"74200.3131@compuserve.com"  "Paul Hightower"  

Greetings to all!
I thought it was about time I contributed to what has to be the most 
professionally put-together list on the net. Great Job Jeff and Mike!!!

[Thanks. JH]

Subject #1: Patrick Moraz' current tour.
I was able to catch Patrick at a small, private house party in Concord, CA. 
While I hope his tour is a success and I admire his determination and 
principles I found the entire experience a bit of a let down. I found the two 
hour performance to be a bit long on technique but short on melody or the 
sense of any "songs". He provided the same warm-up as others have mentioned 
but seemed to simple continue on in a like fashion after that. After the first
hour or so I was convinced that I was in the presense of a virtuoso but was 
still waiting for him to play a coherent piece. I don't wish to discourage 
others from seeing Patrick play, but wanted merely to present an alternative 
reaction. Perhaps the performance I saw was an anomoly. Will he play any old 
material? Sound Chaser was requested at our show but didn't seem to get around
to it.

Subject 2: In response to Naoki Shibata's post re: Chris Squire's bass 
settings.
I recently read an interview, from '84 I think, where Chris says that his 
standard settings on the Rick are bass and treble volume at about 80%, Bass 
tone at 100% and treble tone at about 80%. In the old days, remember, he had 
the shaved down Rick which altered the normal tone. With later basses, he was 
at various times running through assorted effects like fuzz and a wah-wah. 
When you factor in the equalization on the basic signal and the 
characteristics of the amps and speakers themselves, all add up to Chris' 
classic sound. On good days I've gotten close to both Chris' and Geddy Lee's 
sound on my 4001 but on others I'm way off though I never changed a thing!

Subject 3: In response to Patrick Foster re: "strange voices" on carious 
releases.
a-<<but who is that singing the "hello, hello, heaven" part? (on Leave It)>> 
Gotta be Trevor.

b-<<Is this still Squire singing solo (the It can happen to you, It can happen
to me...chorus to It Can Happen), or with someone else?>> That's Chris, 
possible with Jon or Trevor as well.
In my opinion, one of the great things about 90125 is the amount of work put 
into vocal arrangements. On that level I agree that 90125 stands up with any 
other Yes release.

c-<<Who is harmonizing with Horn? (on the "Machine,machine messiah/ take me 
into the fire" section of "Machine messiah.")>> That's Chris again. Chris 
should have been credited with joint lead vocal on that album. And it's Trevor
who sings "i need to be there" after the Squire/Horn duet in the second
verse.

Phew! It's a good thing long posts are tolerated 'round these parts!
Paul

P.S. re: Robert Talbert's post: <<It would be a shame to see NFTE go the way 
of alt.music.yes and devolve into
alt.music.yes.sucks.unless.it.has.steve.howe.
Boy, I haven't laughed that hard in quite a while. Thanks!!!

*	*	*	*	*	*	*	*	*	*

YESCELLANEOUS
=============
From:	IN%"267@ef.gc.maricopa.edu"  "Eric Dennis Wincentsen"  

Just a few miscellaneous items...

I cannot do j-cards from my system, so if anyone is interested in doing
the j-card for Vol. 17, here is what's on there:

Yesoteric Volume XVII: AnderSONIC Boom II (Jon Demo Albums)

Side 1:

INDIAN SUMMER
Various untitled instrumentals

Jon and Kitaro and Tojiki-Reach Out (Live)

Side 2:
THE SKY AND HIS SHADOW

Also, there should be some more volumes coming up soon. I recently
received a recording called "Hunting Like the Dinosaurs," which is the
original mixes for the first ABWH album, and a copy of one of the talk
shows with a decent version of "Perpetual Change" at the beginning. I will
keep everyone updated. 

Hopefully there should be a Midwest duplicator debuting here soon. This
guy asked me before Jeremy put out his ad for duplicators, so I didn't
think it would be fair to take it away from him.

Also, I have some questions about something I picked up. It seems to be a
Canadian rap group called C2T Hype. It's a CD single with four different
mixes of "Close to the Hype," a rap song with samples of Yes music and
what sounds like some Jon Anderson vocals. Anyone know more about this?

------------------------------------
Eric Wincentsen
267@ef.gc.maricopa.edu
Glendale Community College
  Glendale, Arizona
"We want the airwaves!"

*	*	*	*	*	*	*	*	*	*

YES OBSERVATIONS, PAST AND PRESENT
==================================
From:	IN%"PARISK1@aol.com" 

The following are thoughts and observations on YES past and present.  It
appears that a majority of YES fans seem to not realize that YES is envolved
in the Music Biz.  This means they have to produce a product that the company
which supports them, i.e. the record company, can sell.  Remember YES was
with Atlantic until they split after the Drama album.  The owner of Atlantic
records at that time, Ahmet Ertegun (not sure of the spelling) was more
open to letting YES do as they pleased in terms of their albums.  Due to
economics, that changed during the '80s.  In the the late '70s there was a
dramatic restructuring of the Music Industry whereas the accountants realized
that there was a lot of money being lost by the labels.  YES suffered by
that.  In my opinion, they signed by ATCO, a part of Atlantic, because of
Erthegun's influence with the label.  YES signed with Victory due to the
obvious, who would pay for the production of an album.  Victory seems to be
having a problem with the money side of being a label. This could be why YES
could not tour Europe.  Thus people should lighten up on the criticisms of
them.  In terms of the group getting together to record again, it can be
difficult to do. I have been a guitarist/synthesist for 25 years and have
recorded, albeit non-professionally with several people, and it can be a
problem.  A musician grows and changes in his/her way of playing, composing
and recording, and this is what appears to have happen to the members of YES.
 Notice that Jon Anderson, Steve Howe, and Trevor Rabin do get involved in
many different projects which bare no resemblance to YES music.  That is
inevitable for a musician.  the members of YES can't be faulted for maturing
in their musicianship- "Times change and People do too."  In response to
Patrick N. Foster's query, Trevor Horn is known to use an Eventide Harmoniser
and use to use a Synclavier and Fairlight Digital keyboards in the studio.
These may answer your question about the vocals. Also Alan White's vocals
could have been processed with the harmoniser, which is common practice in
some studios.  This also can explain Trevor Horn's vocal during the Drama
show I saw in Chicago in 1980.   
Paris Kelley
*	*	*	*	*	*	*	*	*	*

CD ROM...AND BOOTLEGS
=====================
From:	IN%"TROYANMR@MIAMIU.ACS.MUOHIO.EDU"  "Marc Troyan"  

     My name is Marc Troyan and I have been a member of NFTE for a few
months now.  I have been a Yes fan since I was twelve.  I am very much a
product of the MTV generation (80's MTV that is).  There are two
topics I would like to discuss that I have really gotten interested
in lately.  I will not get into a debate over what lineup is best.  I am
frankly sick and tired of people arguing over it.  I will say that I
would love to see Rick Wakeman rejoin, however.
     My first topic is the Yes Active CD Rom.  This is a must have for
anyone who has a computer.  Even my girlfriend, who does not care for
Yes music, loves it!  My one word of warning is that it requires 8 MB of
RAM to run effectively.  I had only 4 MB of RAM, and it would hardly
work at all.  The interviews are really great.  I was glad to see Tony
and Alan get a little air time.  The interviews about the various songs
were really interesting, as well.  All 7 songs from Talk are on it, but
only State of Play and Where Will You Be are available for play on a
regular CD player.  The section of biographies is quite informative.
The one problem is the discography is incomplete.  It starts with Tales
for some reason.  It is very comprehensive when it comes to the rest
of the albums, however.  All in all, it is a must have for any Yes fan.
I purchased my copy at Egghead in Cincinnati.  It was about $24.00.
When you figure Talk probably costs around $12.99, the CD Rom is quite
inexpensive.  I'll stop with that and leave some surprises for those
who do not own it, yet.  If anyone would like a more complete review,
feel free to e-mail me.
     The second reason I am writing is to mention that I am a big
collector of bootlegs.  I have several shows, but I am always interested
in obtaining more.  I would love to trade any shows.  My collection is
listed below.  All are excellent quality.

Gimme More (1994-CD-Binghamton, NY-150 minutes)
Say Yes (1991-CD-Wembley-150 minutes)
Chicago of Heaven (1979-CD-Chicago-150 minutes)
Yes (1975-CD-Queens Park-150 minutes)
Yesshows in the Round (1991-cass-Philadelphia-180 minutes)
In the Round (1979?-cass-?-100 minutes)
The Big Tour (1986-cass-Houston-75 minutes)
9012Live (1984-cass-?-100 minutes)

I also have the syndicated Up Close radio broadcast from 1991 parts
3 and 4 which is 120 minutes.  The MTV Rockumentary is included on the
end of tape two.  I would love to trade anything I have for new things,
especially things from the GFTO, Yes Album, Drama, Tormato, and Union
tours.  I am not limited to these tours, however.  I would love to get
about anything.  That includes interviews, videos, etc.  I also have a
few videos if anyone is interested.  Thanks so much for your time!

Marc Troyan
TROYANMR@MIAMIU.ACS.MUOHIO.EDU

*	*	*	*	*	*	*	*	*	*

ORGAN ON GFTO (RE: YES PILGRIMAGE)
==================================
From:	IN%"Antony.Meadley@LO007.ubs.ubs.ch" 

IN%"dszabo@vms2.macc.wisc.edu" wrote:
>pay a visit to Vevey, Switzerland, which is located on the shores of Lac
>Leman (Lake Geneva) and is the home of St. Martin's Church, where Rick
>Wakeman recorded his magnificent church organ parts for "Awaken"

I was under the impression (from the notes on the cover of GftO and from
the photos) that the organ parts were recorded at L'eglise des Planches
which is in Montreux, about 15 miles East of Vevey.

Am I mistaken?

Antony

*	*	*	*	*	*	*	*	*	*

COPYRIGHT INFRINGEMENT
======================
From:	IN%"jcubert@osf1.gmu.edu"  "Jeremy A Cubert" 

All,

I have been reading a number of entries in Notes from The Edge that 
imply making unauthorized copies of YES music is legal unless someone 
makes a profit.  This is simply not true.  17 USC Section 106 states in 
part that, "Subject to sections 107 through 120 [17 USCS &sect;&sect; 
107-120], the owner of copyright under this title [17 USCS &sect;&sect; 
101 et seq.] has the exclusive rights to do and to authorize any of the 
following: 

     (1) to reproduce the copyrighted work in copies or phonorecords; 
     (2) to prepare derivative works based upon the copyrighted work; 
     (3) to distribute copies or phonorecords of the copyrighted work to 
         the public by sale or other transfer of ownership, or by rental, 
         lease, or lending; 
     (4) in the case of literary, musical, dramatic, and choreographic 
         works, pantomimes, and motion pictures and other audiovisual works, 
         to perform the copyrighted work publicly; and 
     (5) in the case of literary, musical, dramatic, and choreographic 
         works, pantomimes, and pictorial, graphic, or sculptural works, 
         including the individual images of a motion picture or other 
         audiovisual work, to display the copyrighted work publicly.

Section 106 (3)refers to distribution of copies or phonorecords by sale 
or other transfer of ownership or by rental, lease or lending.  There are 
certain exceptions such as fair use and even an exemption for making 
personal copies (making a tape of a CD you purchase to play in your car) 
but this does not extend to bootlegs.  If you are making or distributing 
bootlegs I think you are likely to be breaking the law.  In addition, you 
are taking money from the group you profess to like so much.  At least 
you should try to get authorization from the copyright owner.

Jeremy A. Cubert
4LE GMU School of Law
jcubert@osf1.gmu.edu

*	*	*	*	*	*	*	*	*	*

TEMPUS FUGIT
============

==> From Editor Jeff Hunnicutt

I want to thank all who've written expressing concern for my father-in-law.
He's doing much better, has been released from Duke and is now upon the
lengthy road to recovery. If you're not an organ donor please consider it.
It is truly the gift of life.

There are many mentions of Yesoteric in this issue. Most importantly the 
submission that quotes copyright law. It's something Mike and I have been 
discussing for quite a while. This post summarizes it quite nicely.

