1 00:00:00,520 --> 00:00:01,240 Speaker 1: Taking a Walk. 2 00:00:01,360 --> 00:00:04,040 Speaker 2: The rolley stays it was just a dimmal sort of band. 3 00:00:04,080 --> 00:00:06,400 Speaker 2: I mean he was more where I'd been, you know, 4 00:00:06,559 --> 00:00:08,840 Speaker 2: I'd been in the band playing blues, you know, so 5 00:00:08,960 --> 00:00:11,200 Speaker 2: they were influced by blues. So they didn't interest me 6 00:00:11,320 --> 00:00:14,200 Speaker 2: very much. Well that I wanted to get when bless 7 00:00:14,240 --> 00:00:16,160 Speaker 2: his heart, Brian jonstet, I mean I was looking for 8 00:00:16,280 --> 00:00:18,440 Speaker 2: like gig. I would have jumped in there and said 9 00:00:18,480 --> 00:00:20,239 Speaker 2: hang on, you know, but I just couldn't get through 10 00:00:20,440 --> 00:00:20,919 Speaker 2: to anybody. 11 00:00:21,079 --> 00:00:24,960 Speaker 1: Welcome to the Taking a Walk Podcast hosted by Buzznight. 12 00:00:25,640 --> 00:00:29,520 Speaker 1: Buzz talks with musicians about the inside story on their legacy, 13 00:00:29,880 --> 00:00:34,199 Speaker 1: their process, and so much more. On this episode, Buzz's 14 00:00:34,240 --> 00:00:38,000 Speaker 1: guest is Steve Howe, classic rock fans on No Steve 15 00:00:38,080 --> 00:00:42,360 Speaker 1: from Yes. He was also part of Asia, gtr and 16 00:00:42,360 --> 00:00:46,600 Speaker 1: Anderson Bruford, Wakeman and Howe. He's had a tremendous solo 17 00:00:46,680 --> 00:00:50,680 Speaker 1: career and he's a legendary progressive rock guitarist who continues 18 00:00:50,760 --> 00:00:55,000 Speaker 1: to make his mark with inspired music. Steve Howe joins 19 00:00:55,040 --> 00:00:57,560 Speaker 1: Buzz Night next on Taking a Walk. 20 00:00:59,160 --> 00:01:02,600 Speaker 3: Well, it's an eye to have a returning guest to 21 00:01:02,640 --> 00:01:05,080 Speaker 3: the Taken a Walk Podcast. As we were going to 22 00:01:05,160 --> 00:01:09,560 Speaker 3: take a virtual walk down memory lane with the great 23 00:01:09,760 --> 00:01:14,039 Speaker 3: Steve Howe from Yes, Hello Steve, hi was. It's nice 24 00:01:14,040 --> 00:01:15,120 Speaker 3: to talk to you again, sir. 25 00:01:15,560 --> 00:01:17,399 Speaker 2: That's the guys up with you too? Good? I hope 26 00:01:17,400 --> 00:01:18,000 Speaker 2: you will. 27 00:01:18,200 --> 00:01:20,400 Speaker 3: Doing very well. I'm talking to you. I couldn't be 28 00:01:20,440 --> 00:01:24,560 Speaker 3: any better. So let's go back in time here and 29 00:01:25,120 --> 00:01:30,200 Speaker 3: talk about the first concert experience that you experienced in 30 00:01:30,240 --> 00:01:30,800 Speaker 3: your life. 31 00:01:31,400 --> 00:01:36,280 Speaker 2: Okay, all right? I was about fourteen, I was maybe 32 00:01:36,280 --> 00:01:39,520 Speaker 2: I was thirteen. Anyway, I was still Word Beyond the 33 00:01:39,520 --> 00:01:43,080 Speaker 2: Ears thirteen or fourteen, a school band, a bit of 34 00:01:43,080 --> 00:01:47,480 Speaker 2: a school musicians. We went on stage at a youth 35 00:01:47,560 --> 00:01:52,040 Speaker 2: club and we didn't practice well, tune up or talk 36 00:01:52,080 --> 00:01:55,520 Speaker 2: about anything. We just said, let's play shadows, you know 37 00:01:55,600 --> 00:01:59,800 Speaker 2: the shadows, and so we played apatche and you know, 38 00:02:00,120 --> 00:02:04,240 Speaker 2: famous guitar instrumental. So basically it was pretty awful. And 39 00:02:04,760 --> 00:02:08,160 Speaker 2: after that I didn't play on stage for about a 40 00:02:08,240 --> 00:02:12,680 Speaker 2: year and a half. It was dreadful. Really, I could 41 00:02:12,680 --> 00:02:16,200 Speaker 2: tell it wasn't that good, but I thought, well, it 42 00:02:16,200 --> 00:02:18,920 Speaker 2: didn't put me off completely. So when I met Kevin Driscoll, 43 00:02:20,040 --> 00:02:24,480 Speaker 2: bass player in the group called the Syndicats, Basically we 44 00:02:24,520 --> 00:02:26,880 Speaker 2: formed the syndicates together when I met him, and that's 45 00:02:26,919 --> 00:02:30,079 Speaker 2: when I started playing in pubs and things like that. 46 00:02:30,120 --> 00:02:35,200 Speaker 2: But that first concert was I was toned deaf to it. 47 00:02:35,320 --> 00:02:38,000 Speaker 2: You know, it just didn't make sense. But that's because 48 00:02:38,120 --> 00:02:39,360 Speaker 2: you know, there was no preparation. 49 00:02:40,200 --> 00:02:42,760 Speaker 3: And did you actually play at a prison also. 50 00:02:42,960 --> 00:02:45,160 Speaker 2: Well, that's what happened when I got together with Kevin. 51 00:02:45,440 --> 00:02:47,880 Speaker 2: We formed a group and we got we've got a 52 00:02:47,919 --> 00:02:51,040 Speaker 2: Tuesday Evening or something, a youth club and it was 53 00:02:51,080 --> 00:02:56,480 Speaker 2: connected to what's called Pentonville Prison in no great shakes, 54 00:02:56,800 --> 00:03:00,000 Speaker 2: but anyway, so that was in the area of Northfolk 55 00:03:00,200 --> 00:03:04,560 Speaker 2: and we lived in and basically yeah, yeah, every week 56 00:03:04,639 --> 00:03:06,640 Speaker 2: for a while we played there and the only thing 57 00:03:06,680 --> 00:03:08,920 Speaker 2: we knew that I didn't think in the prison was 58 00:03:09,240 --> 00:03:11,400 Speaker 2: as we packed up the gear, some prisoners came in 59 00:03:11,440 --> 00:03:14,600 Speaker 2: and tied it up the venue. So yeah, it was 60 00:03:14,720 --> 00:03:15,360 Speaker 2: kind of weird. 61 00:03:17,120 --> 00:03:19,160 Speaker 3: It sounds a little spinal tap ish. 62 00:03:19,440 --> 00:03:23,320 Speaker 2: Yeah yeah, yeah, Johnny Cash at thought some prison. 63 00:03:23,440 --> 00:03:29,639 Speaker 3: Yes, exactly. I love your appreciation for all diverse styles 64 00:03:29,639 --> 00:03:34,440 Speaker 3: of music, and I think, if I'm correct on this, 65 00:03:35,360 --> 00:03:38,400 Speaker 3: one of the first concerts you experienced as a fan 66 00:03:39,800 --> 00:03:44,000 Speaker 3: was heavily roots oriented around like Chuck Berry does that 67 00:03:44,040 --> 00:03:44,520 Speaker 3: sound right? 68 00:03:44,960 --> 00:03:47,720 Speaker 2: Yeah, that's right. Yeah. Yeah. The first major, kind of 69 00:03:47,880 --> 00:03:50,760 Speaker 2: proper major console I went to was what they called 70 00:03:50,800 --> 00:03:53,560 Speaker 2: the Package too. You know, there was most probably five names. 71 00:03:53,600 --> 00:03:58,360 Speaker 2: I think Eric Burton and the Animals. Paul Perkins was 72 00:03:58,400 --> 00:04:02,200 Speaker 2: actually top of the bill, but we didn't know him 73 00:04:02,240 --> 00:04:04,600 Speaker 2: anywhere near as well as we knew Chuck Berry. So 74 00:04:04,680 --> 00:04:08,400 Speaker 2: Chuck Berry was like the pre thing. Yeah, so that 75 00:04:08,520 --> 00:04:11,120 Speaker 2: was my I mean i'd seem like people founding clubs 76 00:04:11,160 --> 00:04:14,240 Speaker 2: obviously and things like that, but this was like sit down, 77 00:04:14,520 --> 00:04:19,320 Speaker 2: lights out show. And Chuck Berry was absolutely magical, you know. 78 00:04:19,400 --> 00:04:21,800 Speaker 2: I mean he did things, you know, well, he was 79 00:04:21,839 --> 00:04:26,960 Speaker 2: the package, you know, singer, guitarist, songwriter, performer, you know, 80 00:04:27,360 --> 00:04:29,679 Speaker 2: so he leapt about the stage during his duck walk 81 00:04:29,760 --> 00:04:32,600 Speaker 2: and things like this, and he was absolutely great. And 82 00:04:33,120 --> 00:04:36,120 Speaker 2: I think that's that's a major contribution. You know, we 83 00:04:36,200 --> 00:04:41,080 Speaker 2: knew Chuck's music, Bill Haley, Little Richard and other people, 84 00:04:41,120 --> 00:04:44,080 Speaker 2: but that was when it was all happening in that direction. 