| Tuesday, March 03, 2010 Some random concert notes from this and last year: I saw Al Di Meola last Friday at the Coach House in San Juan Capistrano, CA. I was expecting great things, as the 2008 Return to Forever show is in my permanent top five concerts list of all time (I've seen 400 shows in over 40 years). I mistakenly assumed that this was to be all-electric show, but it was primarily acoustic, with three electric numbers. Al's playing was exemplary. Never better. Perhaps the finest guitarist on the planet. However, he delved into World Music twenty years ago and IMHO, he lost his way. He adopted a one of the styles that rival Pat Metheny indulges in and spent the two decades in that style with mixed results. No sooner did I see the presence of an accordion player than I knew we were in trouble. Suffice it to say, I am not fan of the sound of the accordion. Oh well. A few select solos and we'll be done with it. Not for this performance. 98% of ALL the numbers featured duets between he and the accordion player, who crooned with many of the tunes in an absolutely identical style to past and present members of Metheny's group and was almost blatant. The other issues I had were the saminess of these Latin tinged tunes, the distracting video films of Whirling Dervishes and Tango dancers, not to mention the video shots of the band were at least a second delayed. The best tune was from the 1977 "Elegant Gypsy" album, where Al's mighty electric drowned out any participation from his accordion pal. The poorly miked backing band was a disappointment as well. As amazingly Godhead as the RTF show was, this is the most flawed show I have seen in many years. A shame. With limited expectations I attended the Yes/Asia concert at Gibson (Universal) Amphitheatre on 07/07/09. The interesting part was that guitarist Steve Howe, who is a member of both bands, played both sets and he performed admirably, but certainly (since ABWH in 1989) in a more subdued and methodical way. The recent history of Yes defections and illness is laid out in past blog entries. Jon Anderson's replacement Benoit David (from a Canadian Yes tribute band) not only sounds like Jon, but resembles him at age 30. Former keyboard play Rick Wakeman recently remarked that Yes is not a "gigging" band and he fears that that's what they have become. He isn't far from the truth. While it's always lovely to hear respectable renditions of my favorite music played by my aging heroes, the show had the feel of a nostalgia show, so far removed from the near-religious experience of Yes 1972-78 that it was a bit sad. They played well enough, but tempered and unremarkable. Hearing "Machine Messiah" after 30 years was a treat, but is difficult to play and wasn't always together. Benoit did a good job, but is obviously not Jon Anderson, who is of course in poor health and estranged from his former mates. Wakeman's son Oliver, played as the hired hand he is and has nowhere the talent or dexterity of his father at that age. The Asia set was also not on par with it's 2006 reunion tour. Since that time, both singer John Wetton and drummer Carl Palmer had heart issues, and it showed in the low energy the band projected. It was a must to see this show given the setlist and new members. I've always said that Yes should have retired after the 2004 40th anniversary tour. This show hasn't changed my opinion. Next up is Keith Emerson and Greg Lake, who perform an acoustic duet show in LA in April. Keith was sidelined for a year or more with a nerve injury in his hand, not unlike old friend Phil Collins, who essentially cannot play drums anymore. As the Stones once sang, "what a drag it is to be old." Monday, December 21, 2009 Whilst this blog had been inactive for most of the year, I want to take this timely opportunity to thank all those who purchased product from Boffomundo Music and (hopefully) enjoyed our collection of progrock videos over the last year Also, a HUGE thanks to friends and family, who, as usual, have been loving and supportive in a sometimes difficult year. Hail 2010, the beginning of the 2nd decade of the 21st century! 