I have no inclination to involve myself in litigation. Our condoning
Yesoteric, whether implicit or not, could make myself, the University, the
state of NC, Mike, and our internet carriers liable. It's a very real
possibility that members of Yes as well as other musicians will be among us
soon. They are online. They may not be here publicly (they will decide if and
when to go public) but it will happen. They have a keen interest in the
possibilities the net has to offer among them. We can't expect them to sit
back and watch as their intellectual property is traded over the net freely in
a grey market.

We need to come to some arrangement whereby the people who want Yesoteric 
can get the info they need to pursue a set. I'm working on a solution now
and will let you know what is decided. For now, be aware that soon Yesoteric 
discussion will end on the pages of Notes. I hate to do this but must or face
the real possiblity we could cease to exist over an issue such as this.

--jeff	

______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
------------------------------------------------------------------------------

THOSE ALL-IMPORTANT ADDRESSES:
==============================

Editors:

Jeff Hunnicutt   hunnicutt@uncwil.edu or nfte@sol.cms.uncwil.edu
(New subscriptions, deletions, contributions, questions/comments/criticism)

Mike Tiano       miketi@microsoft.com
(Reviews, Surveys, Tour and Release dates, etc.)

                    Notes From The Edge
                    PO Box 13
                    Issaquah, WA 98027-0013

                 -----+-----+-----+-----+-----

                    Please Support...

                    The Opio Foundation
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                    Only $25.00 per year

NFTE Server (lyrics, backissues, discography, rarities, surveys, GIFs):
Automated. For help send
mail with subject line 		 yes-archive@meiko.com
"send main help" to

NFTE WWW/Mosaic Server:

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NFTE Server/WWW Server problems, additions/corrections to the lyrics & GIFs,
and additions/corrections to the rarities list:
Mike Stok               	 mike@meiko.com

NFTE backissues, lyrics, etc, via anonymous FTP:
cs.uwp.edu			Directory: /pub/music/lists/yes

Contact for helping out with transcriptions:
Greg Utas			 utas@bnr.ca

-------------------------------------------------------------------------------
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                     END OF NOTES FROM THE EDGE #130
______________________________________________________________________________
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    Well, I attended both Moraz performances in Sterling this weekend.
    I had originally intended to go to just one, but Friday evening was
    so compelling I had to go back; this was truly a unique experience.
    
    I think I could best sum up these performances by saying it was like
    seeing Keith Jarret without the attitude and with better chops. 
    Perhaps it was the proximity, but I can't recall when I've ever seen
    a musician display as much command over an instrument; his technique,
    skill, and total melding with the piano were by themselves breathtaking.
    But that was just a small part of the picture.  Patrick seems to be
    a limitless font of ideas at the piano.  His pieces were often stream
    of consciousness improvisations, but at the same time fully structured
    with themes stated, developed, resolved, new offshoot themes emerging
    and woven into a coherent musical statement.  Composition in real time.
    As an example, during his warmup he asked for some notes from the
    audience; he then took this simple phrase, and built an entire 40
    minute piece around it, totally improvised, but at the same time
    fully architected.  It was an incredible experience to watch how his
    mind worked.
    
    One other quick comment on Patrick; he is totally open and sharing with
    his music.  Again, it's hard to recall a concert experience where the
    performer was as generous with and considerate of his audience.  As a
    musician myself, he made me re-think the way I approach and view live
    performance.
    
    This experience exceeded my best hopes of what these concerts might be
    like when the idea first popped up on the net.  If you get a chance to
    catch Patrick in this tour, do so.
    
    /rick
    

    Oh sure Rick,  make the rest of us who missed out on the Longview thing
    jealous! 
    
    ;-)
    
    	db

    I'll second Rick's opinion.  I was at the Friday show at Sterling; it
    was truly an amazing experience.  Listening to Moraz compose on the fly
    was simply jaw-dropping -- as Rick said, themes repeated and interwove
    into fascinating pieces.
    
    Unfortunatly (despite much looking), I don't have a copy of his newest
    album and the bulk of the performance was based on material from it.
    He did do some older pieces, though, and I don't think my ignorance
    of his new album took away from my enjoyment of the performance.
    
    Moraz sat down to play at 9 pm and finished around 12:30 (there was a 
    short break at one point) -- not a dull moment in all that time.  Even 
    if it wasn't a benefit, it still would have been worth every penny.
    
    I left exhausted and exhilirated -- Moraz was completely personable and
    obviously was enjoying himself.
    
    And the site of the show was an experience in and of itself -- that's
    quite a place that Will Sherwood has, including a gorgeous-sounding
    pipe organ.
    
    And I got to meet Brian Markey and Rick to boot!  What a show.
    
    				- Paul  
    

    Does anyone know if he did anything from "i"???

    > Does anyone know if he did anything from "i"???
    
    Yes.  He ended the time at the piano with "Best Years of Our Lives."
    
    He did another song that I thought was from "i" (right before "Best
    Years"), but I was told later I was wrong and it was from "Patrick
    Moraz."  Could be -- I listened to both albums unceasingly years ago
    and could easily have confused which album the song was on.
    				
    				- Paul

    RE: .218
    
    He did and he didn't... Patrick improvises 60% of these shows,
    and he did steal a bit of theme from "The Best Days of Our
    Lives". (that's the title right?), but then went off on some
    other tangent. Except for themes, even the stuff from his new
    CD was barely recognizable.
    
    Anyone else notice how Patrick's improvs immediately suggest
    a great mix of Bach Fugue, Beethoven's melodic mastery, and
    Mozart's sense of conterpoint? And can that cat swing when
    he wants to... you should hear his improvs on Duke Ellington's
    Caravan or Thelonius Monk's reading of St. Louis Blues...
    
    The other thing I got a kick out of was the improv he did
    which was based on a theme he wrote when he was five! Man,
    if I could remember a theme I wrote when I was five, it
    would probably sound something like "crash bang thud whump
    squeek honk squeal"...
    
    -b
    

    Oh yeah, the "I wrote this when I was five" thing; unbelieveable.
    
    This is what I gathered about how he recorded "Windows of Time".
    He went into the studio and just let it flow for 14 hours (straight!?),
    then extracted out the best 60 minutes worth.  The CD clocks in at
    exactly 60:00 minutes.  Why?  Patrick never saw an exactly 3600 second
    CD before, he thought it would be cool!  Too much.
    
    I've never seen someone who could free improvise like that, without
    doodling, with that much complexity, structure and imagination.
    
    /rick
    

    >This is what I gathered about how he recorded "Windows of Time".
    >He went into the studio and just let it flow for 14 hours (straight!?),
    >then extracted out the best 60 minutes worth.  The CD clocks in at
    >exactly 60:00 minutes.  Why?  Patrick never saw an exactly 3600 second
    >CD before, he thought it would be cool!  Too much.
    
    Frankly, I pity the engineer a bit. Imagine, trying to sort your
    way through 14 hours of solo piano music, trying to figure out
    where you are... I mean, we're talking unindexed DAT tape
    consisting mostly of free-flowing improvisations, on piano,
    piano and more piano. I now not only pity that engineer, I
    empathise with him! :-) :-) :-)
    
    By the way, the "names" that Patrick picked for the compositions
    on Windows of Time were post-facto... kinda "oh, that seems like
    a good name for that improv..."
    
    What a wild man.
    
    -b

    I was at the Saturday show (hey, I only live about 3 houses down
    from Will, what an amazing opportunity!). My feelings are pretty
    much the same as other people have stated. I was completely
    burned out yesterday; I blame the music. It was a very intense
    experience. The audience was great, the desserts were better!
    Patrick looked every bit the crazy European artiste. The 'Yes
    meets Beethoven' description was right on.
    
    - Dave

    
    In today's "For What It's Worth" category, Gary Davis, who managed
    Patrick Moraz's recent "house to house" tour, is talking with others
    about doing the same thing. Among those he talked with are ex-Yes
    guitarists Steve Howe and Peter Banks, Leon Redbone and David
    Torn.
    
    And... Gary Davis is no longer handling Patrick, but Patrick
    will be doing another tour this fall (similar format probably).
    
    Oh, and Steve Howe is rumored to be rejoining Yes, replacing
    Trevor Rabin. You need a scorecard to follow this group...
    
    -b

    Steve Howe may be rejoining Yes???!?  That would be AMAZING!  My
    prayers have been answered!  Not that I don't like Trevor, it's just
    that he has sort of taken over the whole group.  Hopefully if Steve
    becomes the guitarist, then we will see more of Chris' wonderful,
    classic bass work. I would also love to see Mr. Howe in a Patrick-style 
    concert.   And what's more, you don't even have to rent the guitar 
    for him!
    
    Andy
    

    RABIN out , Howe and Wakeman are in , according to Notes from the edge
    mail

    And I am REALLY looking forward to this collaboration.  I wonder how
    Rabin was convinced to leave?  Hopefully we will see more of the Fish
    on the next album.  I really miss his inputs to the music.
    
    Andy
    -who is more of a Trooper than a Generator

    Rabin was probably convinced to leave by someone telling him:
    "look, we're not going to be your backup band anymore, so if
    that's what you're into for the next album, we're outta here..."

    I mean, let's face it, Talk is a Trevor Rabin album. Big
    Generator was a Trevor Rabin album... etc. Take some of the
    best musicians on the planet and turn them into a backup
    band.

    I got some of the story from Patrick Moraz... it seems he was
    asked to join first, and declined. Wakeman was "unavailable",
    probably because of Rabin. Tony Kaye has serious Carple-Tunnel
    problems and was mostly MIA on the last record (he couldn't
    play piano because of CTS), so Res, or Tres if you prefer,
    asked Patrick. But Patrick is so into the Patrick thing, he
    wasn't interested.

    Then, I guess the other guys started to feel unhappy with Trevor
    Rabin and Steve Howe reappeared... and then Wakeman.

    The "interesting" tidbit in all of this is that Howe was talking
    to Gary Davis, who had organized Patrick's "door to door" tour,
    about doing a similar tour (I assume he'd bring his own guitars
    though... :-) and Howe was interested, but couldn't commit until
    the Yes thing was settled. I guess it's settled now. Steve Howe
    will _not_ be appearing in your living room in the near future...
    :-) :-)

    -b

    hey, how about the whole band in your living room?
    
    :-)

    Yeah, have your own "unplugged" concert:)
    
    RE: Rabin
    I'll have to agree that Talk is a Trevor album.  More so than Big
    Generator though.  I like talk alot but it just doesn't feel
    like Yes, and I like Yes better than Trevor.
    
    Andy
    

    From:	US4RMC::"HUNNICUTT@UNCWIL.EDU" "jeff hunnicutt" 14-JUL-1995 12:22:08.21
To:	notes_edge@sol.cms.uncwil.edu
CC:	
Subj:	Notes From The Edge - A Message From Yes


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                                                             (tm)
                 N o t e s     F r o m     t h e     E d g e

                        THE   Internet   YES   Source

                              A Message from Yes

                                July 14, 1995
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IN THIS ISSUE
=============

- Notes From the Edge: A Message from Yes

______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
------------------------------------------------------------------------------


KNOW THAT THIS IS YES
=====================

A message to Yes fans from Jon Anderson, Steve Howe, Chris Squire, Rick
 Wakeman, and Alan White:

21 years ago, at Stouffer's Hotel in Cincinnati on Chris' birthday, March
 4, we, the members of Yes--Jon, Steve, Rick, Chris, and Alan--decided that
 if the world was still together and that we were able as musicians to work
 together, we would unite in 1995 on the 4th of March in order to perform
 yet again not just for one album or one tour, but for the next five years
 in order to take the band and its fans into the 21st century and beyond.
 A document was created which we all signed that evening in the year 1974.
 Thankfully, not only for ourselves but for Yes fans around the world as
 well, we have decided to follow this prophecy through into THE FUTURE!

Be ready. KNOW that you are part of the future. KNOW that you were part of
 the past. KNOW that we will deliver the true YES MUSIC. 
                         