85 00:04:44,839 --> 00:04:47,160 Speaker 3: Did you have an aspiration at that point to do 86 00:04:47,200 --> 00:04:47,880 Speaker 3: a duck walk? 87 00:04:48,680 --> 00:04:52,240 Speaker 2: Well, well, I mean I did do them occasionally, Yeah, 88 00:04:52,360 --> 00:04:53,920 Speaker 2: if I did one at the Rock and Roll Hall 89 00:04:53,960 --> 00:04:56,560 Speaker 2: of Fame when I was playing bass on Owner of 90 00:04:56,600 --> 00:04:59,680 Speaker 2: a Lonely Heart with Yes, because I just sort of 91 00:04:59,720 --> 00:05:01,800 Speaker 2: thought it was getting a bit kitch, so why not 92 00:05:01,880 --> 00:05:03,560 Speaker 2: get Kitcher? 93 00:05:04,120 --> 00:05:04,719 Speaker 3: I love that. 94 00:05:06,360 --> 00:05:06,520 Speaker 1: Now. 95 00:05:06,560 --> 00:05:10,000 Speaker 3: I know you have great admiration also for the work 96 00:05:10,040 --> 00:05:14,159 Speaker 3: of Chad Atkins. Did you ever get to experience him 97 00:05:14,200 --> 00:05:15,880 Speaker 3: play live? Yeah? 98 00:05:16,000 --> 00:05:18,719 Speaker 2: Yeah, I saw him a few times, and then I 99 00:05:18,760 --> 00:05:20,359 Speaker 2: met him a few times as well, and it was 100 00:05:20,480 --> 00:05:23,880 Speaker 2: absolutely great. Yeah. I saw him to a concert in London, 101 00:05:24,000 --> 00:05:29,359 Speaker 2: and me and a guy called Doug Turner, who was 102 00:05:29,360 --> 00:05:33,560 Speaker 2: a great picker himself, went to see him, and because 103 00:05:33,760 --> 00:05:37,440 Speaker 2: Doug was in the chat Atkins Appreciation Society, we got 104 00:05:37,440 --> 00:05:40,040 Speaker 2: to meet Chet and I actually gave him the music 105 00:05:40,080 --> 00:05:43,200 Speaker 2: to clap, although I'm not sure he ever played it 106 00:05:43,560 --> 00:05:47,880 Speaker 2: or even looked at it. But later, when I developed 107 00:05:47,880 --> 00:05:52,440 Speaker 2: my career a lot more, I saw him. Well. We 108 00:05:52,480 --> 00:05:57,280 Speaker 2: played together on the same bill in Germany for two 109 00:05:57,440 --> 00:06:02,040 Speaker 2: nights with Larry Colton, I think Larry Coriel, that's right, 110 00:06:02,120 --> 00:06:06,320 Speaker 2: Larry Coyel. Me and Chet did our own spots and 111 00:06:06,360 --> 00:06:08,000 Speaker 2: there was a sort of a jam at the end, 112 00:06:08,120 --> 00:06:11,160 Speaker 2: but as I never thought Chetwood, he didn't he didn't 113 00:06:11,240 --> 00:06:15,520 Speaker 2: join in, and I joined in a little at that 114 00:06:15,640 --> 00:06:18,040 Speaker 2: concert and you know, I had a little ride about 115 00:06:18,080 --> 00:06:20,919 Speaker 2: Germany with Chet to and from the shows. He was 116 00:06:21,000 --> 00:06:26,359 Speaker 2: very nice, very sweet, very very relaxed. And his company 117 00:06:26,360 --> 00:06:28,960 Speaker 2: has told me that Chet did take a shine to me. 118 00:06:29,200 --> 00:06:34,000 Speaker 3: So that's awesome. You mentioned Larry Coriel. I got to 119 00:06:34,040 --> 00:06:36,880 Speaker 3: tell you a funny story. I briefly, while I was 120 00:06:36,920 --> 00:06:41,040 Speaker 3: in college at the University of Dayton, held the esteemed 121 00:06:41,120 --> 00:06:46,200 Speaker 3: position there of the concert director for the university and Steve. 122 00:06:46,240 --> 00:06:48,159 Speaker 3: I was terrible at it because I was working on 123 00:06:48,200 --> 00:06:51,880 Speaker 3: the radio and going to college, so I really was 124 00:06:51,920 --> 00:06:56,240 Speaker 3: bad at the job. But I did succeed in booking 125 00:06:56,440 --> 00:07:01,479 Speaker 3: Larry Coriel at the University of Dayton. And once the 126 00:07:01,520 --> 00:07:04,479 Speaker 3: show was over, and I guess maybe this happened with 127 00:07:04,480 --> 00:07:07,680 Speaker 3: a lot of artists, he decided to come over to 128 00:07:07,760 --> 00:07:13,040 Speaker 3: our house and party by college buddies. It was so nice. 129 00:07:13,400 --> 00:07:15,720 Speaker 2: Oh was it good? Okay? Good? Well, that's sweet. 130 00:07:16,440 --> 00:07:16,880 Speaker 1: Yeah. 131 00:07:17,000 --> 00:07:21,000 Speaker 3: I know. You have tremendous admiration as well for obviously 132 00:07:21,120 --> 00:07:26,120 Speaker 3: the Beatles in terms of what they represented in you know, 133 00:07:26,240 --> 00:07:29,800 Speaker 3: your sort of influences and everything. Can you talk about 134 00:07:29,840 --> 00:07:33,880 Speaker 3: what the Beatles meant as you were a musician sort 135 00:07:33,880 --> 00:07:36,440 Speaker 3: of coming through the ranks and developing your style. 136 00:07:37,320 --> 00:07:41,040 Speaker 2: Well, they were quintessentially central, you know, to that era. 137 00:07:41,520 --> 00:07:45,239 Speaker 2: It was only Bob Dylan's free wheeling that had any 138 00:07:45,360 --> 00:07:50,120 Speaker 2: kind of a comparable weight, you know, in effect opening 139 00:07:50,160 --> 00:07:52,480 Speaker 2: the door. So when the Beatles came out and you 140 00:07:52,520 --> 00:07:55,000 Speaker 2: know that Please Please Me album, I mean, they were 141 00:07:55,160 --> 00:07:59,600 Speaker 2: just literally a sensation. You know, you just can't imagine 142 00:07:59,760 --> 00:08:04,720 Speaker 2: what you know, what effect it was. It was a 143 00:08:04,760 --> 00:08:08,160 Speaker 2: bit like the pandemic, you know, but to say something 144 00:08:08,280 --> 00:08:11,360 Speaker 2: nice about the pandemic's kind of hard really, but basically 145 00:08:11,560 --> 00:08:13,360 Speaker 2: it was like that, like and in that that it 146 00:08:13,520 --> 00:08:17,560 Speaker 2: spreads the world, and you know, we were so proud, 147 00:08:17,600 --> 00:08:19,840 Speaker 2: you know that this was not only you know, a 148 00:08:19,880 --> 00:08:22,720 Speaker 2: brit band, it was Liverpool band. It's a brit band. 149 00:08:22,760 --> 00:08:25,760 Speaker 2: And there was like total like wipeout, you know, this band. 150 00:08:26,040 --> 00:08:28,840 Speaker 2: There was no competition. There was no band that was 151 00:08:28,840 --> 00:08:30,679 Speaker 2: as good as that anywhere in the world. Of course 152 00:08:30,760 --> 00:08:33,319 Speaker 2: they came, you know, the Birds and you know all 153 00:08:33,320 --> 00:08:35,280 Speaker 2: the great bands you know that were going on. Of 154 00:08:35,280 --> 00:08:38,000 Speaker 2: course we're going on, but I mean the Beatles were 155 00:08:38,080 --> 00:08:40,800 Speaker 2: just like just there they were, you know, so anyway 156 00:08:41,559 --> 00:08:44,959 Speaker 2: to wind it down then, basically when when they came out, 157 00:08:44,960 --> 00:08:48,920 Speaker 2: the first thing I didn't. I didn't. I don't read music, 158 00:08:48,960 --> 00:08:50,880 Speaker 2: but I bought sheet music because it had the chord 159 00:08:50,960 --> 00:08:53,920 Speaker 2: symbols on it, you know, So anyway I'd buy the 160 00:08:54,160 --> 00:08:57,200 Speaker 2: you know, the Beetles sheep music to understand better the 161 00:08:57,320 --> 00:09:01,680 Speaker 2: chords that they were using. Sometimes stupid, the call chart 162 00:09:01,840 --> 00:09:04,640 Speaker 2: was in a different g Can you imagine it buys 163 00:09:04,840 --> 00:09:07,600 Speaker 2: got a guitar, it buys the call chart, right, you 164 00:09:07,640 --> 00:09:11,360 Speaker 2: know the song please please miss the different key? What 165 00:09:11,520 --> 00:09:14,240 Speaker 2: use is that? So anyway you work out the chords, 166 00:09:14,360 --> 00:09:17,720 Speaker 2: and they were just harmonious, you know, and of course 167 00:09:17,760 --> 00:09:20,280 Speaker 2: George was great guitarists and they're all great, you know, 168 00:09:20,320 --> 00:09:23,200 Speaker 2: they all had I mean, you know, and Ringo was 169 00:09:23,280 --> 00:09:25,400 Speaker 2: just as great as all the guys. They had that 170 00:09:25,720 --> 00:09:29,360 Speaker 2: so much individual style that it took her away from 171 00:09:29,400 --> 00:09:31,320 Speaker 2: the fact that a lot of other music, well they 172 00:09:31,320 --> 00:09:34,760 Speaker 2: had George Martin. I mean, come on, let's admit that 173 00:09:34,840 --> 00:09:38,200 Speaker 2: they had tremendous guidance. So in fact, it was a 174 00:09:38,280 --> 00:09:42,080 Speaker 2: perfect chemistry for about a bit like yes with Eddie 175 00:09:42,080 --> 00:09:45,000 Speaker 2: offered you know, we had a run where it was 176 00:09:45,120 --> 00:09:50,240 Speaker 2: great working with Eddie and the Beatles. George was a companion. 