2 Deaths in the Boffomundo Family- Thursday, March 5, 2009 I woke up this morning to find an email from a fan who thanked me for posting videos of Fumio Miyashta and wrote that "he was my uncle." Sadly, the leader of Japan's "answer to Pink Floyd", the Far East Family Band passed away in 2003 of lung cancer. Fumio became part of the Boffomundo family through our guru, Tony Harrington, (who also passed away in 2001 of prostate cancer). Tony was A&R man for Atlantic Records in the 70s and had an import/export business that dealt with Japan extensively. When Aaron and I met Tony Harrington in 1979, he was owner and operator of All Ears Records, a small record label that pressed US versions of Japanese prog LPs and was creator of the "Manifestival of Progressive Music", the template for the various prog festivals around the world. Tony thought the idea of a TV show that interviewed progressive rock musicians was a good one and had many friends who appeared on the show. Tony also lent his "All Ears" name to the Boffomundo Show and we had a wonderful year interviewing many of our heroes, all of which are now seen on YouTube. The Far East Family Band played the Troubadour in 1979 and Tony asked us if wanted multi-instrumentalist and leader, Fumio Miyashta to perform live on our show. "Live?" we asked? Public Access cable was in it's infancy and we produced our show in a room no bigger than a 2nd bedroom in a small apartment. Fumio came to the studio on October 30, 1979 with a dozen or more instruments! Our three chairs, All Ears Boffomundo poster and coffee table set would never suffice! We had him set up the many keyboards and gongs in a way that he could play comfortably and simply routed all the sound through one bookshelf speaker, which we placed on a chair with one microphone in front of it! All we had was mono and mono it was! We miraculously managed to get a decent mix and away we went! Remember, we had one hour to produce a half an hour show. No editing, no inserts, live as can be and whatever happened happened. Like the 50s Milton Berle television shows! With the latest "Yes" cancellation, Bill Bruford's retirement from public performances and the deaths of two Boffomundo alumni, my previous postings about the sicknesses and deaths of many of my heroes is amplified. As Dr. Ron said, eat yer veggies, take a walk and lose the cigarettes! February 19, 2009 - In the Present Tour Cancelled The “In The Present Tour,” featuring Yes’ Steve Howe, Chris Squire, and Alan White, is cancelling the remaining scheduled shows. Click here to read a note from Alan to the fans. Chris underwent surgery on his leg on February 11, 2009. The operation was successful and Chris is on his way to a full recovery. However, Chris has been advised by his physician that he needs a one month rest period, hence the reason for the cancellation of the rest of the tour dates. As previously stated, Chris and the rest of the band wishes to apologize for any inconvenience that this might have caused to their fans and hopes to see them again soon. Tuesday, January 20, 2009 Happy New Year to all. I have been watching Barack Obama being inaugurated the 44th president of the United States. It's a new world everyone, so hang on to your hats. A new sheriff is in town and that town is bigger than ever. Good luck to us! ALSO: Bill Bruford retires from public performance Posted by Sid: Monday, 26th January,2009 After 41 years of moving the percussive pulse in music and raising people's pulses in general, Bill Bruford has announced his retirement from public performance, effective from January 1st 2009. FOR IMMEDIATE RELEASE STEVE HOWE, CHRIS SQUIRE AND ALAN WHITE OF GROUNDBREAKING ROCK GROUP YES UNITE FOR “IN THE PRESENT” U.S. TOUR Members will be joined by Oliver Wakeman on keyboards and vocalist Benoit David to perform the group’s classic repertoire in live spectacular LOS ANGELES, Sept. 10, 2008—Albums like Fragile, Close to the Edge Tales from Topographic Oceans and 90125 and singles such as “Roundabout,” “Owner of a Lonely Heart” and “I’ve Seen All Good People” are just some of the enduring classics that have made YES one of the most influential and groundbreaking groups in rock & roll. Now, the classic YES line-up of guitarist Steve Howe, bassist Chris Squire and drummer Alan White will launch the "In The Present" tour starting November 4th in Hamilton, Ontario, marking yet another chapter in the art-rockers’ amazing, 40-year career of legendary live performances. The three will be joined by keyboardist Oliver Wakeman, the son of YES’ Rick Wakeman, and vocalist Benoit David, a Montreal, Quebec, native and vocalist in several YES tribute groups, who was discovered by the band on the Internet. With a remarkable 40-year career that has time and again redefined the boundaries of rock, YES was formed in 1968 by Chris Squire and Jon Anderson, who shared a mutual interest in vocal harmonies and classical music. With drummer Bill Bruford, guitarist Peter Banks and keyboardist Tony Kaye, they became YES, earning a residency at the famed London venue The