                       %#^&$&$&$^^#&$*$&%#
           %$^#&*%(%*^$*$*^            ^%$&^$*%^&#&%$*
  #&%$&$&^$&^$&^                               ^$#&%*%*#&#&%#^
     ^$#&$*%*            ** YESKNOW **             &%$&^%*
          %$&%$*%*                           %$^%*&%(
              ^%#&*^(&^&                %$&^%(^&
                     $&%$*%*$^$^$*%&%&#^%$*
                           $#*$%#&$^
                             %$^%
                              #$

*	*	*	*	*	*	*	*	*	*
______________________________________________________________________________
=   nfte       nfte       nfte       nfte       nfte       nfte      nfte    =
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THE ADDRESSES:
==============

Editors:

Jeff Hunnicutt   hunnicutt@uncwil.edu or nfte@sol.cms.uncwil.edu
(New subscriptions, deletions, contributions, questions/comments/criticism)

Mike Tiano       miketi@microsoft.com
(Reviews, Surveys, Tour and Release dates, etc.)

                    Notes From The Edge
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                    Issaquah, WA 98027-0013

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NFTE Server/WWW Server problems, additions/corrections to the lyrics & GIFs,
and additions/corrections to the rarities list:

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NFTE backissues, lyrics, etc, via anonymous FTP:
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------------------------------------------------------------------------------
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               END OF NOTES FROM THE EDGE - A MESSAGE FROM YES
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% Date: Fri, 14 Jul 1995 07:51:04 -0400 (EDT)
% From: jeff hunnicutt <HUNNICUTT@UNCWIL.EDU>
% Subject: Notes From The Edge - A Message From Yes
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    I CAN'T WAIT!!!
    
    It's like a dream come true....
    
    andy
    

>21 years ago, at Stouffer's Hotel in Cincinnati on Chris' birthday, March
> 4, we, the members of Yes--Jon, Steve, Rick, Chris, and Alan--decided that
> if the world was still together and that we were able as musicians to work
> together, we would unite in 1995 on the 4th of March in order to perform
> yet again not just for one album or one tour, but for the next five years
> in order to take the band and its fans into the 21st century and beyond.
> A document was created which we all signed that evening in the year 1974.
    
    I thought Bill Bruford was still the drummer in 1974.
    
    But I'm far from being sure about that...

    Bill Bruford left on the eve of the Close to the Edge tour...Alan White
    literally had 2-3 days to learn the set...so he joined in the 72-73
    timeframe...72 I think, I recall the YESSONGS liner notes saying that
    is was recorded on the 72? world tour...

    yeah, and Bruford was touring with King Crimson by the summer of '73;
    saw this band in both Sep '73 and June '74

Boston Globe Calendar Magazine says that Yes should be playing the Orpheum
Theater with Anderson, Bruford, Howe, Wakeman and Squire as the lineup sometime
around February.


Tim

    YES there IS a Santa Claus

    
    I'm there! Even if it is in Boston, in february... :-)
    
    Proves that I'm a TRUE Yes fan.... I'm willing to go to hell
    and back just to see them! :-)
    
    -b
    

    Wow!  Or perhaps I should say (in Beevis&Butthead voice):   YES!!!!!
    
    I heard about Howe rejoining, I knew about Wakeman coming back and
    whatsisname leaving, but I hadn't heard anything about White leaving
    and Bruford coming back.
    
    I'm psyched but... have reservations.  These reunions usually are
    very dissappointing.
    
    But no doubt, this is MY idea of THE classic Yes lineup.
    
    Amazingly enough, despite all his years in the band, I still can't help
    but think of Alan White as the "Bill Bruford replacement". 
    
    	db

On the other hand I think of Wakeman as the *the* keyboardist for Yes and not
what's his name (Levin?)

I saw the Union tour twice with all 8 and thought it was excellent.  I really
liked Steve Howe.  No matter how old it was, it was still great to hear
an acoustic guitar solo.  So what if I'd heard it before on Yessongs...


Tim

    Tim, I think that goes without saying.
    
    I mean, people are probably split between White and Bruford on just
    who THE drummer for Yes, was, but I haven't heard too many folks
    ever deny that Wakeman was the quintessential Yes keyboard player.
    
    In fact, Tony Kaye is probably my 3rd or 4th choice among the 
    keyboardists they've had.  I think Moraz is brilliant and I wish
    he had spent all those Moody Blues years with Yes instead.
    
    I think they keyboard PRODUCTION was FABULOUS and even
    "ground-breaking" on 90125 and I'll credit Kaye for that even though in
    the back of my mind, I tend to think that the producer probably has
    more to do with that.
    
    And "The Yes Album" is my favorite album, but my favorite VERSIONs of
    those tunes are ALL on "Yessongs" with Wakeman (particularly "Starship
    Trooper").
    
    	db

From:	US5RMC::"nfte@cms.uncwil.edu" "Nfte"  4-DEC-1995 19:23:48.03
To:	notes_edge@cms.uncwil.edu
CC:	
Subj:	Notes From the Edge #146



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                                                             (tm)
                 N o t e s     F r o m     T h e     E d g e

                                    # 146

                       THE   Internet   YES   Source

                               December 4, 1995

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------------------------------------------------------------------------------

IN THIS ISSUE
=============

FUTURE TIMES
- Yes update

CONCERT DATA
- World Music Festival
- Patrick Moraz: Claymont, DE on October 20, 1995

VIDEO DATA
- Patrick Moraz video info

SITE DATA
- Check out my homepage
- Jon and Trevor pages

OFFERED
- Autographed YESYEARS

WANTED
- Snail mail penpals
- THREE SHIPS

NEWS, COMMENTS, RESPONSES, & INFO
- Bill Gates' Universe
- Responses to #144
- The Answer (and other subjects), debated (long)
- Addendum to MORE OPTIMISM CALLED FOR ON PLANET YES
- The band played on
- The Yes experiment
- Warning re: "Vox Record Hunter" book
- Trevor Rabin's Departure
- Yes planet
- Straight talk about Yes concerts
- Dead-like tours
- "Starship Troopers"; movie by Paul Verhoeven
- Trivia Question
- Why is Crimson revered?
- Audience participation
- YESSHOWS and DRAMA remaster quality
- THE DESEO REMIXES: BMG's Discovery Magazine
- Yesseats
- Dean posters
- Some things
- Can we talk?
- RELAYER: "Blech!"
- Yes in a Parallel Universe
- RELAYER sound quality
______________________________________________________________________________
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________________
= FUTURE TIMES =
----------------
> From Editor Mike Tiano (miketi@microsoft.com)

YES UPDATE
==========
The band has been running through a combination of new ideas and old tunes.
Rick Wakeman did not attend the sessions, reportedly due to the illness of his
mother. Though there are no details on a record deal the plan is for the band
to perform a short tour at the beginning of the year, garnering a cd and video
from it. A full scale tour tentatively wouldn't occur until the latter half of
1996.

Yes and their management stress that tour rumors are premature as negotiations
are still underway. Alan White advised Notes that a rumor that was circulating
on the net of a six month tour was not correct. When all is finalized YesWorld
will have all the details for Yes fans.

MOT

*	*	*	*	*	*	*	*	*	*
________________
= CONCERT DATA =
----------------

WORLD MUSIC FESTIVAL
====================
From:  <europe@www.worldcafela.com>

My name is Steve Robertson.  I'm the Executive Director of the
World Music Festival. This event is being produced by a
non-profit organization I started several years ago called
The Humanity Federation.  The World Music Festival is scheduled
for June 22, 1996 at the Los Angeles Coliseum.  Jon Anderson is
one of our organization's Board of Trustees. Lee Abrams is one
of our Board of Directors.  Jon will be performing at the
Event.  Ref. The Nov. 25th Billboard magazine article beginning
on page 13.

Our Internet Web page site is located at:  http://wmf.oso.com

Blessings,

Steve Robertson

*	*	*	*	*	*	*	*	*	*

PATRICK MORAZ: CLAYMONT, DE ON OCTOBER 20, 1995
===============================================
From:  <BobKnabb@aol.com>

As part of his "CHAT II tour", Patrick Moraz performed for a private audience
of about 40 people in Claymont, Delaware, a suburb of Wilmington.  The
evening was filled with many of the wonderful experiences that others have
written of from Patrick's performances earlier in the year, and was truly a
night to remember for those privileged to attend.

Patrick played at several private residences during his first CHAT tour, but
this was the first "in home" concert of his current "CHAT II" tour.  Although
delayed by a seven hour drive that should have taken four hours, Patrick
arrived energetic and ready to play.  The setting was close and intimate, and
benefitted from the open L-shaped layout of our host's living room and dining
room, with the piano positioned at the junction of the two rooms.  Rows of
chairs in both rooms seated everyone within about 20 feet of the piano,
positions unmatched by even the closest front row seats of most "normal"
concerts.

Patrick started off by playing with no introduction or talking, performing an
improvisational piece with many recognizable but unidentifiable themes.  His
playing shows and evokes a great deal of emotion, ranging from a quiet breeze
to a raging storm.  After his first piece, he became quite interactive with
the audience, talking about his music and his enjoyment in sharing his music,
whether it be with a crowd of over 130,000 people in JFK stadium or in the
intimate atmosphere of a private home.  

One of the many highlights of the evening for me was Patrick's performance of
"Soon", which he dedicated to the memory of Bill Brown, a progressive music
fan and friend of mine who passed away from cancer a few weeks ago.  Patrick
chose to play the piece early in the evening, since it requires that the
piano be perfectly in tune, which he said it was at that time, but would no
longer be after a couple hours of his playing.  Frequently thoughout the
night Patrick praised the piano which was borrowed for the evening, much to
the delight of the piano's owner.

Patrick performed three sets over a period of almost five hours, including
all of "Windows of Time", selections from his other albums, improvisational
pieces, and other selections ranging from blues to Mozart. Afterwards Patrick
chatted with guests, autographed lots of pictures, albums, and old tour
books, and stayed until past 3 AM.

I couldn't help but think that it had only been a little over a month before
when I had first delved into Notes From the Edge and read about Patrick's
unique tour.  My initial reaction, besides "wouldn't it be fantastic to see
him like that", had been that it would be far too expensive for the number of
people you could get for a private performance.  But quite thankfully when I
showed the information to Mark, he immediately called for available dates and
costs and very soon was lining up people who were willing to jump at the
opportunity.  As each of us talked to other friends, we very soon had enough
people to go for it.  So in closing I just want to say, if you're reading
this and think just for a moment, "why can't I do that?", the answer is you
can.  Patrick is still performing around the country as part of CHAT II, and
certainly sounded like he'd like to keep performing like this, so hopefully
that means there will be future tours. If you can find a few friends, with a
few friends, all of whom love great music, you can experience this uniquely
moving evening of music with Patrick Moraz.  We certainly hope to do it
again.

Bob Knabb
         
*	*	*	*	*	*	*	*	*	*
______________
= VIDEO DATA =
--------------

PATRICK MORAZ VIDEO INFO
========================
From: VidEOS95@tigger.jvnc.net

ACCLAIMED COMPOSER / PIANIST 
RELEASES FIRST-EVER CONCERT VIDEOTAPE INTERNATIONALLY 

Versatile Veteran Patrick Moraz 
Records Eclectic, All-Acoustic Program in Princeton

"If Beethoven had gigged with YES, 
he might have wound up sounding like this."              
                      -- Keyboard Magazine, August 1994
                                                               
PRINCETON, NJ (November 15, 1995) Patrick Moraz, 
pianist, composer and former keyboard player for rock 
supergroups Yes and The Moody Blues announces the 
December 1 release of "Patrick Moraz In Princeton," an 
evening of solo acoustic piano jazz, new age, and world 
music recorded at Westminster Choir College of Rider 
University on October 21 of this year.
     
Included in the video program are selections from Moraz's 
1994 solo CD "Windows Of Time," as well as his 
multiply-awarded first solo release "The Story Of I," well 
known and loved by fans of his progressive rock career. 
Jazz enthusiasts will treasure Moraz's tribute to influences 
such as Duke Ellington, including one previously unreleased
composition.