177 00:09:50,720 --> 00:09:54,280 Speaker 2: They must have just enjoyed having him there so much 178 00:09:54,320 --> 00:09:56,280 Speaker 2: because he was so talented, you. 179 00:09:56,240 --> 00:10:02,480 Speaker 3: Know, and impressions through your development of the Rolling Stones 180 00:10:02,520 --> 00:10:03,520 Speaker 3: and what they meant to you. 181 00:10:04,679 --> 00:10:07,920 Speaker 2: Well, the Rolling it was just a difficult sort of band. 182 00:10:07,920 --> 00:10:10,240 Speaker 2: I mean, it was more where I'd been you know, 183 00:10:10,400 --> 00:10:12,680 Speaker 2: I'd been in the band playing blues, you know, so 184 00:10:12,840 --> 00:10:15,080 Speaker 2: they were influenced by blues, and they didn't interest me 185 00:10:15,200 --> 00:10:18,440 Speaker 2: very much. Although I wanted to gig when Bless his heart, 186 00:10:18,480 --> 00:10:20,559 Speaker 2: Brian Jones started, I mean I was looking for that gig. 187 00:10:20,840 --> 00:10:22,640 Speaker 2: I would have jumped in there and said hang on, 188 00:10:22,760 --> 00:10:24,840 Speaker 2: you know, but I just couldn't get through to anybody, 189 00:10:24,840 --> 00:10:29,439 Speaker 2: and that had, you know, the marvelous replacement lined up anyway, 190 00:10:29,640 --> 00:10:35,839 Speaker 2: in Mick Taylor. So basically, I when I go off 191 00:10:35,880 --> 00:10:39,320 Speaker 2: the point, I can forget what the question is. So basically, 192 00:10:40,000 --> 00:10:40,520 Speaker 2: where were we? 193 00:10:41,280 --> 00:10:43,560 Speaker 3: Oh, well, you just talking about the Stones and you just 194 00:10:43,960 --> 00:10:45,880 Speaker 3: threw me for a loop on that. I want to 195 00:10:45,880 --> 00:10:49,800 Speaker 3: go back to the notion of Okay, So Brian Jones 196 00:10:49,880 --> 00:10:53,320 Speaker 3: passes away and your eyes light up and you say, 197 00:10:53,679 --> 00:10:57,679 Speaker 3: I think I could join that band. So that's amazing 198 00:10:57,800 --> 00:10:59,600 Speaker 3: to hear that. What do you think would have happened 199 00:10:59,600 --> 00:10:59,920 Speaker 3: if you did? 200 00:11:01,600 --> 00:11:04,520 Speaker 2: But they might have thrown me out. Of course, they 201 00:11:04,600 --> 00:11:07,280 Speaker 2: might have been a bad influence on me. Now what 202 00:11:07,320 --> 00:11:11,280 Speaker 2: I would say is, look, they've got so much to offer. 203 00:11:11,320 --> 00:11:13,640 Speaker 2: I mean, they're still going, you know, and I love them, 204 00:11:13,679 --> 00:11:15,800 Speaker 2: you know, I really really love them, especially after that 205 00:11:15,840 --> 00:11:18,920 Speaker 2: television program where they featured one of the members for 206 00:11:18,960 --> 00:11:22,319 Speaker 2: a whole program. It was so inside that's a great band, 207 00:11:22,400 --> 00:11:25,760 Speaker 2: like Queen, you know, like a other bands. So basically 208 00:11:25,880 --> 00:11:30,199 Speaker 2: there's a lot of harmonium, their harmoniousness, and you know, 209 00:11:30,400 --> 00:11:35,400 Speaker 2: it's just they're just a different animal altogether, you know. 210 00:11:35,559 --> 00:11:37,599 Speaker 2: I mean, although they did actually play a Lemon of 211 00:11:37,640 --> 00:11:41,040 Speaker 2: Cartney song, it did help them along their way. But basically, 212 00:11:41,480 --> 00:11:44,640 Speaker 2: the Stones were the sort of opposite of the Beatles 213 00:11:44,679 --> 00:11:46,560 Speaker 2: in a way because they were finding a way of 214 00:11:46,600 --> 00:11:50,240 Speaker 2: developing what I'd become tired of, which was the blues. 215 00:11:50,280 --> 00:11:52,400 Speaker 2: You know, I'd done the blues and I love them still, 216 00:11:52,679 --> 00:11:54,880 Speaker 2: but I didn't want to play the blues. So the 217 00:11:54,960 --> 00:11:58,080 Speaker 2: Stones were like the parallel universe going on that said, no, 218 00:11:58,160 --> 00:12:00,040 Speaker 2: we can play the blues, but we're playing like. 219 00:12:00,160 --> 00:12:00,720 Speaker 3: This, you know. 220 00:12:00,880 --> 00:12:04,679 Speaker 2: And I think they're a great band, and everything about 221 00:12:04,679 --> 00:12:07,480 Speaker 2: them too is great, but they weren't as much my 222 00:12:07,679 --> 00:12:11,080 Speaker 2: thing and as much my development along with Les, Paul 223 00:12:11,200 --> 00:12:14,680 Speaker 2: Chairback in the Beatles, you know, and then you know, 224 00:12:14,760 --> 00:12:17,360 Speaker 2: maybe Frank Zappa or you know, other people came along 225 00:12:17,400 --> 00:12:21,200 Speaker 2: that you were knocked out with Paul Signon and basically 226 00:12:21,280 --> 00:12:24,480 Speaker 2: the Birds and all these other band great bands from America. 227 00:12:24,600 --> 00:12:28,280 Speaker 2: So it was awful happening. But but the Beatles stood 228 00:12:28,280 --> 00:12:31,280 Speaker 2: out in a different way because the Rolling Stones had notoriety, 229 00:12:31,559 --> 00:12:35,320 Speaker 2: but sort of bad notoriety, great fun. I mean, you know, 230 00:12:35,679 --> 00:12:38,880 Speaker 2: the poor guys got targeted by these idiot policemen in 231 00:12:38,920 --> 00:12:43,080 Speaker 2: London who thought that you know, smoking marijuana was was 232 00:12:43,080 --> 00:12:46,439 Speaker 2: was like smoking like taking hard drugs. So they were 233 00:12:46,480 --> 00:12:49,040 Speaker 2: fixated with that idea. This wasn't fun and they were 234 00:12:49,040 --> 00:12:51,280 Speaker 2: going to stop it, so that the Stones and the 235 00:12:51,280 --> 00:12:54,600 Speaker 2: Beetles got targeted, and that's a dreadful thing. But there again, 236 00:12:54,679 --> 00:12:58,480 Speaker 2: before that, there were greater crimes against you know, homosexuals, 237 00:12:58,520 --> 00:13:00,880 Speaker 2: and you know, I mean, the world's been a very 238 00:13:00,920 --> 00:13:03,520 Speaker 2: cruel place. So going back to what isn't cruel is 239 00:13:03,559 --> 00:13:06,040 Speaker 2: that the Beatles were great. The Stones were great, but 240 00:13:06,640 --> 00:13:07,640 Speaker 2: not as much my thing. 241 00:13:08,480 --> 00:13:10,920 Speaker 3: Yeah, I got it, And so let's just go a 242 00:13:10,960 --> 00:13:15,120 Speaker 3: couple of more of the great bands and what they meant? 243 00:13:16,600 --> 00:13:19,040 Speaker 3: The Who and led Zeppelin, what do they mean? 244 00:13:20,160 --> 00:13:22,760 Speaker 2: Well, I can't really do this, you know, how can 245 00:13:22,800 --> 00:13:25,560 Speaker 2: I review a band as big as led Zeppelin in 246 00:13:25,600 --> 00:13:26,240 Speaker 2: a sentence? 247 00:13:28,040 --> 00:13:28,280 Speaker 1: You know. 248 00:13:29,320 --> 00:13:33,000 Speaker 2: I admired Jimmy and I remember leading him in Denmark Street. 249 00:13:33,000 --> 00:13:34,520 Speaker 2: I wonder if he remembers, and he said to me, 250 00:13:35,080 --> 00:13:36,720 Speaker 2: I just formed a new band. It's going to be 251 00:13:36,720 --> 00:13:39,720 Speaker 2: called led Zeppelin. I said, really, oh yeah, great, good luck? 252 00:13:40,200 --> 00:13:45,400 Speaker 2: And led Zeppelin was like what enormous band? And the Who? 253 00:13:45,520 --> 00:13:48,320 Speaker 2: You know, they had their pop hits as well. You know, 254 00:13:48,400 --> 00:13:51,360 Speaker 2: well I would say, you know, I'll take the as 255 00:13:51,400 --> 00:13:53,840 Speaker 2: well out of that. They had their pop hits and 256 00:13:53,880 --> 00:13:57,480 Speaker 2: they were great bands, you know, and you know, there 257 00:13:57,520 --> 00:13:59,880 Speaker 2: was great strength in their writing, of course they had 258 00:14:00,600 --> 00:14:03,600 Speaker 2: Like the similarity is that both had a very wild drama. 