Marquee Club, where they played with the likes of Jimi Hendrix and Pink Floyd, releasing their self-titled debut album in July 1969. Guitarist Steve Howe, who went on to play in the popular prog-rock groups Asia and GTR and continues releasing acclaimed solo albums and touring, brought an experimental cutting edge to YES for their 1970’s The Yes Album, their first number one album in the UK. Drummer Alan White, who had been hand-picked to play on John Lennon’s Imagine and George Harrison’s All Things Must Pass, came aboard in 1972. YES then went on to conquer America and played at some of the largest paid attendance concerts of all time including the JFK Stadium in Philadelphia in 1976 to a crowd of over 130,000 people. YES postponed plans for a 40th anniversary Close to the Edge and Back tour in June, when vocalist Jon Anderson suffered a severe asthma attack and was diagnosed with acute respiratory failure. Commented Squire: "This isn't an attempt to replace Jon Anderson, because as we all know, that would be impossible. With Benoit, we are bringing in a talented singer so that we can go out and honor the music of YES for the fans who have waited for the past four years to see us perform." A dominant force in rock music for more than four decades, YES has created some of rock’ s most enduring and compelling hits, selling more than 30 million albums worldwide. The group has defined music history with their dynamic instrumental contrasts and abstract lyrics. Their symphonic use of sound and innovative musical styles continues to make them the most successful progressive rock band in history and their amazing career continues to defy many of their rock counterparts. Return To Forever- Gibson Amphitheater, Friday, June 13, 2008 Unbelievable. Immaculate. Inspirational. These words are not strong enough to describe the RTF show I saw last Friday. I have attended almost 400 shows in my time and this rates near the top. Beginning with a pictorial tribute to Miles Davis and Joe Zawinul, the architects of fusion jazz, to the intro of the band by Kareem Abdul Jabbar to the two sets of sublime instrumental music, this is one of the concert high points of my life. The choice of material, the execution, the seats and the sound were virtually flawless. Chick Corea, Stanley Clarke, Al Di Meola and Lenny White may be the greatest touring group of instrumental musicians on the planet. The band performed two sets that featured RTF classics, "Hymn of the Seventh Galaxy", "Senor Mouse", "No Mystery", and Romantic Warriors "Sorceress", the title track, "Duel Of The Jester And The Tyrant" and "Medieval Overture". The interplay of the musicians, which in a jazz context reminds me of a Bill Bruford quote, "Everyone hates 'jazz' but it's the only word to describe a musician who wants to say something fresh and react to what others are doing around him." was telepathic. The staging allowed the musicians to feed off each other, both in electric (the first set) and acoustic (most of the second set). If I had to criticize anything it would be the length of the solo's, particularly Lenny White's drum clinic, which seemed more like a drum lesson than an orchestrated solo (think Neil Peart). No one can play the bass (either electric or acoustic) with more authority than Stanley Clarke and his solo was masterful and while a bit too long was the highlight of the solo sets. Guitarist Al Di Meola is transcendent. In other blog entries, I've bitched about "older" musicians (particularly in Yes) being too slow and arranging the music an octave or two lower for the vocalists (Phil Collins), as well as guitarists being more true to the original recording (slower and controlled, particularly during solos), but Al is at the top of his game. The baby of the band at 53, he can shred the electric fretboard or make love to the acoustic. Keyboardist and leader Chick Corea, though, is the lord of the castle. Acoustic piano playing like a waterfall, synthesizers that layer, color and bleep, the man creates a musical environment for the other players that is both open and controlled, the goal of the movement that still lives and thrives through these four men: jazz rock fusion. There is hope for music and may the youngies that attended the show be willing and able to bring it to a NEW level in the future. What's Not New- June 11, 2008 With the cancellation of the Yes tour (due to lead singer Jon Anderson having suffered respiratory failure) and the other health/death issues I have written about in the last few months, everyday brings more evidence of my (and other late boomers) mortality. It's