This concert performance of "PM In Princeton" marked one 
of the high points of Moraz's current Coming Home America 
Tour (CHAT II), a continuing and hugely successful experiment 
in booking and promoting music performances almost entirely
over the Internet. "I gave this concert my best," Moraz claims, 
"and the video team gave their best to me." 
     
The evening was sponsored by the Princeton area's own 
Internauts: VidEOS Multimedia, an electronic media design & 
production resource for corporations on the East Coast and 
worldwide. The firm also produced the video program, and will 
distribute this and other Moraz video titles on the Internet--of 
course!--as well as through traditional channels.
      
Orders received PRIOR TO 12/24/95 will receive the special, 
limited "Internet Edition" for $34.95, with shipping/handling 
FREE OF CHARGE. On or after 12/24/95, the general release 
will be available for the same $34.95 price, PLUS shipping &
handling charges.
     
Pre-Sales are now being accepted: 
       * by calling (609) 371-1900
       * by mailing check, money order, or Visa authorization to:
          VidEOS Multimedia
          Attn: PM
          329 Route 571
          Cranbury, NJ 08512
       * at Moraz's live appearances internationally
       * COMING WITHIN 30 DAYS (Stay tuned! for Web URL): 
                        At VidEOS Multimedia's World Wide Web site, 
                        where other past  (&  >>FUTURE!<<) Moraz audio
                        & video titles will also be available for purchase.
          
                             # # #
                                
MEDIA CONTACTS:
---------------
For Product Distribution:
Pam Cheney Toft
phone: (609) 371-1900
fax: (609) 371-1911
e-mail: VidEOS95@tigger.jvnc.net
URGENT e-mail: Rritergrrl@aol.com
VidEOS Multimedia
329 Route 571
Cranbury NJ 08512

*	*	*	*	*	*	*	*	*	*
_____________
= SITE DATA =
-------------

CHECK OUT MY HOMEPAGE
=====================
From:	IN%"gandalf@pipeline.com" 

New Homepage with links to YES 

 Hi everybody :-) 
 
Haven't seen me for awhile have you? I was quite busy beta testing a network 
and some software for long hours then I bought a new house (I've named it
"SUNHILLOW" btw) anyways my new homepage is up and I'd like
suggestions/comments/advise (bear in mind 500k limit). It has a couple nice
links (Yes and TD included) so check it out: 
   http://www.users.nyc.pipeline.com/~gandalf/ 
 
     thanks :-) 
 
    GANDALF 
        

*	*	*	*	*	*	*	*	*	*

JON AND TREVOR PAGES
====================
From:	IN%"mwdthorp@englab.slcc.edu"  

The Unofficial Jon Anderson Page: the url address is at:

http://www.lookup.com/Homepages/44753/byd/j4.html

It's call the Unoffical Jon Anderson Page

It provides links to lyrics which is located at the Vivivran lyrics server.

Also, I made a page for Trevor Rabin TOO! I named it,

ETOILE NOIR: The Trevor Rabin Homepage

that can be found at

http://www.lookup.com/Homepages/44753/rabin/rabin.html

I plan to also have a fan newsletter/ called SLUDGE.

If you can help me sponsor this idea, give me a call.

anyway, 

Let YES live forever.

d0n

*	*	*	*	*	*	*	*	*	*
___________
= OFFERED =
-----------

AUTOGRAPHED YESYEARS
====================
From: Mike Clemens  <Clemens@mainpo.gci.gci.com>

A mint 4 CD Yesyears set autographed by Rabin and Howe

Mike Clemens
(907)-265-5475 (work)
(907)-373-6068 (home)

I live in Anchorage, Alaska.

*	*	*	*	*	*	*	*	*	*
__________
= WANTED =
----------

SNAIL MAIL PENPALS
==================
From:	IN%"MJPE26A@prodigy.com" 

I have an Internet-deprived friend in England who is interested in hearing
from Yes fans worldwide via old-fashioned snail mail.  She asked if I could
have the following posted in NFTE on her behalf:

Yes Friends Wanted - Genuine Replies Only.  Good letter writers from
_anywhere_ in the world (U.K., Europe, U.S., etc.).  Guys or girls welcome.
 Chris fans are _especially_ welcome.  (No Rabinettes please.)  Unsuitable
replies will be ignored.  Please write to:  Helen Dolman, 19 Craven Street,
Burton-on-Trent, Staffordshire, DE13 OTR, England.

*	*	*	*	*	*	*	*	*	*

THREE SHIPS
===========
From:	IN%"pjodoin@barint.on.ca" 

Hi guys like the newsletter.  I've been trying desperately to get a hold of
the Jon Anderson Christmas album or tape or CD but haven't been able to
locate it.  My previous copy was stolen.  If anyone out there knows how I
can get this let me Know pls.  at pjodoin@barint.on.ca.

tks a million.

*	*	*	*	*	*	*	*	*	*
_____________________________________
= NEWS, COMMENTS, RESPONSES, & INFO =
-------------------------------------

BILL GATES' UNIVERSE
====================
From:	IN%"jluttrel@filenet.com"  "Luttrell, John" 

>From:   "marcrez@freenet.scri.fsu.edu"  "Marc Resnick"

>"MoongateCl@aol.com" said:

>        Who else sat down to watch the NFL pre-season game on
>       Monday night the 7th and was startled and jubilant to
>        realize that the festivities were getting underway with
>        "Endless Dream" prominently featured as background music?! :)

>Yeah - I got blown away when Endless Dream, The Calling, and I am
>Waiting were all played at Lotusphere '95 - the annual Lotus Notes
>conference.  Guess other techies have good taste too!

>Marc Resnick

>[I guess so...I was surprised when "Heart of the Sunrise" opened the break
>at the annual Microsoft company meeting! --ED. MOT]

 --------------------
Okay, one more yestechies note: I was thrilled to hear ABWH's "Order of the 
Universe" as the opening music for Bill Gates' speech "Information at your 
fingertips" from  1994 COMDEX. Check it out!

John Luttrell

*	*	*	*	*	*	*	*	*	*

RESPONSES TO #144
=================
From:	IN%"lacorata@acqua.ifa.rm.cnr.it"  

I'm much more a reader than a writer, as regards NFTE. Last time I read some 
comments in #144 which I'd like to discuss. I premise that I'm a deep
supporter of the Golden Age ('70-'79) and also of Drama (apart the 'criminal'
live performances of Trevor Horn as Yes singer...), the very last album worth
to belong to the best Yes production. 15 years have passed, and I'm still
waiting for a new one of that kind. I could only take with great joy the news
that what is, IMO, the best line-up of all has come back to work together
again. So, I'm very far from the Astral Travellers and from the Generators,
but also from ABWH (ABWH and the embarassing UNION are the demonstration that
the names are necessary but not sufficient...).

In answer to "tomhowie@nylink.org" (#144):

>There are two modes of thinking by musicians: 1. find out what
>the people want and play that, and 2. play what you want to play,
>regardless of popular public tastes, and if people like it, fine,
>if they don't, fine.

Agreed for the noble number 2., but it all works well especially (if not only) 
when it coincides in most part with number 1.

In the early 70's, progressive groups used to play what they really like and 
people followed them with enthusiasm because there was a big request for that 
kind of music in those years. That request vanished with the end of the
decade, and sooner or later, all the great rock groups had to change something
in their style not to lose touch with the ever changing audience (see Drama,
90125,...). The 80's saw the glories of emerging pop/hard/rock, and in fact
Yes were led by Trevor Rabin along that path, obtaining a world wide success
with 90125. But we all know that was another group, they were Cinema, not Yes. 

The very point is not to pay attention to the mass in order to sell many
copies (the leaders in this business are those meaningless and annoying people
called Madonna, M. Jackson...), but to take into account fans' expectations,
YES ! Fans' wishes are not but "Yes, be Yes please", nothing else. We have two
bright examples of changing but saving their own trademark, Drama, and
changing to become substancially another group, 90125.
 
That's why most fans see these last years like an obscure period. I believe
that an artist is free to do what he wants, but if he appears inside a group
under the name YES, he is somehow bound to what such a group has created in
the history of music, to a definite style, to certain features that
distinguish it from the other ones. Otherwise, please choose another name and
go another way.

It's not a question of "Yes-in-a-box" point of view. Jon Anderson did what he 
wanted in ABWH, and I'm glad that 'Teakbois' saves us from carrying the YES 
signature, at least ! 

Willing or not, a name, a logo, a definition mean necessarily to be something 
and not to be something else, it's obvious.

I'm not afraid that the new album could be damaged by the compromise with the 
classic Yes fans' sake, at all. On the contrary, I would not accept any other 
strange compromise that could lead to another ABWH or another UNION. 
Never more !

reply to "mark_rhodes@houghton.edu" (#144):

>        It seems like an awful lot of people spend an awful lot of time
>comparing Yes with Rabin to Yes without Rabin, with Rabin getting the worst
>of the comparison.

I'm one of those awful people, but I don't spend so much time with this
because the fact is extremely self evident... I like very much Trevor Rabin as
guitarist and when he plays on stage, but his songs hardly sound like Yes
songs.

>Why does Rabin get all the flack?  Personally, I think
>RELAYER is the worst album Yes has put out to date, but I don't hear too
>many people complaining about Patrick Moraz's contributions to the album.

Perhaps, you might be the only one who thinks RELAYER is the worst album ...
I wonder if the guitar solo in Sound Chaser tells you something on who's 
playing...

>And when Geoff Downes and Trevor Horn joined the band, they also brought a
>major change to the Yes sound.  But again, they don't get criticized for
>their contributions to the music.

Simply because they don't deserve to be criticized, being DRAMA a great Yes 
album (we could discuss on the voice of Trevor Horn, but surely not on Geoff
 Downes, much better than Tony Kay as Yes keyboardist, IMO)

>...          No, the Rabin-era didn't produce any FRAGILEs or CLOSE TO THE
>EDGE, but would we really want them to?  We already have that music.
>Instead of seeing the addition of Rabin as a negative, it should be seen as
>an opportunity to hear a totally new Yes sound and experience new music.  If
>all Yes produced was CLOSE TO THE EDGE, the band would soon become
>predictable and boring.

Sorry, no ... the band has soon become predictable and boring just in the 
'80's/'90's, with T. Rabin strongly influencing the group, leading the 
production work.

>         Secondly, in comparing Rabin-era music with other Yes music, I think
>we end up comparing apples and oranges. 

OK, I agree. We're just comparing two diverse groups, Yes and Cinema, so as we 
could also compare Yes and ASIA, ASIA and Cinema, etc.

>       Now everybody wants to know what the new/classic line-up will put
>out.  Will they put out another CLOSE TO THE EDGE, or write another "Heart of
>the Sunrise?"  I hope not.  ...

Perhaps 'Going for the one' suffered for the problem to have CTTE and HOTS 
behind, or to do something like that at any cost ?
They are in the same situation as when they met themselves again after 
Relayer (only shifted 20 years later...), and then the result was excellent.    

>Let the music determine itself instead of trying to fit it into rigid
>categories.             

Let me know someone who thinks without certain basic categories...
The very problem is _to be able to change_ some mental categories if the 
experience prove them false, not _to have_ categories.
Sorry for being so long...
 
Bye, GUG

*	*	*	*	*	*	*	*	*	*
 
THE ANSWER (AND OTHER SUBJECTS), DEBATED (LONG)
===============================================
From:	IN%"greywolf@captech.com" 

 * THE ANSWER? MAYBE NOT
 * =====================
 * From:	"david@visix.com" 
 * 
 * It would be a great idea, but it's incredibly difficult for a band
 * with songs as complex as Yes to memorize 6 or 9 hours worth of
 * material at once.

Poppycock.  Not to be brash or egotistical, but, "I could do that."
Consider that they do a lot of jamming in the middle or heavy
instrumental parts.  Stretching out the entirity of _The Yes Album_,
_Close to the Edge_, _Relayer_, and _Going for the One_ could easily
cover 3 of those hours by themselves, for example (please don't mis-
construe that I would necessarily want to see such a show, though it
wouldn't be bad at any rate).  And applause and an intermission suck up
20 minutes alone -- that could cover a song or two.