259 00:14:03,679 --> 00:14:07,640 Speaker 2: You know, but a lot of dramas are fairly wild. Yeah. 260 00:14:07,679 --> 00:14:12,960 Speaker 3: Well, what's amazing about, yes, is you created music that 261 00:14:13,080 --> 00:14:16,880 Speaker 3: really previously didn't exist in a whole category, that really 262 00:14:16,920 --> 00:14:21,080 Speaker 3: didn't exist in terms of you know, the style and 263 00:14:21,240 --> 00:14:24,320 Speaker 3: what it led to in terms of other bands. Tell 264 00:14:24,360 --> 00:14:26,720 Speaker 3: me how it feels to have had that sort of 265 00:14:26,800 --> 00:14:29,640 Speaker 3: impact on a whole new genre. 266 00:14:30,240 --> 00:14:32,680 Speaker 2: Well, I think it started, you know, nineteen sixty seven, 267 00:14:32,760 --> 00:14:35,800 Speaker 2: you know, when when the in crowd became Tomorrow and 268 00:14:35,880 --> 00:14:38,600 Speaker 2: we played my work Bicycle and there was a whole 269 00:14:38,720 --> 00:14:42,120 Speaker 2: new like New Year to move up to. But that 270 00:14:42,240 --> 00:14:43,920 Speaker 2: was a bit of a lull, you know. After that, 271 00:14:44,480 --> 00:14:47,920 Speaker 2: London was a very dark and cold place. And then suddenly, 272 00:14:48,000 --> 00:14:52,720 Speaker 2: you know, I joined Yes and basically progressive what was 273 00:14:52,760 --> 00:14:56,240 Speaker 2: already happening and Yes when I joined, and I didn't 274 00:14:56,280 --> 00:14:59,000 Speaker 2: know they were playing that. Really they were playing their 275 00:14:59,040 --> 00:15:01,600 Speaker 2: own songs, you know, and that's what was vital to me, 276 00:15:01,720 --> 00:15:04,200 Speaker 2: that the band wanted to play their own songs, so 277 00:15:04,640 --> 00:15:10,240 Speaker 2: basically that that meant that my opportunities, you know, as 278 00:15:10,240 --> 00:15:15,440 Speaker 2: a guitar is primarily first and foremost. Really was that, Okay, 279 00:15:15,480 --> 00:15:17,480 Speaker 2: I could get in here and play some you know, 280 00:15:17,560 --> 00:15:20,440 Speaker 2: really good guitar. These guys can you know, they understand 281 00:15:20,440 --> 00:15:24,640 Speaker 2: the provisation, they want structure, improvisation, harmonies. You know. It 282 00:15:24,680 --> 00:15:27,480 Speaker 2: was like the whole canon, the whole wall of sound 283 00:15:27,600 --> 00:15:29,240 Speaker 2: was going to come from. Yes, you know, we could 284 00:15:29,240 --> 00:15:32,320 Speaker 2: do everything. And you know when you see Yes songs 285 00:15:32,400 --> 00:15:35,040 Speaker 2: or something like that, you know that film, I mean, 286 00:15:35,120 --> 00:15:39,160 Speaker 2: the band plays so sort of magnetically close. You know 287 00:15:39,280 --> 00:15:42,680 Speaker 2: that it's quite surprising, you know, it surprises me. We're 288 00:15:42,680 --> 00:15:45,880 Speaker 2: playing the same notes that we wrote, but they came 289 00:15:45,920 --> 00:15:49,160 Speaker 2: from the studio and went on stage and yes, grew, 290 00:15:49,360 --> 00:15:51,800 Speaker 2: you know, Yes, that was the test. So the albums 291 00:15:51,840 --> 00:15:55,280 Speaker 2: that we didn't play much on stage were for good 292 00:15:55,360 --> 00:15:58,400 Speaker 2: reason because they didn't work on stage so much and 293 00:15:58,520 --> 00:16:01,240 Speaker 2: we didn't enjoy them, and there were arguments about who 294 00:16:01,320 --> 00:16:04,640 Speaker 2: plays what or why this doesn't you know, if we improvised, 295 00:16:04,760 --> 00:16:07,160 Speaker 2: you know, it had to be a structure because on 296 00:16:07,280 --> 00:16:09,880 Speaker 2: stage you need structure, as Chris always said, you know, 297 00:16:09,960 --> 00:16:12,680 Speaker 2: so anywhere that was a bit too jammy. We could 298 00:16:12,760 --> 00:16:15,960 Speaker 2: never reproduce on stage, and we we we had to 299 00:16:15,960 --> 00:16:19,000 Speaker 2: think of something else to do. And so yeah, I 300 00:16:19,040 --> 00:16:23,120 Speaker 2: mean watching everybody else absorb you know, the electronic development 301 00:16:23,120 --> 00:16:25,800 Speaker 2: of keyboards, and then what was possible for the guitar. 302 00:16:25,920 --> 00:16:28,480 Speaker 2: And then in GTR, I was doing like some midi 303 00:16:28,520 --> 00:16:30,880 Speaker 2: guitar and there was a lot of synth stuff going 304 00:16:30,920 --> 00:16:34,000 Speaker 2: on like there was on Drama. But basically, you know, 305 00:16:35,240 --> 00:16:37,960 Speaker 2: Asia was a kind of interesting diversion for me to 306 00:16:38,000 --> 00:16:41,440 Speaker 2: get more sort of like pop orientated rock, you know, 307 00:16:41,560 --> 00:16:44,120 Speaker 2: and I love that too. That was great fun, so 308 00:16:45,680 --> 00:16:48,640 Speaker 2: it kept developing. You know, sension with Yes in the 309 00:16:48,680 --> 00:16:52,480 Speaker 2: mid nineties was another attempt to find the pulse. You know, 310 00:16:52,520 --> 00:16:54,000 Speaker 2: we did a lot of things great, and we did 311 00:16:54,040 --> 00:16:57,120 Speaker 2: other things not so great. And then you know, by 312 00:16:57,240 --> 00:16:59,720 Speaker 2: two thousand and four, I mean, Yes, it'd come back 313 00:16:59,760 --> 00:17:02,400 Speaker 2: to was it in stage and we were playing big venues. 314 00:17:02,440 --> 00:17:05,320 Speaker 2: It was all very exciting, and we stopped and then 315 00:17:05,920 --> 00:17:08,800 Speaker 2: we had a long gap of three years. So when 316 00:17:08,880 --> 00:17:12,320 Speaker 2: we we grew with Chris and Iron Allen, primarily getting 317 00:17:12,480 --> 00:17:16,960 Speaker 2: my Benmoir, David and Oliver Waitbinion, we basically just had 318 00:17:17,000 --> 00:17:20,720 Speaker 2: to forge a new way on for Yes that wasn't 319 00:17:20,760 --> 00:17:23,919 Speaker 2: restricted and had a full commitment from people. Although I 320 00:17:24,000 --> 00:17:26,760 Speaker 2: was in Asia as well at the same time, which 321 00:17:28,280 --> 00:17:32,840 Speaker 2: eventually wore out, and I left Asia in twenty twelve 322 00:17:32,920 --> 00:17:35,480 Speaker 2: because I wanted to concentrate on Yes and my own 323 00:17:35,600 --> 00:17:38,000 Speaker 2: solo music and I couldn't do all these things at 324 00:17:38,000 --> 00:17:41,479 Speaker 2: once if I had Asia in there as well. So 325 00:17:41,520 --> 00:17:45,200 Speaker 2: basically I think it's developed, and I think merrit to 326 00:17:45,240 --> 00:17:48,439 Speaker 2: the sky and any future records we made the quest. 327 00:17:48,720 --> 00:17:52,280 Speaker 2: The things we're doing now is to show that we're 328 00:17:52,560 --> 00:17:56,800 Speaker 2: partly got one foot like really with much respect for 329 00:17:57,000 --> 00:18:00,199 Speaker 2: all the old Masurial another foot in the idea that 330 00:18:00,400 --> 00:18:03,960 Speaker 2: to do that, to play the old music really well, 331 00:18:04,400 --> 00:18:06,440 Speaker 2: the group's got to be a real group. It's it's 332 00:18:06,440 --> 00:18:08,840 Speaker 2: got to have music going right now. And that's what 333 00:18:08,960 --> 00:18:12,600 Speaker 2: miriture Sky is, you know, and that's what we thrive on, 334 00:18:12,840 --> 00:18:15,680 Speaker 2: is a balance of yeah, we've we've we love playing 335 00:18:15,680 --> 00:18:19,920 Speaker 2: Starship Trooper. Nobody can take that enjoyment from us. It's 336 00:18:19,960 --> 00:18:22,919 Speaker 2: a great feeling. But there again, you know, it's not 337 00:18:23,000 --> 00:18:25,760 Speaker 2: so much that we need to play all this new 338 00:18:25,840 --> 00:18:28,400 Speaker 2: music on stage. That would be you know, a challenge 339 00:18:28,440 --> 00:18:32,439 Speaker 2: and an interesting one, and but I think we just 340 00:18:32,600 --> 00:18:36,000 Speaker 2: balance it more minimally so that we don't appear to 341 00:18:36,040 --> 00:18:40,040 Speaker 2: be sort of like, you know, comparing the music some 342 00:18:40,119 --> 00:18:42,720 Speaker 2: of it. You know, we need more time on to 343 00:18:42,720 --> 00:18:45,280 Speaker 2: to play new music on stage. So maybe there's a 344 00:18:45,320 --> 00:18:49,040 Speaker 2: reason why that should happen. But at the most point, 345 00:18:49,200 --> 00:18:55,360 Speaker 2: we are enjoying the credibility of the music that I had. 346 00:18:55,440 --> 00:18:57,040 Speaker 2: Part of that, you know, a lot a lot of 347 00:18:57,080 --> 00:18:59,680 Speaker 2: it was John Andsen and all the other guys in 348 00:18:59,800 --> 00:19:03,320 Speaker 2: the What Patrick Mariz did from you know, for Relea 349 00:19:03,520 --> 00:19:07,119 Speaker 2: was sensational. So the progginess has just kind of like 350 00:19:07,320 --> 00:19:13,680 Speaker 2: evolved and become accepted, you know, and hopefully we can influence. 