sad, yet uplifting in a certain way to experience the passage of time through the demise of our heroes. As the old rock warriors retire and die, I wish there was more NEW music by younger folks, who didn't insist on simply copying their influences and not adding something fresh to it, in order to create something NEW. Much of the music of the sixties and seventies was NEW and never done before- even if they, at their own admission- mixed up the styles they were listening to: The Beatles, The Kinks, The Who, Bob Dylan, David Bowie, Black Sabbath, Yes, Roxy Music and so many more that were so original, so individual, so non-corporate, and so very missing in today's culture. So what if we dressed funny. That was new too. No one had dressed liked that and no mainstream citizen had sported long hair for several centuries. Again, completely original. I love that today's guys have long hair. I have none, but loved it when I did. But it's a style, not a revolution. I love that they start bands, but why do they all sound like Nirvana...still? Wake up, it's not 1991 anymore. We need more Bjorks and less Nickleback's. New ideas and energy in rock music is required and it doesn't have to be progressive, just good. I love that there are lot's of women in pop music these days. I like Duffy, but isn't she a blond, non-alcoholic Amy Winehouse? I like the group, Of Montreal, because they sound like the Spiders from Mars. Not original. Musically, Radiohead is close, but the whiny singing ruins it for me. Sorry. Muse? Again, the singing. And if the Mars Volta could learn to write actual melodies, they might have something. I got the "Crossroads" DVD of guitar heroes led by Eric Clapton. The idea that John Mayer was included was telling. He is a pop singer and matinée idol who pretends to be a bluesman. Moderate talent, star billing. Derek Trucks, the son of Allman Brothers Band drummer Butch Trucks is a reincarnation of Duane Allman and plays slide like no one I've seen since. Original, no, but name a young slide player (besides the late Jeff Healey) who's better. I'm sure there are incredible musicians out there (just watch YouTube,) who have the talent to emulate their heroes, now just create something fresh. Go back to the basics. Bo Diddley just died. He created a percussive approach to guitar playing. He wasn't the most talented, or the fastest, but what he created had never been done before. Jazz remains the only bastion of good original music, since it involves improvisation, despite the fact that jazz music itself hasn't progressed since John Coltrane circa 1967, and was way too noncommercial to survive. Bill Bruford's Earthworks, while popular amongst aficionados, are probably at the cutting edge of 21st century jazz and can't even get played on U.S. jazz radio! Why? Because they're British! Everyone knows that only American's can play jazz. Right? Bullshit. In many ways, things are so much better for music fans, except for the music itself and the insane ticket prices for concerts. You can buy trax for less than a buck and never leave your bedroom. No need for the filler, just download the good ones! Concert ticket prices (like everything else) are through the roof, but if you can't go, wait six months and the DVD with better sound will be available. Today, a new band does not have to sell it's soul to the record company. Just create your own video, put it on YouTube and if you get the smallest of breaks (see OK GO) and good choreography, you're all set! As the Byrd's once sang in "So You Want To Be A Rock 'N Roll Star" (McGuinn/Hillman) So you want to be a rock 'n roll star then listen now to what I say Just get an electric guitar and take some time and learn how to play And when your hair's combed right and your pants fit tight it's gonna be all right Some things are forever, but drive and creativity need to move forward, or forgive me, progress every now and then. Now is the time. Yes says no tour as singer stricken More health problems for our heroes: LOS ANGELES (Reuters) - British progressive-rock band Yes said on Wednesday it canceled its upcoming 40th anniversary tour of North America because singer Jon Anderson has been diagnosed with acute respiratory failure. Anderson, 63, was hospitalized last month after a severe asthma attack, and doctors have told him that he will jeopardize his health unless he rests for at least six months, according to a statement. "I'd like everyone know how deeply disappointed I am by this turn of events," Anderson said. "I was looking forward to celebrating our music with the amazing family of