Music time at a concert doesn't approach 3 hours; in fact, you're lucky
if you hear 2 hours worth of music.

 * It would be nearly impossible to memorize 6 or 9 hours of music to
 * that same level of accuracy.  And it's far better that a song not be
 * played than if it would be played with mistakes.

It could be done.  It's a matter of being sufficiently interested to do it.

 * But consider the price.  A typical concert is about $30.  A 3-day
 * concert package would cost $80-$100.  A bit more than many fans
 * (myself included) would be willing to pay.  You might not get as many
 * people as you think.  Especially with a band like Yes that doesn't get
 * many hit singles.

But think about it.  Are we fans because they play hit singles or because
we like their music?

Hell, the Dead were doing music for THIRTY YEARS and the only single they
had on the charts AT ALL was "Touch of Grey".  Look at how well THEY did.

While we're on the subject...

The thing which would have a profound effect on the attendance at shows
is if the attitude towards things like cameras and recording weren't so
uptight.  Hell, the staff at the arenas can be almost enough to drive
one away from ever attending another concert.  They don't like it when
you switch seats, for example...  For another, I attended a Yes show
"way back in 1984" :-) and there was NO STATEMENT REGARDING CAMERAS
on the ticket or in the ad for the show.  When I got there with my
camera, they insisted that I couldn't bring it in!  With no warning.

Bend the rules?  I could sooner bend a soda cracker.

Oh, looky:
 * 
 * YES DOING GRATEFUL DEAD-TYPE CONCERTS
 * =====================================
 * From:	"powell@boulder.vni.com"  "Matt Powell" 
 * 
 * Such a concert could go 3 hours with 2 intermissions, and shouldn't be a 
 * problem since Yes usually doesn't have an opening act anyways (except when 
 * they showed Warner Brothers cartoons on one tour!  Fantastic!)

I'd love to see Yes play longer.  I was *PISSED* at watching cartoons for
an hour before the show started.  If I wanted to see cartoons, I'd have
watched them on TV at home.  Well, actually, the first time, it was pretty
cool.  But when it turned into a habit, I was not amused.  They were wasting
time better spent playing music.  I was glad when they stopped this practice.

A typical show seems to go

	8:00-9:00	Music
	9:00-9:15	Intermission
	9:15-10:15	Music
	10:15-10:30	Encore (MAYBE)

That's 2:15 of music (and LOTS of applause).  How about:

	7:00-~8:45	Music
	~8:45-9:00	Intermission
	9:00-~10:15	Music

		OR

	7:00-~8:00	Music
	~8:00-8:15	Intermission
	8:15-~9:15	Music
	~9:15-9:30	Intermission
	9:30-~11:00	Music	(long stretch!)

That would be a KILLER show.  But starting at 8pm and ending at 10:30?
I somehow felt cheated when I left.

 * 
 * Hopefully this concept could somehow be communicated to some of the band 
 * members.

Agreed.

On to other talk...

 * 
 * MEMORY LANE: BEEN THERE DONE THAT
 * =================================
 * From:	"BARTLETP@QUCDN.QueensU.CA"  "Paul" 
 * 
 * While more of a trooper than a generator, I thought that the
 * last tour was very well done... I've usually thought that the generator
 * music does not come across as well live, but on the Talk Tour, I was very
 * impressed.  A live CD and/or video of this show would be great.  Sure
 * Trevor's * treatment of some of the older tracks bothers me, but the
 * focus would or  * should be new material.  What is going to appear on a CD
 * or video from the latest Yes?

The thing is that Trevor didn't treat the music, he massacred it.  He demon-
strated a lot of talent, but man, what he did to _And You and I_ (every time
he played it) was horrid.

Of course, being a perfectionist, I prefer Bruford's handling of the rhythms
on Heart of the Sunrise to the way Alan did it, but that's neither here
nor there :-).

 * Paul Bartlett


				--*greywolf;
--
D.A.R.E* to keep cops off donuts.
(* Donut Abuse Resistance Education)

*	*	*	*	*	*	*	*	*	*

ADDENDUM TO MORE OPTIMISM CALLED FOR ON PLANET YES
==================================================
From:	IN%"zmoq@ix.netcom.com" 

In response to Erich's article in NFTE #145... I couldn't resist. You 
forgot one other possibility! 

Addendum: (from ZMOQ@ix.netcom.com) 

After thinking about it, Was Yes' foray into "commercial rock" in
the 80's was an attempt to achieve the same success as <this band>.
I'm NOT kidding! Consider the facts... perhaps, in an alternate
universe, it COULD have happened. It DID happen with <this band>
several years before Yes released _90125_. Did Yes and their
management see <this band> as an example?

The story of <this band>

In 197*, several young men formed a band called <this band>. Their
drummer was a highly-regarded session drummer, who, at various
times, had played drums for some of rock's most prestigious
artists. Their <instrument> player had gained a lot of attention
for his work with <another band>. <this band> specialized in jazzy,
spacy improv-rock, which did not exactly endear them to listeners
of Top 40 music, hence, <this band> remained unknown amongst fans
of popular music.

<their new member> joined the band in 197*, and made some immediate
changes to the music. Gone were the long instrumental jams, being
quickly replaced by catchy, hook-driven, energetic, concise and
VERY accessible songs. Fans of the band's old style grumbled, and
for a while, they refused to accept <their new member>. They made
snide comments about <their new member>'s tight pants, and grumbled
when legions of girls flocked to <this band>'s shows.

<their new member> stuck it out bravely, and eventually, <this
band> had COMPLETELY reinvented themselves. They were able to cut
the tether to their past, and had dropped ALL of the songs from
their earlier phase from their live concerts. They had seven
consecutive  *platinum* albums, and seventeen Top 40 hits. They
became the darlings of MTV, and Top 40 radio. Even though they ran
out of steam and eventually broke up, they are still known as one
of the top hitmakers and top moneymakers of the 80's.

*	*	*	*	*	*	*	*	*	*

THE BAND PLAYED ON
================== 
From:	IN%"Alex08310@aol.com"

Hi, my name is Alex Calabrese.  I am 44 years old and remember when the first
Yes album debuted.  This was also the same day that the first Led Zeppelin
album debuted in my home town.  Everyone bought the Led Zeppelin album, I
bought the debut Yes album.  I still love that album, especially the way the
band did the Byrds song "I See You."  Because of my purchase of the TALES
FROM YESTERDAY tribute album I was turned on to the NFTE newsletter.  This
revised my interest in Yes.  Are there any other fanzines out there in
printed or electronic format?  I love all the bands music and appreciate all
the changes they have gone through.  To me these arguments of Banks versus
Howe versus Horn versus Rabin, not to mention Kaye versus Wakeman versus
Moraz or Bruford versus White, are irrelevant.  What is important is that the
band kept on playing in one form or another.  I like all their albums but am
partial to their first two, Going For the One, and Drama.  I did read one
article here locally saying Kaye was out and Wakeman in.  The writer went on
to say that he was happy to see the "original lineup again."  I wish someone
would advise him that Kaye was in the original lineup.

Anyway, a few inquiries.  I have a sampler tape called the Cinema Sampler on
the Cinema label which features a couple of cuts by Patrick Moraz and
mentions a solo album by Tony Kaye.  Cinema was EMI's "new age" label.  Did
Tony Kaye ever release that album?  Also, I have all the Pete Banks solo
albums and see he does have contact with Tony Kaye.  I do wish the other
members of the band would cut an album with Pete.  I would like to see him
with Kaye and Bruford.  I guess this is just wishful thinking.  Anyway, NFTE
is great.  I've turned a contemporary of mine on to Yes.  It was hard for me
to believe that someone near 50 never heard of Yes.  He did get rid of all
his Led Zeppelin albums and has been purchasing Yes CD's.  Adios for now.

Alex Calabrese
Buena, NJ

[Tony Kaye never released an album for Cinema. Tony and Pete remain friends
and have continued to communicate throughout the years (Pete attended some of
the Yes shows on the TALK tour). --ED. MOT]

*	*	*	*	*	*	*	*	*	*

THE YES EXPERIMENT
==================
From:	IN%"MDJKB@CUNYVM.CUNY.EDU"  "michael jeter" 

In response to Andy Barber:

As time has gone on, I have become less of a YesWhole and more of a Trooper.
However, many people (yourself included), continue to say that Trevor Rabin
was competent to genius musician, but that he had taken control of the band.
If we leave out Kaye for a sec (b/c he left b4 Yes became famous) then what
many of you seem to be saying is that Trev was able to wrest control and
direction of the band from 3/5 of what was once one of the most powerful
(interms of concert attendance) bands in rock. I find it hard to believe that
he is that much of a Svengali/Rasputin (besides, Anthony Hobbs is the Rasputin
of all of YesDom:-) Clearly, Ahmet Ertegun(sp?) and the big-wigs of Atlantic
had as much if not more to do with the directions Yes took in the eighties.
As far as TALK goes, I still submit that whatever control Trevor had/took
was given to him by the other members of Yes.  To say otherwise, I believe,
is to grant powers to Rabin that he does not have, and moreover, to insult the
integrity of A,S,W,& K. I feel it is probably much more genuine to say that
Yes engaged in an experiment that many, if not most Yesfans believe failed.
I will pt. out b4 anyone else does, that for a band which had experimented
from their first album on, the collective 80's-90's Yes experiment, was, as
stated elsewhere, the most homogenous and conservative of their experiments.

Michael Jeter

*	*	*	*	*	*	*	*	*	*

WARNING RE: "VOX RECORD HUNTER" BOOK
====================================
From:	IN%"potts@stats.ox.ac.uk"

*Vox*, a UK music magazine, publishes a "Record Hunter" book. The section on 
miscellaneous Yes-associated singles claims Steve Howe and Peter Banks play on 
the two singles by The Syn. In fact, The Syn included *Chris Squire* and Peter 
Banks. 

Henry Potts	(potts@stats.ox.ac.uk)

PS: I quite liked the "Yes & Sex" article from NFTE #144.

*	*	*	*	*	*	*	*	*	*

TREVOR RABIN'S DEPARTURE
========================
From:	IN%"Joseph_A_Capasso_at_~PGRSM32P@ccmail.bms.com"  

     This is the first note that I've posted to NFTE.  First and foremost 
     did Rabin get asked to leave or leave on his own. I KNOW ALL ABOUT THE 
     AGREEMENT THAT Anderson, Wakeman, Howe, White and Squire had signed 
     back in the 70's, but this seems permanent.
     
     I was  and never will be a big Rabin fan.  I do feel he made some good 
     "COMMERCIAL" contributions to the band, but it basically ends right 
     there. 
     
     The return of Howe and Wakeman will undoubtedly bring back the classic 
     Yes sound.  A sound, that has really been lacking from some of the Yes 
     albums with Rabin on them.
     
     I've been a Yes fan for 20 years and I'm glad that NFTE is around so 
     the Yes die-hards all over the world have a common forum to speak.

     Joe Capasso - Morrisville, PA
     
     Jcapasso@usccmail.bms.com
         or 
     PMTY52A@PRODIGY.COM
     
[Trevor contends that it was his decision to leave the band. --ED. MOT]

*	*	*	*	*	*	*	*	*	*

YES PLANET
==========
From:	IN%"Bjorn-Are.Davidsen@s.prosjekt98.telenor.no" 

"EToll@aol.com" wrote in NFTE # 145:

> There's been a bit too much grumbling recently in the Yes fan circle in
> recent years: Yes West was worthless, ABWH didn't live up to its 
> promise, Jonathan Elias cheated Yes fans, the classic line up reunion will 
> disappoint.

> Let's pause for a moment and think about the very essence of Yes: 
> positivity, affirmation, etc. I, for one, think life has been pretty good for the 
> Yes fan in recent years. Yes has put out six studio albums since 1980, 
> tours to support every album and doubles up with second legs, and puts 
> out some great merchandise like the Yesyears box set and video.