351 00:19:14,800 --> 00:19:16,960 Speaker 1: We'll be right back with more of the Taken a 352 00:19:17,000 --> 00:19:24,679 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 353 00:19:26,000 --> 00:19:30,400 Speaker 3: What's the first band after Yes in the progressive movement 354 00:19:30,520 --> 00:19:32,120 Speaker 3: that you were really wowed by? 355 00:19:33,160 --> 00:19:34,800 Speaker 2: Well, I mean I used to listen to The Soft 356 00:19:34,840 --> 00:19:37,359 Speaker 2: Machine a lot, you know, in the early days, and 357 00:19:38,040 --> 00:19:40,520 Speaker 2: now of course you know, they've got John Etheridge as well, 358 00:19:40,600 --> 00:19:45,920 Speaker 2: so that kind of work is interesting. I saw that 359 00:19:46,040 --> 00:19:48,760 Speaker 2: we were part of a pool, you know, and it 360 00:19:48,840 --> 00:19:51,760 Speaker 2: wasn't really about pop records, you know, at all. You know, 361 00:19:51,800 --> 00:19:54,479 Speaker 2: it was about albums. But of course Genesis took that 362 00:19:54,600 --> 00:19:57,119 Speaker 2: lead like Yes did in the eighties, which I'm no 363 00:19:57,200 --> 00:19:59,600 Speaker 2: part of with the owner of a Lonely Heart saga. 364 00:20:00,000 --> 00:20:03,120 Speaker 2: So basically that kind of era of the band isn't 365 00:20:03,240 --> 00:20:08,000 Speaker 2: very brocky, you know, but it's it can be very useful, 366 00:20:08,119 --> 00:20:12,800 Speaker 2: and in many ways Genesis showed that how very powerfully, 367 00:20:13,560 --> 00:20:16,679 Speaker 2: not only you know, but also it highlights that, you know, 368 00:20:16,720 --> 00:20:20,119 Speaker 2: people like Peter Gabriel, you know, their talents were missed 369 00:20:20,160 --> 00:20:25,040 Speaker 2: in Genesis, but he could develop his talent, but also 370 00:20:25,119 --> 00:20:29,960 Speaker 2: Genesis could without him, so that that's the story of 371 00:20:30,040 --> 00:20:33,720 Speaker 2: the you know, having a team of people that like 372 00:20:33,840 --> 00:20:34,560 Speaker 2: working together. 373 00:20:35,840 --> 00:20:38,920 Speaker 3: One of the things when I first saw Yes back 374 00:20:39,000 --> 00:20:44,560 Speaker 3: in the mid seventies that wowed me was the incredible 375 00:20:44,720 --> 00:20:49,760 Speaker 3: sound at the concert, just the amazing sonic nature of it. 376 00:20:49,880 --> 00:20:54,200 Speaker 3: Tell me how that ultimately became such an important part 377 00:20:54,240 --> 00:20:57,480 Speaker 3: of Yes. That that amazing sound in the concerts. 378 00:20:58,640 --> 00:21:02,359 Speaker 2: Well, if you're talking, I mean really partly that's Claire 379 00:21:02,400 --> 00:21:05,000 Speaker 2: Brother sound, you know, Claire Brother Claire it's called now 380 00:21:05,000 --> 00:21:09,720 Speaker 2: but clear Brother sound audio. Claire audio was We heard 381 00:21:09,760 --> 00:21:12,360 Speaker 2: that on the Jethro Total too, and we said when 382 00:21:12,400 --> 00:21:15,280 Speaker 2: we come back, we want Claire, you know, because we 383 00:21:15,359 --> 00:21:18,080 Speaker 2: heard the sound. But a similar thing happened like a 384 00:21:18,119 --> 00:21:20,520 Speaker 2: few years earlier than that, because that was like nineteen 385 00:21:20,560 --> 00:21:23,360 Speaker 2: seventy one, seventy two. But of course in nineteen seventy 386 00:21:23,520 --> 00:21:27,280 Speaker 2: we bought Iron Butterflies PA because we wanted a sound 387 00:21:27,520 --> 00:21:29,840 Speaker 2: like we did on their tour. You know, they wanted 388 00:21:29,880 --> 00:21:31,879 Speaker 2: to sell, we wanted to buy. So we bought the 389 00:21:32,080 --> 00:21:35,760 Speaker 2: w bin's mid range horns and high high horns, and 390 00:21:35,800 --> 00:21:38,600 Speaker 2: we bought this system and we started to really care 391 00:21:38,680 --> 00:21:40,960 Speaker 2: about how we sounded because we didn't really like the 392 00:21:41,000 --> 00:21:44,360 Speaker 2: sound of the pas that were available in England generally, 393 00:21:44,600 --> 00:21:46,320 Speaker 2: so we had our own PA. Then we went to 394 00:21:46,359 --> 00:21:49,200 Speaker 2: America and we said, Claire Brothers is it and we 395 00:21:49,200 --> 00:21:52,760 Speaker 2: we swore blind that we never played without Claire. Sometimes 396 00:21:52,760 --> 00:21:56,280 Speaker 2: we've had to certain things have changed, but whenever we can, 397 00:21:56,560 --> 00:22:00,240 Speaker 2: we still want to play with that sound because their 398 00:22:00,280 --> 00:22:02,120 Speaker 2: top notch, you know, at the top of the game. 399 00:22:02,520 --> 00:22:05,119 Speaker 2: But the way it was in the beginning of the 400 00:22:05,119 --> 00:22:08,280 Speaker 2: seventies was that Eddie started mixed. Eddie has started mixing 401 00:22:08,320 --> 00:22:10,680 Speaker 2: the show and that was wonderful, you know, that was 402 00:22:10,880 --> 00:22:15,320 Speaker 2: very exciting. He got a bit carried away unfortunately lost 403 00:22:15,359 --> 00:22:17,639 Speaker 2: the plot, so we had to find somebody great, like 404 00:22:17,960 --> 00:22:20,320 Speaker 2: Dave Lattel. So for a lot of the time, Dave 405 00:22:20,400 --> 00:22:23,240 Speaker 2: Lattel was our front of house and he does the 406 00:22:23,320 --> 00:22:27,359 Speaker 2: rolling stones. And basically we had a great team of 407 00:22:27,400 --> 00:22:30,480 Speaker 2: people who were going like we were. Our career was 408 00:22:30,520 --> 00:22:33,640 Speaker 2: going forwards and so was there and they were part 409 00:22:33,680 --> 00:22:36,520 Speaker 2: of our polish, you know, like Roger Dean. You know, 410 00:22:36,800 --> 00:22:39,359 Speaker 2: the fact that we started using his designs with his 411 00:22:39,440 --> 00:22:43,720 Speaker 2: brother Martin Dean for our staging was a big development. 412 00:22:43,760 --> 00:22:47,480 Speaker 2: They started retails from Gravacation Tour. So basically we were 413 00:22:47,520 --> 00:22:51,080 Speaker 2: messing with all that quality stuff that we could have made, 414 00:22:51,480 --> 00:22:54,240 Speaker 2: but a lot of it was to make our show better. 415 00:22:54,320 --> 00:22:54,480 Speaker 1: You know. 416 00:22:54,480 --> 00:22:57,280 Speaker 2: He started with a mirror ball. Micky Tate thought of 417 00:22:57,320 --> 00:23:01,119 Speaker 2: that and he, you know, I went on to become 418 00:23:01,200 --> 00:23:04,000 Speaker 2: our light designers. So we had great lights. We had 419 00:23:04,040 --> 00:23:07,439 Speaker 2: a team of people who really cared about making a 420 00:23:07,520 --> 00:23:10,960 Speaker 2: mark themselves, not just I was working for Yes, you know, 421 00:23:11,400 --> 00:23:14,119 Speaker 2: just like being a slave. No. No, They came with 422 00:23:14,200 --> 00:23:18,359 Speaker 2: creativity and there was always things developing and that was 423 00:23:18,400 --> 00:23:21,840 Speaker 2: what was exciting. And we try to keep that going today, 424 00:23:22,000 --> 00:23:25,120 Speaker 2: you know, and we've recently just changed from doing video 425 00:23:25,440 --> 00:23:28,120 Speaker 2: and lots of moving things. You know, we got fed 426 00:23:28,160 --> 00:23:29,960 Speaker 2: up with that. So now we just got like really 427 00:23:30,040 --> 00:23:34,000 Speaker 2: quite intense lighting. Now that's more theatrical, and we have 428 00:23:34,119 --> 00:23:37,000 Speaker 2: a set, but it's very kind of simple. It's a 429 00:23:37,000 --> 00:23:40,040 Speaker 2: few screens, but they're not used, you know, to show 430 00:23:40,160 --> 00:23:44,280 Speaker 2: somebody tapping their foot on. It's just the best thing 431 00:23:44,320 --> 00:23:46,960 Speaker 2: about it is that we want to focus on the band, 432 00:23:47,840 --> 00:23:49,400 Speaker 2: the players, the music. 