Yes fans once again; but as we all know, health must come before anything else." The tour, the band's first trek through North America since 2004, was scheduled to begin on July 12 in Quebec City, and run through August 22 in Los Angeles. Anderson, the band's main lyricist, and bass player Chris Squire are the only original members of the group, which has undergone numerous personnel shifts since it launched to immediate critical acclaim in 1968. Its hit songs included "Roundabout," "I've Seen All Good People" and the 1983 U.S. chart-topper "Owner of a Lonely Heart." (Reporting by Dean Goodman; Editing by Bob Tourtellotte) Rush- Nokia Theatre, Tuesday, May 6, 2008 I'm the first to admit that I came to appreciate Rush later than some. By the time I purchased Permanent Waves in 1980, I was a impressed and definitely a fan, and while a rabid concert-goer, I never bothered to see them until 2002. No excuse, no reason. True, I had purchased the live albums and videos/DVDs and were quite acquainted with them, but seeing them for the second time last Tuesday inspired me to write this review/commentary. Along with fellow 70s icons Led Zeppelin and Pink Floyd, Rush is an inter- generational band. I don't mean dads in their 40s and 50s dragging their kids along to see Boston or Journey, There were Rush fanatics in their teens, 20s, 30s, 40s, 50s and I'm sure 60s as well. And women! Women of all ages screaming at Geddy! Amazing. Generally, this kind of music is what my friend Lee coined "men's rock", and women are there as "dates" or as "girlfriends" to make up for the fact that you went to see Sting or John Mayer with them (and that was OK, it could have been much worse). Drummer Neil Peart's intelligent and philosophical lyrics, while not unlike Floyd (minus the bitterness), mesh easily with music that is equal parts heavy metal thunder and melodic progressive. The stage show is and has been categorized as legendary. All manner of light configurations, lasers and five video screens featuring an array of animated films and quite innovative camera angles of the band in all their glory. Too loud, though, or should I say too shrill. Alex Lifeson is a wonderful guitar player, but he doesn't have the subtlety or grace of say, a Steve Howe (even in various Rush acoustic moments) and the fact that the tone he uses is more metal than progressive, I believe hampers the concert experience more than it should considering the technological tricks that are available in concerts (like adding more bottom to the mix!) Rush totally rock. Much more than Yes, Genesis and yes, more than King Crimson (who also share inter-generational audiences, though in much fewer numbers). Neil Peart is one of our greatest and most imaginative drummers and these guys have got the groove down. That hasn't changed over the decades, even though Rush are in their mid-50s. Rush also has never stopped making records, and their Snakes & Arrows album, like all their albums, contain some great tunes and some filler. They also insist on playing more than a couple of new songs on each tour and after almost thirty years of playing "Limelight" (which, by the way, was the opener and it was bitchen!) they need the challenge and you have to hand it to them. They didn't do "Entre Nous" from Permanent Waves this time out, so that was a bit of a disappointment, but "Subdivisons" from Signals, "2112" (which made up for no "La Villa Strangiato") and "Mission" from Hold Your Fire were the highlights for me. Peart's drum solo (on two kits, one acoustic, one digital) was a revelation. Creating tunes on synth pads to improvise from and mixed in with jazz bits featuring film collages with heroes Gene Krupa and Buddy Rich, Peart creates and maintains the most entertaining "drum solo" in the business. DO NOT GO TO THE RESTROOM DURING HIS SOLO! Hold it in, it's worth it. Geddy Lee, whose birth name is Gary (his East European grandmother pronounced it Geddy) is virtually ageless, alternating between brilliant bass playing, keyboard flourishes and running around the stage like an emo-rocker. His voice is a bit lower, but he can pretty much hit the high notes of his youth and was a joy to behold. Humor has always been a part of the band's mystique and this sets them apart from the average serious progressive rock band with the exception of early and later Genesis. From the brilliant South Park bit featuring the boys as "Lil Rush" to the many Three Stooges references to staged triple washing machines of the Vapor Trails tour and the chicken rotisserie "amps" of Snakes & Arrows, Rush refuses to take itself too