> Consider your fate, in contrast, for the fans of other giant prog bands like
> ELP, Genesis, and Pink Floyd. Consider what Yes would be like in a > 
different reality:

As a "Yessonger" (after having received Yessongs as a Christmas 
present in 1973 I've always felt it to surpass both earlier and later Yes  
albums, and hence I'm no Trooper nor anything else), I've also wondered 
what would have happened on a Yes planet, and (as is my habit) 
particularly with ELP in that case. So the story goes:

In the Yesiverse Keith and Greg leaves ELP in 1980 to be replaced by 
Trevor Robin and Janis Ian (the latter as she was the only rock singer 
who could match Greg's vocals). They then make the rather 
uncharacteristic album RIPoff, before Palmer leaves (to be replaced by 
Colin Powell) and Lake returns. The new ELP then put out 92701with the 
hit single "Owner of a Honey Farm".  Never to avoid a quarrel the boys 
separate again, this time making the official ELP centered around 
Robin and Palmer.

Then the different group Lake, Emerson and Powell (with no legal rights 
to the ELP name) makes the album LEP and backs it on stage with 
Gary Moore. After a successfull tour everyone get together on the 
album Union, before Emerson leaves again. In this period several  
boxes, live sets and videos are issued, such as ELPast and ELPieces, 
containing obscure leftovers from the early 70's and new live versions of 
"Lucky Man", "Tarkus" and "Rondo".

 The latest ELP album so far is "Walk" by Robin, Lake, O'List and Powell, 
based more on a heavy metal emphazise than prog. However, rumours 
say that Robin and O'List now have left the group and Emerson finally 
has returned after having put out 23 CD's with various new age pastiches 
and historical muzical romances.

Regarding Genesis and Pink Floyd in the Yesiverse, I guess everyone 
may guess by themselves. On Yes planet Genesis has an interesting 
and intricate mixture of people on and off, while Pink Floyd with a 
rejuvenated Barret  is a sensation - at least before the CD.

Bjo/rn Are

bjorn-are.davidsen@s.prosjekt98.telenor.no
------------------------------------------------------------------------------
                   -  The Weaver in the Web that he made -
------------------------------------------------------------------------------

*	*	*	*	*	*	*	*	*	*

STRAIGHT TALK ABOUT YES CONCERTS
================================
From:	IN%"ve1@leicester.ac.uk" 

A' propos my comments about what a decent new Yes tour might look at, I think
I should add a few other points.  Steve Howe says it is hard to remember more
than 2 hours of music.	I'm sure it is.  However, Frank Zappa's band were able
to do radically different shows in successive nights, and his music was hardly
easy to play.  Given the high probability of Yes playing a 'greatest hits'
set, surely these numbers are over-learned?  If this is the case, they might
actually find it fun to do something more demanding.  After all, how many
times have they played "Roundabout"?

I may be cynical, but I love the band.  I like them even more when they
subvert the aweh that some people project on to them.  The concerts have been
good for this kind of stuff. Rick Wakeman playing the theme from "Match of the
Day" (British soccer show) whilst others are tuning between numbers on the
"Going for the Bum" tour.  And, something that the NFTE readers (and all
future Yes histories) should note.  When Yes played the Brighton Conference
Centre in December 1980 as part of the DRAMA tour, a pretty characterless 
show was made memorable by Trevor Horn saying, 3 or 4 numbers in, and in a
big-rock show flourish, "Hello, Birmingham!".  Brighton is a quiet audience,
but you might have thought it was Glasgow that night.  No, they didn't support
a puppet show.  

(Sorry Trevor, but it had to come out one day.)  Any other Spinal Tap-type
moments on Yes tours readers would like to share?

Vincent Egan

*	*	*	*	*	*	*	*	*	*

DEAD-LIKE TOURS
===============
From:	IN%"John.Lukes@Ebay.Sun.COM"

I heard it said recently that all the best, the most successful,
and the most rewarding ideas both in business and in the arts
were severely criticized as unworkable, too problematic, etc., etc.

For every reason why the idea that a Grateful Dead-like approach to
touring would NOT work, one could easily offer reasons why it WOULD
work.

The Dead were willing to experiment, go with the moment and therefore
"make mistakes" on stage.  YES concerts have, historically, been marked
by extreme precision and tended to try to "re-create" the recorded
performance, as closely as possible.  So it would appear that YES's
traditional approach would create tremendous stress on the band's
members to get 100% accuracy on their entire catalog of tunes, if 
they were to do alternating sets or play the next tune that "felt"
right, in the moment.

However, IF (and it's a big IF) the band (AND it's audience -- yes,
we FANS) were to let go of the idea of having to re-create the studio
performance as accurately as possible, and moved into "jam" consciousness,
then it would be possible for "Dead-like" shows to begin to occur.

The alternative would be somewhat like what Pink Floyd did last tour,
which is to have slightly altered sets, and every once-in-awhile drop
in a completely unannounced "Dark Side Of The Moon" -- hmmm, "Close
To The Edge", TALES FROM TOPOGRAPHIC OCEANS (and of the four pieces), etc.

I think the band, as reformed, has a much better chance of doing
something more like the latter than the former (more Pink-ish, than
Dead'ish)...but they could also go completely bonkers and try out
a JAM set inside their regular, totally tight, 100% accuracy sets, 
and ask for audience reaction.

Just continuing the discussion.....it'll really be up to them, and 
how willing they are to experiment.

Their individual solo careers, and collaborations with other artists,
may give them the confidence and the interest in the more "JAM-like"
side of the spectrum.

We'll, hopefully, get a chance to find out here, in the not-too-distant
future.  

-JOHN

*	*	*	*	*	*	*	*	*	*

"STARSHIP TROOPERS"; MOVIE BY PAUL VERHOEVEN
============================================
From:	IN%"P.E.J.Bauwens@stud.tue.nl"  "P.E.J. Bauwens" 

De Telegraaf, saturday 11 november 1995:

"Terwijl de Nederlandse regisseur Paul Verhoeven na enige grote
Hollywoodsuccessen als ROBOCOP en BASIC INSTINCT nu zijn eerste Americaanse
grote flop beleeft met de omstreden film SHOWGIRLS, bereidt hij zich toch al
weer vol goed moed voor op zijn volgende project, de film STARSHIP TROOPERS,
een science-fictionfilm naar het boek van Robert Heinlein."

In this article from our Dutch paper they speak about a movie called
Starship Troopers, going to be made by our Dutch conductor Paul Verhoeven.
We know "Starship Trooper" (without "s") is an early song by Yes. Has Yes to
do something with it? Is it conducting old an/or new songs to this film?
Please send me a reply of any kind. I think it would be really fun to hear
Yes-music in a movie.

Thanks, Bauwens P.E.J.
        P.E.J.Bauwens@stud.tue.nl

*	*	*	*	*	*	*	*	*	*

TRIVIA QUESTION
===============
From:	IN%"tomhowie@nylink.org" 

Bill Bruford once said, "Quitting Yes was the most famous thing I
ever did."

This was in relation to his resigning Yes after CLOSE TO THE
EDGE to join King Crimson.  What's not widely know is that this 
was in fact the *second* time Bruford quit Yes.  In the autumn of
1968 he quit Yes after an initial nine-month jaunt to attend
Leeds University to study economics.

His replacement was not too good, and after dragging some of his 
school chums to see his former band, he went backstage to see the
guys and was arm-twisted into playing the warm-up gig for the
Cream Farewell concert ("just one more gig, Bill!").  After the
gig, Michael Tait drove Bill back to school and managed to
convince him that his path really was with Yes after all.

Bill rejoined, and the rest is history.

Your question:  who was Bill's replacement drummer in 1968?

*	*	*	*	*	*	*	*	*	*

WHY IS CRIMSON REVERED?
=======================
From:	IN%"BRIANH@lcl.mhs.compuserve.com" 

Everyone seems to compare Yes and King Crimson, with Yes getting the
shorter end of the stick on integrity, creativity, etc. This is
particularly so with Bill Bruford in interviews, and has cropped up
in NFTE postings from time to time. I enjoy KC very
much, and thought its latest album was excellent. But let me say this:
Yes always plays live for 2 1/2 to 3 hours. The current KC show
barely lasts 1.5 hours. When I saw them in Philadelphia this tour,
they were into the encore already  only 70 minutes into the show. This
doesn't seem like creative integrity to me, it seems like "take the
money and run."

BrianH@legalcom.com

*	*	*	*	*	*	*	*	*	*

AUDIENCE PARTICIPATION
======================
From:	IN%"gornyja@whitman.edu"  "Jacob Aaron Gorny" 

	Reading over a lot of the statements people have made about Yes 
in general, I've been surprised at how little has been mentioned with 
regards to live performance. Of the big names, I've seen ABWH once in 
Portland, OR, Yes - UNION, Portland, and I also recently saw King Crimson 
in Portland.

	The audience reactions are usually just as interesting as the 
performances themselves at these concerts, because there is a constant 
interplay between what the people do and how the musicians play.

	In reference to the UNION show, I was impressed by the grandness 
of seeing the band in the round, but there was something missing. One of 
the things that helped make Yes' music work for me was that the music was 
the focus of their artistry, not their method of delivery.
 
	When I saw ABWH, they were not on stage performing theatre to their 
music. They were performing music. 

	The result was clear in the level of audience participation. We 
all sat. Some meditated. Some stood and swayed. Some simply watched and 
admired. As a result, the show was very long. And I heard things there 
that I had never heard before.

	Some examples. I would have to say that the version of "Order of 
the Universe" which I heard there was one of the most interestingly 
played versions yet. It was interesting in that it wasn't as orderly as 
one would expect. In the middle they switched back and forth between a 
"Gates of Delirium" swoosh and then a metered singing of the chorus. We 
were all amazed.

	Another example of great music. The interplay between Tony Levin 
and Bill Bruford. It was VERY experimental, but it had broken up the mood 
in such a way that it was what the audience required.

	The climax of the show for me was the encore, that really blew 
away my friend. (He was the big Yes fan back then. I had only heard a few 
albums, and CLOSE TO THE EDGE was not one of them.) What I heard was 
amazing, and after I left I went home and bought the CD with "And You and I"
on it. That was when I realized how much Yes really cared about the craft 
of making music. As the final song of the evening, they played And You 
and I, but it had a twist. As the song was ending, they moved back to 
"Eclipse," and extended it, going through all the different key changes 
that eventually musically took them back to the original key signature. 
It was absolutely the most divinely inspired piece of music I'd ever 
heard. But I believe it happened because that was what the audience was 
there for.

	At the UNION tour, there was less humility on the part of the 
players, but even less humility on the part of the audience. I have never 
been told to get up and dance at a Yes concert, but I was that night. The 
audience was confused, I guess, as to what was going on. They didn't sing 
"All Good People" when the band asked them to. It was very discordant. 
And Trevor's guitar was too polished. It reflected the lights into 
people's eyes and was very distracting. His playing was excellent in his 
own way, and so was everyone else. I'm afraid, however, that there was 
not enough humility involved to allow the music to exist as intensely as 
it had during the ABWH concert.

	The Crimson concert was the strangest concert I had ever been to. 
It was the third time I'd seen Bruford live. The audience was remarkable. 
Oh yes, they played at the Roseland Theater. That is a place without 
seats, namely for hard core and alternative shows. They put seats in. It 
really set the stage for what we as audience members were suggested to 
do: Sit our butts down and listen.

	We did, and it worked wonderfully.

	I guess what I'm trying to say is, consider that the sort of 
music Yes produces is directly related to what the audience wants to 
hear, and that if we as fans can not humbly accept the music Yes offers
without trying to make it something else, Yes is in no way obligated (or 
perhaps even able) to humbly offer good music to their fans.