433 00:23:51,160 --> 00:23:51,320 Speaker 1: You know. 434 00:23:51,400 --> 00:23:54,720 Speaker 3: One of the great things about Yes is the beauty 435 00:23:54,760 --> 00:23:59,760 Speaker 3: of collaboration with you know, all the band members. What's 436 00:23:59,800 --> 00:24:04,560 Speaker 3: the key to that great collaboration that's been so much party. Yes, 437 00:24:04,680 --> 00:24:05,719 Speaker 3: through the career. 438 00:24:06,480 --> 00:24:10,280 Speaker 2: Well, it's joint willingness, you know. I mean it's like 439 00:24:10,359 --> 00:24:13,560 Speaker 2: you can't go, you know, we can't go in opposite 440 00:24:13,640 --> 00:24:15,760 Speaker 2: our actions. We've got to be willing to go the 441 00:24:15,800 --> 00:24:19,800 Speaker 2: same way. And that to find that willingness is in 442 00:24:19,840 --> 00:24:22,480 Speaker 2: the belief, you know, in the band, in the music, 443 00:24:22,560 --> 00:24:24,440 Speaker 2: the love of the band. But also it's about getting 444 00:24:24,440 --> 00:24:27,080 Speaker 2: on with the guys, you know, and finding a way 445 00:24:27,119 --> 00:24:30,160 Speaker 2: of working professionally with each other. That's the first thing. 446 00:24:30,400 --> 00:24:35,000 Speaker 2: But the second is to have the harmony, understanding that 447 00:24:35,240 --> 00:24:38,119 Speaker 2: that there is closeness if it needs to be. You know, 448 00:24:38,200 --> 00:24:41,280 Speaker 2: there is a discussion between two people if it needs 449 00:24:41,320 --> 00:24:44,360 Speaker 2: to be, And basically you can work as much out 450 00:24:44,440 --> 00:24:48,360 Speaker 2: as you can and make it a happy environment. That's 451 00:24:48,359 --> 00:24:50,879 Speaker 2: what I said when I put my name forward to 452 00:24:50,920 --> 00:24:54,959 Speaker 2: produce the quest. I said, it's got I don't want 453 00:24:55,000 --> 00:24:57,480 Speaker 2: to do unless it's fun, you know, because there is 454 00:24:57,520 --> 00:25:00,879 Speaker 2: a fun element that you need. That doesn't mean, you know, 455 00:25:01,000 --> 00:25:03,119 Speaker 2: we've got a comedian in the group. No, I don't 456 00:25:03,160 --> 00:25:06,840 Speaker 2: want to committing the group. But fun is enjoying your art, 457 00:25:07,080 --> 00:25:11,159 Speaker 2: you know, enjoying your opportunity to make your art, even better, 458 00:25:11,280 --> 00:25:14,359 Speaker 2: you know, to have a pool of pea, not just you, 459 00:25:14,440 --> 00:25:16,920 Speaker 2: but to have a pool of people who they've got 460 00:25:16,960 --> 00:25:20,159 Speaker 2: to get if they like it, it means a lot, you know. 461 00:25:20,280 --> 00:25:22,120 Speaker 2: And so if you do something and they go that 462 00:25:22,119 --> 00:25:25,960 Speaker 2: acts nice. Yeah, then in a way all the music 463 00:25:26,040 --> 00:25:29,879 Speaker 2: starts coming together, flowing together, and there's no opposition, you know. 464 00:25:30,840 --> 00:25:34,159 Speaker 2: In other words, there's no bad stuff left there. Stew 465 00:25:34,640 --> 00:25:36,040 Speaker 2: you know, there isn't any bad stuff. 466 00:25:37,240 --> 00:25:40,920 Speaker 3: Can you take me back to the creation of the 467 00:25:40,960 --> 00:25:45,960 Speaker 3: Fragile album. How was that collaboration in terms of creating that, 468 00:25:46,359 --> 00:25:50,720 Speaker 3: How long did it take? Any specific memories of that 469 00:25:51,560 --> 00:25:54,800 Speaker 3: which ultimately produced a masterpiece in my opinion? 470 00:25:55,680 --> 00:25:58,119 Speaker 2: Well, thanks, I mean there's only so many and now 471 00:25:58,119 --> 00:26:01,879 Speaker 2: are the same ones to say whenever I'm asked this question, 472 00:26:01,920 --> 00:26:05,359 Speaker 2: because I do remember some things about Fragile, it's not 473 00:26:05,480 --> 00:26:09,000 Speaker 2: very broad. I remember that although the Yes album was 474 00:26:09,280 --> 00:26:13,320 Speaker 2: worked on as a very collaborative you know unit, John 475 00:26:13,359 --> 00:26:16,440 Speaker 2: and I had just managed to formulate the idea around 476 00:26:16,480 --> 00:26:20,520 Speaker 2: about together during tours. In fact, we were in Scotland 477 00:26:20,760 --> 00:26:24,600 Speaker 2: and I think we both remember somehow that it was 478 00:26:24,880 --> 00:26:26,960 Speaker 2: it was on one of my cassette tapes that John 479 00:26:27,000 --> 00:26:30,680 Speaker 2: and I were like jamming stuff and say and he'd say, 480 00:26:30,680 --> 00:26:32,439 Speaker 2: what if you got that's a bit like this, or 481 00:26:32,440 --> 00:26:35,320 Speaker 2: have you got any chords you know, or you know, 482 00:26:35,440 --> 00:26:38,000 Speaker 2: just kind of throwing in around and suddenly we got roundabout, 483 00:26:38,080 --> 00:26:42,320 Speaker 2: you know. And so when we started Fragile, John and 484 00:26:42,359 --> 00:26:44,960 Speaker 2: I started the thing we did quite often in the 485 00:26:45,000 --> 00:26:51,040 Speaker 2: seventies Coast the edge Tales Awaken. We were able to 486 00:26:51,160 --> 00:26:53,920 Speaker 2: jointly put the foot the idea forward. So that song 487 00:26:54,520 --> 00:26:57,840 Speaker 2: was built like that, if you like, from the understanding 488 00:26:57,880 --> 00:26:59,560 Speaker 2: that John and I had a song, we'd do it, 489 00:26:59,600 --> 00:27:01,560 Speaker 2: and we'd do range it and blah blah blah. We'd 490 00:27:01,600 --> 00:27:04,080 Speaker 2: record bits and we come back the next day at 491 00:27:04,119 --> 00:27:07,080 Speaker 2: a rehearsal room for three or four weeks, three weeks. 492 00:27:07,119 --> 00:27:10,360 Speaker 2: But in that time, of course, Tony Kay had left 493 00:27:10,400 --> 00:27:13,960 Speaker 2: the band. It was it was very sad. It was 494 00:27:14,000 --> 00:27:16,160 Speaker 2: not really that anybody ever fired him. But he said 495 00:27:16,200 --> 00:27:19,040 Speaker 2: to her, do you want to do multi keyboards? He says, no, no, 496 00:27:19,119 --> 00:27:20,680 Speaker 2: I don't want to do that at all. I want 497 00:27:20,680 --> 00:27:23,000 Speaker 2: to play piano or kind of thing. And that made 498 00:27:23,080 --> 00:27:25,520 Speaker 2: him appear to us and it may not have been 499 00:27:25,680 --> 00:27:29,959 Speaker 2: hund present true that, you know, we were just going 500 00:27:30,040 --> 00:27:32,560 Speaker 2: to stay there, you know, with those sounds, and we 501 00:27:32,640 --> 00:27:36,560 Speaker 2: had this imaginary idea that other people were like doing stuff, 502 00:27:36,560 --> 00:27:39,840 Speaker 2: you know, with new synthesizer, you know, new kind of 503 00:27:39,880 --> 00:27:42,400 Speaker 2: keeper's coming and that was Rick. So we found Rick, 504 00:27:42,480 --> 00:27:45,679 Speaker 2: and before we knew we were, he was popping in. 505 00:27:45,920 --> 00:27:48,760 Speaker 2: He wasn't at the writing so much of the album, 506 00:27:49,080 --> 00:27:52,239 Speaker 2: but he came in and did things with us as 507 00:27:52,320 --> 00:27:54,040 Speaker 2: much as he could, you know, because he had some 508 00:27:54,119 --> 00:27:56,680 Speaker 2: sessions and you know, he was kind of a busy guy, 509 00:27:56,720 --> 00:27:59,040 Speaker 2: and we'd snatched him and he was going to work 510 00:27:59,080 --> 00:28:01,159 Speaker 2: with us and he's going to make them so but 511 00:28:01,200 --> 00:28:03,280 Speaker 2: we had to write the stuff first of all. So 512 00:28:03,800 --> 00:28:06,920 Speaker 2: but he was there when we wrote Heart of Sunrise 513 00:28:07,040 --> 00:28:10,000 Speaker 2: and things, and there was music flowing around. We didn't 514 00:28:10,040 --> 00:28:12,000 Speaker 2: have a lot of South Side of the Sky that 515 00:28:12,119 --> 00:28:16,080 Speaker 2: was pretty much written in the studio. So and the 516 00:28:16,119 --> 00:28:19,840 Speaker 2: idea of us having our own solo pieces was great, 517 00:28:19,960 --> 00:28:23,879 Speaker 2: you know Bill's idea. I think after I had Clap 518 00:28:23,960 --> 00:28:26,920 Speaker 2: on yes album, I suppose he thought, well, why don't 519 00:28:26,960 --> 00:28:28,880 Speaker 2: we all have a solo and he was perfectly right. 