1 00:00:01,120 --> 00:00:02,400 Speaker 1: Podcastle God. 2 00:00:08,480 --> 00:00:12,560 Speaker 2: Welcome to another special episode of Taking a Walk Music 3 00:00:12,680 --> 00:00:15,560 Speaker 2: History on Foot. You can find Taking a Walk on 4 00:00:15,680 --> 00:00:21,960 Speaker 2: Apple Podcasts, Spotify, iHeart, the Podcast Playground, or wherever you 5 00:00:22,040 --> 00:00:25,480 Speaker 2: get your podcast. Please share this with your friends as well. 6 00:00:25,680 --> 00:00:28,480 Speaker 2: This is the podcast where we dive deep into the 7 00:00:28,520 --> 00:00:33,159 Speaker 2: lives and careers of musicians of all type, young and old. Today, 8 00:00:33,200 --> 00:00:35,519 Speaker 2: your host, Buzz Night is thrilled to be joined by 9 00:00:35,520 --> 00:00:39,440 Speaker 2: Steve Howe, legendary member of the band Yes. He's a 10 00:00:39,479 --> 00:00:44,000 Speaker 2: guitar virtuoso and a progressive rock pioneer. And we'll welcome 11 00:00:44,040 --> 00:00:47,040 Speaker 2: Steve Howe next on Taking a Walk. 12 00:00:48,960 --> 00:00:52,120 Speaker 3: Hello Steve, Oh hi guys, I see there. 13 00:00:52,640 --> 00:00:54,680 Speaker 1: It's so great to talk to you. How are you today. 14 00:00:55,480 --> 00:00:57,840 Speaker 3: I'm not bad, I don't know that. Yeah, yourself. 15 00:00:58,560 --> 00:00:59,520 Speaker 1: I'm doing excellent. 16 00:00:59,560 --> 00:00:59,760 Speaker 3: Here. 17 00:01:00,000 --> 00:01:05,280 Speaker 4: I'm sitting in my backyard in Carlisle, Massachusetts, so you 18 00:01:05,319 --> 00:01:09,120 Speaker 4: may hear the sound of some birds. I'd love to 19 00:01:09,120 --> 00:01:11,039 Speaker 4: be taking a walk with you in person. Where are 20 00:01:11,040 --> 00:01:11,720 Speaker 4: you in London? 21 00:01:12,520 --> 00:01:13,640 Speaker 3: Yeah, I mean London right now? 22 00:01:13,720 --> 00:01:17,160 Speaker 4: Yeah, Well, thanks for being on. I really appreciate it. 23 00:01:17,640 --> 00:01:20,600 Speaker 4: We're going to talk about the new Yes album Mirror 24 00:01:20,680 --> 00:01:23,520 Speaker 4: in the Sky, and we're going to talk some history. 25 00:01:24,000 --> 00:01:28,600 Speaker 4: But before I go on, I don't know if you 26 00:01:28,720 --> 00:01:34,319 Speaker 4: remember a moment that you bailed me out pretty significantly 27 00:01:34,840 --> 00:01:38,840 Speaker 4: when I was doing a series of shows in London 28 00:01:39,480 --> 00:01:43,560 Speaker 4: and you graciously recorded an interview with me at that 29 00:01:43,720 --> 00:01:47,000 Speaker 4: time in person. I got back to the studios in 30 00:01:47,000 --> 00:01:52,800 Speaker 4: London and I realized there was nothing recorded, and so 31 00:01:53,440 --> 00:01:57,360 Speaker 4: I went back and tried to bribe you with a 32 00:01:57,480 --> 00:02:00,760 Speaker 4: Dwayne Eddie album and a bottle of shamp and you 33 00:02:00,840 --> 00:02:03,960 Speaker 4: were gracious enough to bail me out, come back down 34 00:02:04,080 --> 00:02:06,560 Speaker 4: to the studio and do the interview. 35 00:02:06,600 --> 00:02:07,360 Speaker 1: Do you remember that? 36 00:02:08,480 --> 00:02:10,799 Speaker 3: No, I don't, but it was an exception because use me, 37 00:02:10,880 --> 00:02:14,800 Speaker 3: I'd say, well touffle uck, no recording, goodbye. But anyway, 38 00:02:14,800 --> 00:02:16,399 Speaker 3: I'm glad I did it. That was a nice one, 39 00:02:16,400 --> 00:02:19,760 Speaker 3: but I probably i'd be hard pressed to do it again. 40 00:02:21,919 --> 00:02:26,520 Speaker 4: Well, I'm really appreciative, but thank you for being on. 41 00:02:26,720 --> 00:02:32,600 Speaker 4: So as you recall your career, do you remember the 42 00:02:32,680 --> 00:02:36,880 Speaker 4: first moment that you knew you were hooked on music? 43 00:02:37,080 --> 00:02:39,320 Speaker 4: And do you remember the first moment you knew you 44 00:02:39,360 --> 00:02:41,079 Speaker 4: were hooked on being a guitarist. 