-Jacob Gorny
gornyja@whitman.edu 

*	*	*	*	*	*	*	*	*	*

YESSHOWS AND DRAMA REMASTER QUALITY
===================================
From:	IN%"pcr@chensys.com"

I've purchased most of the remasters, and am happy with all of them 
save two: Yesshows and Drama.  I scanned the NFTE backissues to find some
discussion of the quality of the remasters, but didn't find much but hints
about problems with the sound quality on these two.  Before I go out and
buy new versions of them (they are not so easy to find in Eau Claire, WI),
I would like to know whether the CDs themselves are defective, or whether
this was the best the remasterers could do.

The spot which I question on YESSHOWS is the vocals on "Soon."  They crackle
and fade, as if they were taken from a tape that was wearing out.  Does the
Japanese import of YESSHOWS share this problem?

On DRAMA, several places (most notably the guitars at the end of 
"Machine Messiah") sound overly distorted, as if they were recorded with 
the levels too high.  "Tempus Fugit" shows this as well, though I don't 
remember it being a problem with the same song on "YesYears."

So what's the consensus?  Is this a problem with all the DRAMA and YESSHOWS 
remasters, or is it just mine?

Thanks for your help,
Phil Roth

*	*	*	*	*	*	*	*	*	*

THE DESEO REMIXES: BMG'S DISCOVERY MAGAZINE
===========================================
From:	IN%"mistern@dttus.com"  "Mitch Stern"

     To my surprise, the most recent edition of the BMG Music Club's
     monthly magazine - Discovery - offers THE DESEO REMIXES, which was
     the subject of conversation in recent NFTE editions.  It is
     described as "techno remixes of the world music of Jon Anderson."
     No mention, however, that he was a member of Yes.
     
     In the same edition, there is a feature on "Yes in the '70's," with
     some kind words about the rapid growth of the band after the release
     of THE YES ALBUM  All of the studio albums from the '70's are
     available.  There is an odd "group" picture from that era as well -
     odd in that it only includes four group members - Anderson,
     Bruford, Howe and Squire - no keyboardist.
     
     On another topic, does anyone know where to get TALES FROM
     YESTERDAY?  I have been searching everywhere and cannot locate it.
     Thanks.

*	*	*	*	*	*	*	*	*	*

YESSEATS
========
From:	IN%"CHOFER@corp.qgraph.com"  

Greetings Yesfriends!,
 
	With all the expectations of the possible upcoming tour, I have 
found myself wondering:

	What can we do as fans to get the best seats for any given show?

	It is not always convenient to neglect our jobs (or classes or lives)
to camp out overnight in a ticket line in hopes of getting a seat closer than
the 25th row of the second balcony.

	Why should some wahoo (who wouldn't even be going to the show had 
they not won tickets from a radio station) get a better seat than someone
who has spent a lifetime (and a small fortune) supporting the band and their 
endeavors?

	Could we not appeal to the band to support us as we have them?

My proposal:

	We, as a group, ask Yes to stipulate in their contract with promoters
to provide a block of prime seats for subscribers to "Notes". Something 
along the lines of the "Golden Circle" seats that were available during the
"Talk" tour. I'm not asking for a discounted ticket, merely a good seat.
The "Notes" membership is a large group, how large, I don't know.
Would we end up asking for 50,100,200 tickets per show? I don't know.
Maybe in some of the larger markets, we might need that many tickets.

	We could have local Yes friends coordinate with the promoter to handle
ticket requests, and other related items. Through "Notes", we could help
each other gain access to great seats in other venues, thereby increasing
ticket sales (slightly) and increasing our own enjoyment. I,personally, 
try to attend as many shows as I can - regardless of where my seat is.
The important thing is TO BE THERE. To be a part of the magic again...
and again...(But a great seat makes for a better experience,eh?)

I hope I haven't sounded too greedy. I don't mean to impose on the band. (How
about a little backscratching?)

I know I don't need to ask for your feedback.

Your's,
(is no disgrace)
Carl Hofer
CHOFER@CORP.QGRAPH.COM

*	*	*	*	*	*	*	*	*	*

DEAN POSTERS
============
From:	IN%"00rrchorzemp@bsuvc.bsu.edu"  

For all the Dean fans out there, I found the company that prints the posters,
and asked for one of their catalogs. The catalogue was $3, but on the first
order you can subtract it as credit with an order of $15-$25, and $5 is credit
for an order of $25+.  The flat price per poster is $5.50, but shipping prices
increase with the cost of the order.  I created a basic breakdown of $ per
poster taking this into account:

1 poster-9.45 ea	2 posters-7.48 ea	3 posters-6.82 ea
4 posters-6.74 ea	5 posters-6.22 ea	6 posters-6.05 ea
7 posters-6.22 ea	8 posters-6.09 ea	9 posters-6.00 ea
10 posters-5.65 ea      etc.....

The catalogue has a total of 12 Dean posters, and alot of other good misc.
posters.  If anyone wants to skip the catalog and just order, Here's the order
#'s:
1363 Yellow City (Yessongs)	
1364 Freyja's Castle (?)
1365 Red Dragon (Howe, Not Ness Acoustic)
1366 Floating Islands (Evening of Yes Music Plus)  
1278 Green Castle (cover to Dean's book _Views_)
1280 Asia Astra
1277 Morning Dragon (Magnetic Storm)
1279 Jade Sea (?)
1281 Tales From Topographic Oceans
1282 Asia Dragon (Alpha)
1283 Asia Pyramid (Asia)
1284 Blue Desert (Anderson Bruford Wakeman Howe)

And the all-important address!

Pomegranite
Box 6099
Robnert Park, CA 94927

(they also print the Dean books and calanders)

Enjoy!!

Becki
00rrchorzemp@virgo.bsuvc.bsu.edu

*	*	*	*	*	*	*	*	*	*

SOME THINGS
===========
From:	IN%"mc2i@dc.uba.ar"  

Dear Subscribers.

I've got some things to say:

1) Stop discussing about RABIN vs NON-RABIN, let's discuss Are angels boys or
girls ? The bandwidth isn't free !

2) Which was the answer about the kazoo trivia ? Have you got any other (I
remember the first issues) !

3) I would like to seriously discuss about some particular yes-lyrics and
their meaning  via E-Mail (not via the guys in NFTE) especially the mystic ones!

4) I would like some of you to tell to thge group the music you like. Which
groups etc (please *besides* Yes) the reason is that through yes fans I get to
know beautiful songs. And I appreciate that !

5) Greetings to Mike and Jeff. Great JOB !

Get a Hug !

Maximiliano D. Contieri.
Facultad de Ciencias Exactas - Computacion.
Universidad de Buenos Aires.
Republica Argentina.

E-Mail <mc2i@milagro.dc.uba.ar>

*	*	*	*	*	*	*	*	*	*

CAN WE TALK?
============
From:	IN%"Michael_Smith@qmail4.sp.trw.com"  "Michael Smith" 

As a long time devotee of Yes I have a couple of views which I 
thought I might throw into "the Edge" for my first posting.

I doubt that I'll please some people, but this is, after all, a group
for discussion amongst some rather sensible people. I hope I don't spoil 
that image.

For history's sake, I have been a keen Yes follower since TIME
AND A WORD, and caught their first album in retrospect. When
THE YES ALBUM arrived I was literally pinned to the floor in 
some semblance of disbelief. The crisp and clean sound,
augmented by a fine production job on the important stereo
effects (back then) only served to rubber stamp my support. I'll
never forget that first hearing on the floor one Sunday morning, 
after a heck of a party.

It was my first experience with headphones. I bought the album
two days later and have never looked back.

Well....at least not until TALK.

In my view, this is (now was) the furthest removal from the Yes
that I think the most of us crave. I gave it four or five chances to
make it's mark, but for me (and my own personal tastes) it never
did. I am sorry to say that I branded it as a Trevor Rabin solo
album with some "big name" guest stars. I am not really fond of
Trevor's work as a whole. His solo stuff is something that will
not adorn my collection, but there is no denying his
musicianship, or at least his ability to plough a furrow on his
Strat. He bought a commercialism to (the members who decided
to go with the name of) Yes, and pulled in a few extra ticket 
sales during the 90125 and Big Generator tours. At the time of 
the latter, our good friend Jon had found not only Indians,
Sunshine and a new spiritual heading, but also the make-up
counter at the nearest Department Store. A big shock to many a
70's fan in the audience. A bit odd, but instantly forgiven when
the music overcame everything else.

It always did, and I hope it always does.

There ARE those amongst us that like, appreciate and will, in
some way, support TOPOGRAPHIC OCEANS. I personally love the
first two sides. Will anyone else speak up? I think that even
Rick might have enjoyed one or the other at the time, but the
entire concept was a bit much. I was lucky enough to have been 
a (three-gig) roadie for the band at the time of TFTO, but
won't say any more than that.

ABWH has some excellent work from all parties. UNION 
makes me programme the CD player for the better (ABWH)
tracks when I play it, and I hope that the collective forces...
particularly a good say-so from Rick.... will produce another 
tour de force of music that makes you think, relish, and live (for 
more than just the duration of the Top 20) once again.
When the World gets me down, or when I just want to hear Yes 
at their best, then "Awaken" (with recent visual memories) and
the Yessongs rendition of "Perpetual Change" are the chosen
tracks at the moment. 

Someone took exception to Yes and Sex. There was mention of 
Yes taking one, or more readers closer to God. The Sex topic
was nicely answered, and I will say...Believe in who or what
you like ! The great Irish comedian, Dave Allen, always signed
off his TV shows with "may your God go with you!"
Please keep YOUR God to yourself. One of mine happens to be
Rick Wakeman, and my other deity resides on another fine
newsgroup. Heaven's Open.... fly right in !!
May ASWH&W answer everyone's prayers with some music
that opens the heavens once again.

It's great to have been with you.... I hope to be with again very
very soon......

Michael

*	*	*	*	*	*	*	*	*	*

RELAYER: "BLECH!"
=================
From:	IN%"mark_rhodes@houghton.edu"  "Mark Rhodes" 

WARNING!!!!  If you don't feel like listening to a lone voice drone on about
his opinion of Yes music, skip this letter.  (But read the PS)

        Ouch!!!!  I get the feeling I touched a couple of nerves with my
comments about Yes in NFTE #144.  But, since I have no more papers this
semester, let me take the time to respond (probably in vain) to my detractors.

        Your points about DRAMA are well made.  I'm sure they get there fair
share of criticism too.  As far as RELAYER goes though, I'm still not sure.
I sat down to listen to it again today, and it still sounds like a jumble of
noise (except for "Soon", which is possibly one of the most beautiful pieces
of music Yes ever wrote.)  If I'm missing something, please let me know,
because I'd really like to be able enjoy more than about 7 minutes of the
CD.  Let's start with "Gates of Delirium", shall we?

        It has no beat to it.  I take that back, it has a beat occasionally.
(And don't take that statement as meaning I only like main-stream pop rock.
Sheesh, some of you people make it sound like a mortal sin to like anything
that gets on the radio.  Lighten up!)  Even CTTE, FRAGILE, TALES...., they
all have rhythm.  The intro to "Giants Under the Sun" is great, but far from
mainstream.  I will admit I have very little experience with fusion jazz,
and from the sound of what it did on RELAYER, I'm glad.  The song stops,
starts, stops, throws in a quick flurry of drum beats, maybe a sloppy guitar
solo, and then moves on to something else.  It never establishes a real
beginning from which to move on from. Contrast this with CTTE, where there is
obvious movements, and they finish one before moving on to the next.  There
is an order and form to CTTE, which allow us to enjoy what the artist wants
to do in that framework.  But RELAYER, to me, sounds like just a jumble of
sounds.

        "Sound Chaser" is even worse.  The first few minutes are just
horrible.  Again, it seems like it is just a mess of drum beats and sloppy
keyboards, all throw together without any thought as to what will come out.
BLECH!!!!!  I think I could even put out an album if all had to do was sound
like RELAYER.  Get me a Casio and some drums, and I can play them with as
much skill and precision as they were played on RELAYER.  BLECH!!!!  And
double BLECH!!!!!

        "To Be Over" is bearable, but sometimes I feel like that's only
because the first two tracks were so terrible it can't help but sound better.