520 00:28:28,960 --> 00:28:33,640 Speaker 2: So Fragile was a unique album where we all had 521 00:28:33,640 --> 00:28:36,160 Speaker 2: a solo piece. So that that was a nice distraction 522 00:28:36,240 --> 00:28:39,000 Speaker 2: because musically you go off and do that yourself and 523 00:28:39,120 --> 00:28:42,440 Speaker 2: decide what it was yourself, and some people use the band. 524 00:28:42,480 --> 00:28:45,520 Speaker 2: Bill's idea was that we all used the band we always, 525 00:28:46,120 --> 00:28:50,560 Speaker 2: but of course Rick and I didn't, John didn't a lot, 526 00:28:50,840 --> 00:28:55,200 Speaker 2: but Chris did on the Fish. So basically the album 527 00:28:55,320 --> 00:29:00,160 Speaker 2: was unique in that sense. Roundabout is one of the 528 00:29:00,200 --> 00:29:04,840 Speaker 2: sounds I'm most impressed with that. Eddie helped us get 529 00:29:05,040 --> 00:29:09,200 Speaker 2: the tightness and somewhat simplicity of it, the rock factor 530 00:29:09,280 --> 00:29:12,000 Speaker 2: in there. Yes, must never forget they're a rock band. 531 00:29:12,280 --> 00:29:14,640 Speaker 2: The worst thing we ever do, and we do it. 532 00:29:14,680 --> 00:29:18,360 Speaker 2: Sometimes it begets act a rock band, I mean noodle around, 533 00:29:18,560 --> 00:29:22,080 Speaker 2: you know, with some nerdy stuff sometimes and spire what 534 00:29:22,320 --> 00:29:25,440 Speaker 2: is and has been some great pieces of music. I'm 535 00:29:25,480 --> 00:29:29,400 Speaker 2: thinking partly of what was on Keys two Cention studio recording. 536 00:29:29,720 --> 00:29:32,760 Speaker 2: They're very good, but they pull down here and there. 537 00:29:33,120 --> 00:29:36,240 Speaker 2: So basically there is a continuity needed that that that's 538 00:29:36,240 --> 00:29:40,280 Speaker 2: the teamwork, and that's production also because like Time in 539 00:29:40,280 --> 00:29:42,040 Speaker 2: the words, is a great album if it had been 540 00:29:42,480 --> 00:29:48,440 Speaker 2: really properly produced, you know, so it's great performances thrown together, 541 00:29:48,600 --> 00:29:50,640 Speaker 2: you know, in a in a big sound. You know 542 00:29:50,720 --> 00:29:55,120 Speaker 2: that isn't as clear as the Yes album. You can 543 00:29:55,160 --> 00:29:58,080 Speaker 2: hear the space in the music. Of course you do 544 00:29:58,120 --> 00:30:02,480 Speaker 2: in actually tell a lie, I mean in no opportunity necessary. 545 00:30:02,520 --> 00:30:06,520 Speaker 2: There's marvelous Yes arranging. Why we're not playing that every night? 546 00:30:06,720 --> 00:30:11,320 Speaker 2: Don't do? Do you know what I mean? That stuff? 547 00:30:11,520 --> 00:30:13,040 Speaker 2: I'm going to write it down. We're going to have 548 00:30:13,080 --> 00:30:14,120 Speaker 2: to play that somewhere. 549 00:30:14,800 --> 00:30:17,160 Speaker 3: I love it. I got a big smile on my face, 550 00:30:17,200 --> 00:30:20,120 Speaker 3: Steve with you taking me back on that. I absolutely 551 00:30:20,200 --> 00:30:25,520 Speaker 3: love love that story. Oh my god, that's amazing. So 552 00:30:25,600 --> 00:30:28,320 Speaker 3: let's talk about the current the current lineup, and I 553 00:30:28,320 --> 00:30:32,120 Speaker 3: think what's fascinating about the current lineup is there's so 554 00:30:32,160 --> 00:30:35,920 Speaker 3: many players in the group who really are students of 555 00:30:36,040 --> 00:30:39,840 Speaker 3: the group. So talk about the lineup and how how 556 00:30:39,880 --> 00:30:41,640 Speaker 3: you love playing with this band. 557 00:30:42,200 --> 00:30:45,959 Speaker 2: Well, of course, John's been a key to the going 558 00:30:46,000 --> 00:30:48,840 Speaker 2: forwards of this band since permart David left and he 559 00:30:49,000 --> 00:30:51,760 Speaker 2: joined about eleven twelve years ago. I think it is 560 00:30:51,800 --> 00:30:55,320 Speaker 2: ten eleven twelve, I mean Time Flies, Tempest Future. But 561 00:30:55,400 --> 00:31:00,680 Speaker 2: basically John John was a very solid person in the band, 562 00:31:00,920 --> 00:31:05,920 Speaker 2: and we share some views about how to play on stage, 563 00:31:06,840 --> 00:31:08,920 Speaker 2: how to work. We kind of feel at ease with 564 00:31:08,960 --> 00:31:13,120 Speaker 2: each other because we're both similar sort roughly state of 565 00:31:13,160 --> 00:31:16,680 Speaker 2: mind where we're clear about what's going on, we're excited, 566 00:31:16,880 --> 00:31:21,400 Speaker 2: we're ready, we haven't compromised the day, we haven't composed 567 00:31:21,480 --> 00:31:24,000 Speaker 2: the show by anything we've done in the day. So 568 00:31:24,040 --> 00:31:26,760 Speaker 2: we were there. We're really there one hundred percent. So 569 00:31:27,000 --> 00:31:31,360 Speaker 2: but Jay of course had joining in part. At first 570 00:31:31,360 --> 00:31:33,720 Speaker 2: he was doing some drumming, and then he was doing 571 00:31:33,760 --> 00:31:36,880 Speaker 2: a lot of the drumming as Alan White was starting 572 00:31:36,880 --> 00:31:38,680 Speaker 2: to find the whole set was too much for him 573 00:31:38,720 --> 00:31:40,680 Speaker 2: to play, and we felt it was too much for 574 00:31:40,760 --> 00:31:44,960 Speaker 2: him to play and the intricacies and everything. We didn't 575 00:31:44,960 --> 00:31:47,600 Speaker 2: want to keep demanding that Alan plays for like two 576 00:31:47,680 --> 00:31:50,000 Speaker 2: and a half hours or something. So it was a 577 00:31:50,000 --> 00:31:52,680 Speaker 2: beautiful experience to have Alan do the last set in 578 00:31:52,720 --> 00:31:55,440 Speaker 2: the music, the encore stuff. Several years so when Jay 579 00:31:55,920 --> 00:32:00,840 Speaker 2: took over, when Alan Sadley passed away from time back then, 580 00:32:00,960 --> 00:32:04,840 Speaker 2: Jay has brought with him that previous experience of being 581 00:32:04,920 --> 00:32:08,360 Speaker 2: you know, like the helper and the provider and the 582 00:32:08,400 --> 00:32:13,360 Speaker 2: solid assistant. But now he's got the whole flaw, you know, 583 00:32:13,480 --> 00:32:17,120 Speaker 2: so we're finding out what that means, you know, and 584 00:32:18,400 --> 00:32:22,000 Speaker 2: it should be marvelous. Of course, Jeff has had you know, 585 00:32:22,160 --> 00:32:26,080 Speaker 2: like Billy a revisit experience coming back to Yes after 586 00:32:26,160 --> 00:32:30,960 Speaker 2: Fly from Here, and so he brings all that drama 587 00:32:31,080 --> 00:32:34,160 Speaker 2: experience as well, and that era and of course Jeff and 588 00:32:34,840 --> 00:32:39,120 Speaker 2: not forgetting we were in Asia together. So like Jeff 589 00:32:39,160 --> 00:32:43,880 Speaker 2: and I have particularly trained if you like, unusual multi 590 00:32:43,920 --> 00:32:49,880 Speaker 2: connections with musical styles. And so Jeff's really good and 591 00:32:50,000 --> 00:32:54,560 Speaker 2: Jeff's never said anything different than he is in Yes 592 00:32:54,760 --> 00:32:58,320 Speaker 2: to play every keyboard part that Yes ever played, you know, 593 00:32:58,600 --> 00:33:03,480 Speaker 2: if required. So Billy is an exceptional person too, because 594 00:33:03,480 --> 00:33:07,720 Speaker 2: a multi instrumentalist, you know, talented writer, produce all those things. 