seriously and maybe that, and the ageless music that makes it so attractive to fans of all ages. Monday, April 28, 2008 @ 1:30PM Random Notes (with apologises to Rolling Stone) I had to dig to find this one. Phil Collins is "retiring"! I cannot believe how the British press treats him! I never realized the venom. We in the US get our share of celebrity garbage, but the UK, which is so much smaller and more music-oriented than us (probably because of the Beatles), trash their pop-stars as we trash our movie stars. Phil has been (no pun intended!) a megastar and when we interviewed him in '79, he was a scruffy drummer/singer in a progressive cult band. We never realized that in a couple of years, his touch for writing disposable pop songs would propel both he and Genesis in the rarefied (for a prog band) strata of mainstream rock and pop stardom. It managed to removed me as a fan and when the Genesis "reunion" tour took place last year, one view (and listen) on the "VH1 Honors", I knew that you couldn't go home again. Whatever chance a reunion of the Lamb Lies Down line-up had is now unlikely. I wish Phil had stuck to the drumming. His style was so innovative, especially with Brand X, where he could really rock out. I'd place him in my top five drummers, along with Furio Chirico (from Arti + Mestieri), Neal Peart (Rush), Rod Morgenstein (from Dixie Dregs) and Bill Bruford. Then he opened his mouth and the drumming took a back seat. My other old fave, Yes, has at least kept up appearances over the years, discarding their attempts at pop (Yes had one, albiet huge hit single and album, while Genesis had several huge albums and sold many more albums) and concentrated on the symphonic "standards" in concert. Speaking of Yes, the re-designed Yesworld site has emerged and looks great! The new Asia album, Phoenix, has made it to the top 100 of the Billboard charts. To read the comments and reviews, one plain truth has been revealed. True Asia fans are those who were kids in the early eighties and found the trite romantic notions John Wetton sang about fit their emerging adulthood and the back-to-simplicity edict that Ronald Reagan came to exemplify. True Asia fans are not progressive rock fans and therefore the band (smartly) stuck to it's original formula. I hate to say this, but I think the first album, was better, mostly because there was (at least) some uptempo songs. Certainly not prog, but quicker and catchier, like "Cutting it Fine". I saw them live in '06 and they were pretty good, so I had my hopes that they may go a bit more "proggy" on this album, but alas, no such luck. But as I said, Asia albums are not made for me. And never were. Thursday, April 17, 2008 @2:30PM 1974- The year of transition. It's sad to say that until last week, I hadn't watched any of the old shows on YouTube in their entirety So I watched the two favorites, Fripp and Wetton, and I started thinking about the last King Crimson album of the 70s, the seminal Red album. It was released in 1974 and I pondered the many end-time events in the world of progressive rock that signaled the musical change from the complex to the simple: progressive rock into punk rock. And in rock radio the progressive to the placid. The Red album was the first of three albums of original material by progrock leaders released within weeks of each other in October/November, 1974. Red was the most metal, heaviest and shrill of the three Crimson albums with Bruford and Wetton. While Red could have been produced more "warmly" as Lark's Tongues in Aspic was, or as FM rock sounding Starless and Bible Black, the stark nature of the production seemed intentional. "Red", the song, fused the metal fusion of "21st Century Schizoid Man", while "Starless"starts out with the delicate tunefulness of "Moonchild" and melts into a Bolero-like buildup that is a staple of the bands repertoire to this day. John Wetton tells the story about why a song called "Starless" was not on the album Starless and Bible Black on the '79 Boffomundo Show interview. Red was followed saw the last truly progressive Yes album, Relayer. This 3-track album was, to many (including myself) the hardest album of the band's to digest. I am one who felt that Tales was melodic and beautiful and is the pinnacle of progressive rock and reject all critisism. So there! At first Relayer seems cold and unmelodic with "Sound Chaser" and "The Gates of Delirium" featuring fusion jazz-like jams and extended solo electric guitar freakouts. But the tranquil "To Be Over" and the other worldly "Soon, Oh Soon" coda to The Gates are among the band's most