        Now before too many people decide I'm a total heretic or something,
I have tried to like the album and see something redeeming in it.  I really
have.  The cover is cool, the poem inside is cool, "Soon" is awesome.  But I
just can't appreciate the rest.  Sorry.  If you have any ideas as to how I
can get more out of the album, let me know. I'd really like to think my $15
was not wasted. But until then, RELAYER remains for me the only truly bad
album Yes has ever put out. 

Mark Rhodes

P.S.--I liked the comments made about Yes being about positivity in NFTE
#145 (I forget who wrote the letter).  It is possible for people to have
differences of opinion about the music without attacking the person themselves. 

P.P.S.--"Sex and Yes": interesting thoughts. A bit long winded perhaps, but
interesting none the less.  

*	*	*	*	*	*	*	*	*	*

YES IN A PARALLEL UNIVERSE
==========================
From:	IN%"FZWU08A@prodigy.com"

I agree in principal with EToll's comments in NFTE #145 concerning 
Yes fans' grumblings in recent years, and that we should not lose 
sight of the fact that Yes stands for positivity and affirmation.  I 
got a real hoot out of the parallel universe analogy to other prog 
rock bands which managed to make their bios read like a comedy act.  
But I would be remiss if I did not recount the history of Yes (of 
which most of us are probably familiar) as seen from a parallel 
universe:

After building a large following through improvements in personnel 
and the release of such classics as "Breakable" and "Near To The 
Precipice," Yes is about to undertake its most ambitious project yet: 
"Fables From Hydroponic Forests" - 15 minutes worth of music expanded 
into a 2-album set.  The dissention within the band which followed 
the album and tour caused keyboard player Dick Capeman to leave the 
group and release his first solo album "The 9 Lives Of Fritz The Cat" 
followed by "Journey To The Beginning Of Time."  He is immediately 
replaced by Patrick Morhair who imbues more of a jazz feel into their 
next release "Boomeranger."  Morhair exits the group after several 
tours, paving the way for the triumphant return of Capeman for the 
album "Going Number 2," and the subsequent tour.  For their 10th 
anniversary the group releases "Portato" known for such classics as 
"Don't Shoot the Porpoise" and "Incoming Spaceship."  They tour 
incessantly in support of Portato on a white, vibrating trapezoidal 
stage.

The band is set to begin work on it's next project, in which singer 
Juan Henderson plans to choose words randomly from a dictionary with 
the intent of writing a concept album.  Dick Capeman offers to phone 
in his keyboard parts between beers and Match of the Day on BBC telly.
  This being unacceptable to the three remaining members, they 
jettison Henderson and Capeman in favor of Clever Horn-Rim and Geoff 
Syndrome of British pop band The Buggers, known for their hit "MTV 
Killed The Musical Integrity Star."  They release one album, "Comedy,
" and embark on a tour featuring a black, vibrating trapezoidal stage;
 on which Horn-Rim has much difficulty hitting the high notes.  They 
subsequently disband.

Guitarist Steve Skeletor and keyboardist Syndrome join forces with 
other progressive rock dinosaurs to form a new group with the intent 
to garner radio airplay.  They call the band and album "Abacus," 
Mostly because it will be the first selection a customer is likely to 
find in an alphabetical file at the record store.  Abacus releases 
one successful album and dissolves into a revolving door of personnel 
changes and acrimony.  Meanwhile, bassist Bliss Screwdriver and 
drummer Alan Baldspot begin to work with acclaimed South African 
guitarist Clever Tradin on a new project dubbed "Theatre."  Tradin 
found immediate acceptance in the group, mainly for his songwriting 
abilities and because of how well his thigh meshed with the bass 
player's groin on the new material (which is produced, incidentally, 
by former member Horn-Rim).  In search of inspiration and greater 
income potential, Juan Henderson is brought back on board as vocalist.
  The name "Theatre" then becomes merely a song title and Yes is 
reborn.  Their first release is entitled 06660 and contains the hit 
single "Blower Of A Smelly Fart."  The new group also enlists the 
rodeo keyboard stylings of former Yes member Canny Play, and tours to 
much adulation.

After several aborted attempts (and intergroup squabbles) the band 
releases its next album "Giant Turbine" to lukewarm critical response.
  This work is notable for the radio friendly tune "Love Will Find 
Top 40 Airplay" and "Aim Poorly, Shoot Yourself In The Foot," based 
obscurely on something about Nicaragua; also "Holy Cow," a piece 
heralding the approaching Harmonic Convergence, an event which came 
and went as uneventfully as the song itself.  The group's final 
hurrah was at the Pacific Record's 50th anniversary celebration at 
which a bloated Herderson sang "Your Turn/All Good Drivel," and "Hold 
Off."  The group disbanded amid much rancor and intergroup squabbling.

Wanting to revisit a bygone era, Juan Herderson enlists the forces of 
several former Yes members: drummer Bill Arrogance, keyboardist Dick 
Capeman and guitarist Steve Skeletor.  Not allowed to use the 
trademarked Yes moniker, they nonetheless play Yes music in concert 
and call themselves Henderson, Arrogance, Capeman and Skeletor; or 
the acronym HACS.  They are known informally as Yes East.  Meanwhile; 
Tradin, Screwdriver, Baldspot and Play continue writing and recording 
with various musicians.  They reside in California and therefore 
become known as Yes West.  Once again, enticed by the lure of Big 
Money, East and West unite under the Yes banner for an album to be 
entitled "Onion," probably because all involved feel that it reeks 
bad enough to make one weep.  All 75 or 80 Yes members appear on the 
disc, although none at the same time.  Even then, it still had to be 
completed by studio musicians and producer Jonathan Olias.  This 
amalgamation once again trots out the vibrating trapezoidal stage and 
brings the tour to hundreds of cities worldwide, playing to dozens of 
adoring fans.  The group then disbands amid much rancor and 
intergroup squabbling. 

The West "Turbine" group, however, decides to carry on.  The next 
disc would be called "Chalk" and it would certainly leave its mark on 
the sidewalk of audio technological history - the first recording 
made entirely without the use of wires of any kind.  The result was a 
dynamic range high enough to make dogs yelp and low enough to give an 
active volcano a run for its money, rendering it virtually unplayable 
on a conventional home or car audio system.  The Chalk tour was 
remarkable only in the fact that it marked the debut of Clever Tradin 
on keyboards, which left Canny Play with the ability to swat flies 
with his free hand - which was certainly a great help given the fact 
that it was a summer tour.  Perhaps tiring of all this, Play then 
resigned from active duty to manage the group, and Tradin left to 
pursue a solo career.

Bored and distraught, Henderson decides to clean out his underwear 
drawer and discovers a piece of paper, long misplaced between the 
socks and BVD's.  On the paper is written a pact signed by himself, 
Screwdriver, Baldspot, Capeman and Skeletor.  This document, 
implausibly drawn up 20 years ago at a time when the group was mired 
in much rancor and intergroup squabbling (and Capeman had one foot 
out the door), pledged to reunite the members in 1995 to bring Yes 
music forth into the new millennium.  No longer bored or distraught, 
and charged with a new sense of purpose, Henderson abandons his 
drawer cleaning project and immediately rings up Capeman and Skeletor.

Which brings us back to the present, or forward to the past, 
depending upon how you look at it.  Or as Jethro Tull once said "it 
was a new day YESterday, but its an old day now."  Hopefully, 
everybody who has read this (especially EToll) will take it in the 
spirit in which it was written.  I've seen Yes more than 20 times 
(hope there's 20 more to come) and love 'em as much as any of you.  
But we all must realize that any band that has been fortunate enough 
to survive this long has to have a certain amount of Spinal Tap in 
them.
                                                                      
                                                            Bob Burns

*	*	*	*	*	*	*	*	*	*

RELAYER SOUND QUALITY
=====================
From:	IN%"Sonnenberg1/Apple@eworld.com" 

> RELAYER is ruined by bad production and blaring keyboards, even >though
Moraz has proved himself to be a great player on his own >albums.

I too have never been able to get into that album due to the harsh, grating
tone of the production.

   What about the remastered CD?  Any improvement?  I'd love to hear that
music in a listenable form...

P

*	*	*	*	*	*	*	*	*	*

--------------
=TEMPUS FUGIT=
--------------

> From Editor Jeff Hunnicutt (hunnicutt@uncwil.edu)

Seems like I haven't said anything for quite some time so now would be a 
good time to dust off the public keyboard. 

Administrative things first. I want to remind you that Notes is not automated.
When unsubscribing or changing addresses please let me know what the old one
is. It would make my job much easier and prevent numerous bounces. Thanks.

I just purchased two cd's I plan review here soon. They are Empire, Mark I
with Peter Banks and Rick Wakeman's Visions. I like both and will detail
them soon. I obtained these disc from Beat Music, previously mentioned in
Notes. 


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------------------------------------------------------------------------------

THE ADDRESSES:
==============

Editors:

Jeff Hunnicutt   hunnicutt@uncwil.edu - nfte@cms.uncwil.edu 
                                   and
                     http://www.cms.uncwil.edu/~hunnicu

(New subscriptions, deletions, contributions, questions/comments/criticism)

Mike Tiano       miketi@microsoft.com
(Reviews, Surveys, Tour and Release dates, etc.)

                    Notes From The Edge
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                  http://www.wilmington.net/yes


NFTE Server/WWW Server problems, additions/corrections to the lyrics & GIFs,
and additions/corrections to the rarities list:

Tom Lorenz           tclorenz@omni.voicenet.com

                        or

Ronnen Miller        ronnen@rbs.org

NFTE backissues, lyrics, etc, via anonymous FTP:
cs.uwp.edu			Directory: /pub/music/lists/yes

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                     END OF NOTES FROM THE EDGE #146 
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------------------------------------------------------------------------------
    

    
    
    So what happend to Alan White??? Did he leave on his own???
    
    John

    Alan White is still with the band as far as I know.  Maybe you're
    thinking of Tony Kaye?  Tony moved from being a performer to working
    behind the scenes, I believe.
    
    Andy
    

    
    Tony Kaye is having major problems with Carpel-Tunnel Syndrome,
    as is Keith Emerson (according to an "insider" friend).
    
    Bill Bruford is supposedly in the new Yes. Alan moved on to
    new projects with Trevor Rabin, including a possible
    reincarnation of Supertramp.
    
    -b

    
    	Was Supertramp a good band?
    
    	I must confess to only knowing the 3 or 4 songs that got airplay,
    	therefore possibly missing some of their better [IE, non-commerc-
    	ial material], but I do know that I liked what I heard.
    
    	And I wonder what they'd do if they re-formed.  Tour, and perf-
    	orm the old material, or write new material?
    

    > Was Supertramp a good band?
    
    They were a very good band in my opinion. Also one of the best
    concert experiences (particularly their use of film during the
    song "Rudy" from "Crime of the Century", which was brilliant).
    
    In fact "Crime of the Century" is considered by many to be one
    of those "must have" albums; along the lines of Pink Floyd's
    "Dark Side of the Moon". "Breakfast In America" was their
    biggest commercial success, spawning the hit "The Logical Song"
    among others. I prefer CotC and the ealier "Even In The Quietest
    Moments".
    
    >	And I wonder what they'd do if they re-formed.  Tour, and perf-
    >	orm the old material, or write new material?
    
    Probably a bit of both...
    
    If you want a hint of what the new Supertramp might sound like,
    seek out the song "Walls" on the last Yes record ("Talk"). Trevor
    Rabin co-wrote and performed the song with Roger Hodgeson of
    Supertramp...
    
    -b

    Wow...I didn't know Bruford was back in the mix!  Was that in NFTE
    somewhere?  Those are getting so big that I only have time to scan
    through them.  I can't wait to hear Supertramp with Trevor.  I love
    Supertramp and think that Trevor would make a great contributor.
    
    Andy
    

    
    I don't have time to read all those newsletters... I get my
    info "inside"... :-)
    
    -b

    Must be nice.  Please don't hestitate to post something if you hear
    it :^).  Have you heard anything about new material?
    
    Andy