595 00:33:08,200 --> 00:33:10,280 Speaker 2: What he has to do is home it down into 596 00:33:11,000 --> 00:33:13,920 Speaker 2: his admiration of Chris really, you know, and taking on 597 00:33:14,000 --> 00:33:17,320 Speaker 2: the role of Chris with the base battles with the vocals. 598 00:33:18,160 --> 00:33:21,680 Speaker 2: Chris was not just a bass player by any means. 599 00:33:22,000 --> 00:33:26,600 Speaker 2: So it's a big demanding job and he's he's doing 600 00:33:26,720 --> 00:33:30,240 Speaker 2: really well. And you know we are we are rarely 601 00:33:30,320 --> 00:33:34,600 Speaker 2: determined to keep the ship tightly you know, not controlled, 602 00:33:34,640 --> 00:33:38,960 Speaker 2: but tightly agreeably run, you know, between us. 603 00:33:39,920 --> 00:33:42,280 Speaker 3: So Yes is going to be going out on the 604 00:33:42,320 --> 00:33:46,720 Speaker 3: summer tour playing with the Deep Purple. Tell me how 605 00:33:47,440 --> 00:33:50,680 Speaker 3: excited you are for that experience. Yeah. 606 00:33:50,920 --> 00:33:53,280 Speaker 2: I mean, you know, last year we did our sort 607 00:33:53,320 --> 00:33:55,680 Speaker 2: of that normal tour. Yeah, mainly if they had a tour, 608 00:33:56,280 --> 00:33:59,360 Speaker 2: and you know, we did about seven weekends. I think 609 00:33:59,400 --> 00:34:01,720 Speaker 2: it was across seven weekends, so it's about six and 610 00:34:01,760 --> 00:34:04,320 Speaker 2: a half seven weeks. So we were wondering as the 611 00:34:04,400 --> 00:34:06,920 Speaker 2: year you know, started out, you know, we're we're going 612 00:34:06,960 --> 00:34:10,120 Speaker 2: to target another tour like that, and we were virtually 613 00:34:10,160 --> 00:34:12,960 Speaker 2: going to do that, and then this offer came along 614 00:34:13,080 --> 00:34:16,520 Speaker 2: where it fitted in between going to Japan you know, 615 00:34:16,560 --> 00:34:19,319 Speaker 2: and leave and leaving the UK and Japan. It's a big, 616 00:34:19,480 --> 00:34:22,600 Speaker 2: big two month gap there. So yeah, so it's marvelous 617 00:34:22,360 --> 00:34:25,000 Speaker 2: to think that finally we got to play with the Purple. 618 00:34:25,040 --> 00:34:28,480 Speaker 2: It's been it's been talked about before, and we've always 619 00:34:28,480 --> 00:34:31,640 Speaker 2: been very very excited about the idea. And there's a 620 00:34:31,719 --> 00:34:33,839 Speaker 2: group you know, I mean what I mean he talked 621 00:34:33,840 --> 00:34:37,279 Speaker 2: about the sixties. I mean they were going before before. Yes, 622 00:34:38,200 --> 00:34:42,400 Speaker 2: I'm absolutely sure, am I sure? Anyway, there's a long, 623 00:34:42,800 --> 00:34:47,759 Speaker 2: beautiful history of and now of course, sadly Steve Morris 624 00:34:47,840 --> 00:34:50,600 Speaker 2: isn't with them this tour, but they've got a remarkable 625 00:34:50,680 --> 00:34:56,120 Speaker 2: guitarist in Simon McBride. He's really a fine player, and 626 00:34:56,560 --> 00:34:59,919 Speaker 2: I'm privileged to be, you know, working along with him. 627 00:35:00,200 --> 00:35:01,440 Speaker 2: He's wonderful player. 628 00:35:01,840 --> 00:35:05,520 Speaker 3: That's awesome. Well, in closing, as someone who was so 629 00:35:05,680 --> 00:35:10,960 Speaker 3: dedicated to his craft, how do you stay curious and 630 00:35:11,040 --> 00:35:13,800 Speaker 3: how do you stay always with a thirst for learning 631 00:35:13,840 --> 00:35:14,399 Speaker 3: something new? 632 00:35:16,520 --> 00:35:21,680 Speaker 2: I well, I stay alive. Yeah, it is just that simple. 633 00:35:21,760 --> 00:35:25,240 Speaker 2: I mean what I do is what I do. You know, 634 00:35:24,960 --> 00:35:27,200 Speaker 2: I haven't got a side job, like you know, I 635 00:35:27,239 --> 00:35:32,600 Speaker 2: fix motorbikes or something. You know, benmar David did have 636 00:35:32,680 --> 00:35:36,719 Speaker 2: a really profitable hobby or partly profitable, you know, you 637 00:35:36,800 --> 00:35:39,520 Speaker 2: like fixing boats, you know. So I mean people do 638 00:35:39,600 --> 00:35:41,400 Speaker 2: have some other things they want to get on with, 639 00:35:41,520 --> 00:35:44,400 Speaker 2: but no, I haven't got you know, all the things 640 00:35:44,400 --> 00:35:48,960 Speaker 2: that see the guitar collection. Having the guitars I want 641 00:35:49,120 --> 00:35:51,120 Speaker 2: is very very important for me. And I just bought 642 00:35:51,160 --> 00:35:54,080 Speaker 2: a new pedal steel guitar because my old ones were 643 00:35:54,080 --> 00:35:55,799 Speaker 2: too tired. I had to get rid of them. They 644 00:35:55,800 --> 00:35:58,040 Speaker 2: were they were out of my face, you know. But 645 00:35:58,160 --> 00:36:01,799 Speaker 2: now my Williams pedal steel is just so I get 646 00:36:01,800 --> 00:36:07,520 Speaker 2: things like that, and it's remarkable how they we as 647 00:36:07,560 --> 00:36:10,040 Speaker 2: if I don't need it, they kind of stimulate my 648 00:36:10,560 --> 00:36:14,319 Speaker 2: interest in using particularly different kinds of sound. I bought 649 00:36:14,320 --> 00:36:17,640 Speaker 2: a guitar last year called Gibson Tennessee and which was 650 00:36:17,680 --> 00:36:20,919 Speaker 2: designed by Chad Atkins with Gibson, and I saw Chat 651 00:36:20,960 --> 00:36:24,560 Speaker 2: playing this on stage in some videos, you know, in 652 00:36:24,600 --> 00:36:27,160 Speaker 2: his later years, and he always sounded great. I thought, 653 00:36:27,520 --> 00:36:30,719 Speaker 2: guitar sounds great. Of course it's action, it's black. So 654 00:36:30,840 --> 00:36:33,799 Speaker 2: I get one and I go, yeah, but these good 655 00:36:33,840 --> 00:36:37,239 Speaker 2: stars are great. This is a great guitar, so of 656 00:36:37,280 --> 00:36:40,120 Speaker 2: course you can, you can excel. So I think that, 657 00:36:40,239 --> 00:36:42,920 Speaker 2: you know, it's a bit like you know, it's just 658 00:36:43,000 --> 00:36:45,959 Speaker 2: refreshing to be able to do that, and thank god 659 00:36:46,000 --> 00:36:50,960 Speaker 2: I can do that. And you know, basically music still 660 00:36:51,000 --> 00:36:55,279 Speaker 2: excites me, you know, from bark to well, I don't know, 661 00:36:55,280 --> 00:36:59,880 Speaker 2: I'm trying to think of another Bee, but Barkers aren't anyway. 662 00:37:00,360 --> 00:37:02,960 Speaker 2: Bulk is a big is a big player. But of 663 00:37:02,960 --> 00:37:06,200 Speaker 2: course through Walk music is primarily you know, what got 664 00:37:06,239 --> 00:37:08,120 Speaker 2: me off the sofa. 665 00:37:10,000 --> 00:37:13,120 Speaker 3: It is so joyous to talk to you again. Your 666 00:37:13,200 --> 00:37:16,440 Speaker 3: music means so much to so many fans, including me, 667 00:37:17,120 --> 00:37:21,080 Speaker 3: And you're one of the gentlemen in the business and 668 00:37:21,120 --> 00:37:23,760 Speaker 3: one of the nice people and the most talented people. 669 00:37:23,800 --> 00:37:27,440 Speaker 3: And I'm so grateful. Steve how that we got to 670 00:37:27,480 --> 00:37:30,239 Speaker 3: talk again on the Taking a Walk podcast. Thank you, 671 00:37:30,400 --> 00:37:31,399 Speaker 3: that's very nice, boss. 672 00:37:31,440 --> 00:37:33,560 Speaker 2: Thanks so much for saying that that means a lot 673 00:37:33,600 --> 00:37:34,120 Speaker 2: to eat too. 674 00:37:35,080 --> 00:37:37,520 Speaker 1: Thanks for listening to this episode of the Taking a 675 00:37:37,560 --> 00:37:41,480 Speaker 1: Walk Podcast. Share this and other episodes with your friends 676 00:37:41,560 --> 00:37:45,040 Speaker 1: and follow us so you never miss an episode. Taking 677 00:37:45,080 --> 00:37:48,960 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 678 00:37:49,200 --> 00:37:51,480 Speaker 1: and wherever you get your podcasts.