beautiful. Compare the album covers and that will tell you. I would come to love it, but it took some time, as did The Lamb Lies Down on Broadway, by Genesis. This was the last featuring Peter Gabriel, and while the music was masterful, the lyrics took some getting used to (very un-prog- like) and the song nature of this double album made it initially harder to swallow, following the smooth and professional sounding, Selling England by the Pound. Meanwhile, in the world of Art Rock, 1974 saw Brian Eno leave Roxy Music, and with that, Bryan Ferry began to fashion the band in a more direct, less kitschy way with the successful, Country Life. David Bowie released Diamond Dogs, his most decadent album to date and jumped on the disco bandwagon in 1975 with Young Americans. Symbolically, 1974 will be remembered as the year the Beatles REALLY broke up, with the dissolution of the Beatles, Inc., allowing them to be finally legally separated from each other, Music changed post-1974, and in the coming two years the album sales success of Peter Frampton, Boston, Fleetwood Mac and others set the stage for more commercial and easier to digest "product" in rock radio. Regardless of it's artistic freedom and progress, music was a business and business was good and going to get better. Until 1979. More on 1979 later. And with that, the experimentation in music that struck a chord with a generation and radio programmers would be replaced by the plain, the predictable, the punky and the placid. God save 1974. Monday, March 17, 2008, 8:44AM Rick Wakeman and YES A statement from Rick's website: "Throughout much of last year, e-mails and phone calls were held between Jon, Chris, Steve, Alan and myself as to where we all felt the future for YES lay, and of course, there were conflicting views in many areas! (Nothing new there, but very healthy of course). My major concern was that of over-touring, which I felt YES had done since 2002 with far too many shows, especially in America which for me diminished the "specialness" of the band. I also was concerned for the health of the band, both as a whole and as individuals. It's a matter of public record for instance, that Jon in particular really suffered during the last weeks of the previous YES tour which was extremely worrying for us all. Over the years, I have had my fair share of "narrow escapes" when it comes to health and I felt that I simply could not do months and months of touring each year anymore and I expressed this to the other guys from the outset. I'm absolutely fine at the moment, but want to stay that way, so I suggested to the new management that we perhaps limited the shows we would do and make each show something special, but this was rejected with the management feeling that lengthy touring was the answer for the band. It was therefore with an extremely heavy heart that I had to say to the guys that I could not be part of a massive long term touring schedule as I did not feel it right for the band musically and also for the band member's health. We are a democratic band and I accept that I was a sole voice in this thinking. Chris and I met up a few times and spoke about who I felt would be able to do a good job in the keyboard department and I put forward just two names, my two eldest sons Adam and Oliver. Adam, to be truthful, was not really a "contender" because he is fully committed to Ozzy and is touring constantly. Oliver has worked with Steve of course on various recordings and so there was already a rapport there. I was therefore very happy when Oliver told me that Steve had called him. I am sad of course not to be walking on stage with the guys on the upcoming tour, but like each member of YES, I have developed a deep inner spiritual feeling that takes over your whole life, and sadly witnessing too many friends around my age, (both musicians and people connected with the business), either departing this world or having serious illness, has played an enormous part in the very difficult decision I had to make. I truly hope that this is not the end of the Classic Line-Up and that something very special may happen in the not too distant future. In the meantime, I wish the guys, good health, great music and much happiness." Rick Wakeman - 14th March Wednesday, March 5, 2008, 2:40PM The Yes Dilemma I first got into Yes in January, 1972 when I bought the Fragile album. I had never heard anything like it. I already was blown away by the first album by ELP and swooned over In the Court of the Crimson King, earlier, in 1969, but something about the bass/drum interplay, the space age keyboards, the unblues-like frantic guitar stylings and the guy (?) with the alto voice that was completely unique and I fell in love. It was amazing then and still manages to blow my mind on a regular basis. I saw them in '73, '74, '75, twice in '76, '77, second row for the "In the Round" shows in '78 and '79. The 1978 show is the best concert I have ever seen in the 300 plus I have attended. Are Yes still alive? No word from them collectively since '04. Has it really been over since 1979, when Anderson and Wakeman both left the band? Today, I read a posting from a Yes blogger in the UK here. It announces that Oliver Wakeman, Rick's eldest son's, will tour in his place! Rick has had health concerns for many years and didn't want to undertake a world tour. No Wakeman again? Let's try and get this straight: he joined Yes for the first time in 1971, left in 1974; rejoined in 1976, left in 1979; again in 1996 and left again in '97; and again in 2002 and now for the final time. Why bother? Well, this is Yes' 40th anniversary, but these guys are approaching 60 and Jon Anderson is headed for 64. So what! Look at the Stones and the Who. They are older and play much less complex music and they are certainly not as "fast" as once upon a time, or as vocally sonic. I saw Yes with Wakeman in '02, '03 and '04. They were good, very good, but not great. Why just very good? Age and stamina, I'm afraid. It all started back in September, 1989, when I saw Anderson, Bruford, Wakeman and Howe at the Greek Theatre in Los Angeles. This was the chance for Jon Anderson to resurrect the personnel from Fragile and Close to the Edge (without Squire, however) and begin anew after the 90125 years. My observation? Live, the band played considerably slower and more in line with the original arrangements on the albums. How was the playing? Steve played much slower but with more control and precision, Jon's voice was a tad lower, but still glorious, Bill was more a rock drummer this time around (with his electronic kit) and Rick's chops were the most impressive of the bunch. The performance was a kinder, gentler Yes. Their music has always been complex and superior musicianship is required to get the job done, slower paced or frantic, it was quite enjoyable, but tame. Sadly, the ABWH material, for the most part, was mediocre. The 1991 Union tour was fun but the patching together of ABWH and "Yes West" albums into one was a disaster. The "Keys to Ascension" set contained live examples of the tamer approach, plus what I contend is the best piece of music they have produced since "Awaken", the 19 minute opus, "That, That is". Prototypical Yes music and arrangement augmented by some of Anderson's worst lyrics (something about crack babies in heaven.) There was some hope, I thought. After Wakeman left the band for the third time (for Jesus, as some contend), I continued to see Yes in the later 90's (after Anderson regrouped with Howe following the mediocre Talk album with Trevor Rabin) with Russian import, Igor Khoroshev on keyboards and "Key's" producer, Billy Sherwood on second guitar and vocals. The shows were similarly tame, but with some added freshness with the new members, and the newer material, while lambasted by critics, contained several cuts in the Billy Sherwood/Chris Squire written Open Your Eyes album that were very Yes-like and leagues above any of the 90125/Big Generator stuff. During that tour they played "The Revealing Science of God" and THAT in itself made it special. Will I go see them again, maybe for the final time? It's a must! It's a commandment. Why? It's the brilliant music. It's Yes, one of my personal Trinity (along with the Beatles and Cream) Oliver Wakeman is as authentic as Jason Bonham is to Led Zeppelin, and will undoubtedly bring new perspective to the old songs. Yes is still the most original sounding group I have ever heard. Who knows? They may open with "Future Times/Rejoice", which they haven't played in 30 years. Or dig up "The Remembering" from the depths of the topographic ocean. The comfort and excitement of hearing the finale from the "Firebird Suite" as the band comes on stage still brings the goose bumps and that is something I cannot miss. My point? Parents, bring your children and children, drag your parents. It may not be 1978 anymore, but seeing Yes perform this complex, beautiful music for maybe the final time (or for the first time, for you youngies) is essential, even for cynics like me who saw them at their peak. Remember, it's the music that counts, not the age of the messengers. |
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