45 00:02:41,919 --> 00:02:45,000 Speaker 3: Well, I guess when I was about ten, I thought 46 00:02:45,000 --> 00:02:47,760 Speaker 3: I was getting pretty hooked to music, and my parents 47 00:02:47,760 --> 00:02:50,200 Speaker 3: had won full records by Les Paul and Mary Ford 48 00:02:50,240 --> 00:02:54,120 Speaker 3: and also Tennessee Anie Ford with Stevie West and Jimmy 49 00:02:54,120 --> 00:02:56,919 Speaker 3: Bryant playing great guitar. So I was on it. But 50 00:02:56,960 --> 00:02:58,880 Speaker 3: by the time I was twelve and I really wanted 51 00:02:58,880 --> 00:03:01,680 Speaker 3: the guitar. Then I knew I was going to be 52 00:03:01,720 --> 00:03:04,160 Speaker 3: a guitarist, and you know, I wanted to play the 53 00:03:04,200 --> 00:03:08,600 Speaker 3: guitar more than anything else. And twelfth's pretty young, although 54 00:03:08,600 --> 00:03:11,720 Speaker 3: it's not as young as some star but a couple 55 00:03:11,760 --> 00:03:14,600 Speaker 3: of years later when everybody had been twanging like mad, 56 00:03:14,720 --> 00:03:18,400 Speaker 3: you know, the Ventures, the Shadows, the spot mix, d know, 57 00:03:18,800 --> 00:03:21,360 Speaker 3: all that stuff was kind of like peaking. You know. 58 00:03:21,440 --> 00:03:23,880 Speaker 3: I just covered Chad Atkins and he was my guy. 59 00:03:24,080 --> 00:03:26,880 Speaker 3: You know, he was the versatile, all round guitarist, also 60 00:03:26,919 --> 00:03:30,919 Speaker 3: a producer, funny enough, but also a great guitarist, and 61 00:03:31,760 --> 00:03:35,400 Speaker 3: he was my main inspiration, along with you know, Where's Mongomery, 62 00:03:35,760 --> 00:03:39,880 Speaker 3: you know, you know, Julian Breen, all the great guitarists 63 00:03:39,880 --> 00:03:42,080 Speaker 3: have definitely I've listened a lot to them. 64 00:03:42,960 --> 00:03:46,960 Speaker 4: And who of the folks that you would encounter that 65 00:03:47,080 --> 00:03:51,800 Speaker 4: were guitarists that you admired, who made an impact in 66 00:03:51,840 --> 00:03:54,000 Speaker 4: you personally as you got to maybe know some. 67 00:03:54,040 --> 00:03:57,400 Speaker 3: Of them well, I mean people. I knew Albert Lee. 68 00:03:57,440 --> 00:04:01,480 Speaker 3: He was the first guitarist that knocked me sideways. In fact, 69 00:04:01,560 --> 00:04:05,480 Speaker 3: it's not a not a made up story that when 70 00:04:06,200 --> 00:04:10,320 Speaker 3: I opened for Chris Filer and the Thunderbirds and we 71 00:04:10,360 --> 00:04:14,280 Speaker 3: went to watch them, when Albert started playing, my band 72 00:04:15,120 --> 00:04:20,240 Speaker 3: had to hold me up collapse. He was so fantastic. 73 00:04:20,400 --> 00:04:22,719 Speaker 3: And Albert Lee is one of my I'm a really 74 00:04:22,800 --> 00:04:26,920 Speaker 3: huge fan of Albert Lee's And basically, you know, of course, 75 00:04:26,960 --> 00:04:29,320 Speaker 3: Hank Marvin. I didn't meet up with Hank. I mean 76 00:04:29,360 --> 00:04:32,760 Speaker 3: I met Albert, thank goodness, and met up with Hank 77 00:04:32,800 --> 00:04:36,720 Speaker 3: a few times. The very early players, you know, we 78 00:04:36,720 --> 00:04:39,320 Speaker 3: were in two schools. They were either very good tune 79 00:04:39,320 --> 00:04:42,000 Speaker 3: players like Hank and Duyney, you know, they knew how 80 00:04:42,000 --> 00:04:45,800 Speaker 3: to carry a tune, or like Albert Lee, he knew 81 00:04:45,800 --> 00:04:48,680 Speaker 3: how to improvise, and that was what I mainly wanted 82 00:04:48,720 --> 00:04:51,560 Speaker 3: to do, you know, to learn about that. So you know, 83 00:04:51,839 --> 00:04:55,040 Speaker 3: many many guitarists. You know, I was only sixteen when 84 00:04:55,080 --> 00:05:00,840 Speaker 3: I saw Where's Montgomery play live? That was unbelievable. So 85 00:05:01,080 --> 00:05:03,039 Speaker 3: I've been very lucky to catch. 86 00:05:02,720 --> 00:05:06,720 Speaker 4: Some of the greats so you've been a creative songwriter 87 00:05:06,839 --> 00:05:07,880 Speaker 4: your entire career. 88 00:05:07,960 --> 00:05:11,160 Speaker 1: Can you describe your songwriting approach. 89 00:05:12,000 --> 00:05:14,920 Speaker 3: Well, I mean initially it was like maybe still now 90 00:05:15,040 --> 00:05:17,560 Speaker 3: it's a vehicle, you know, for my guitar work. So 91 00:05:17,560 --> 00:05:19,800 Speaker 3: in other words, you know, the song's a kind of 92 00:05:19,839 --> 00:05:22,880 Speaker 3: important thing to me, and I've enjoyed writing about my 93 00:05:23,000 --> 00:05:25,839 Speaker 3: life and the way I see the world, if you like, 94 00:05:26,080 --> 00:05:28,600 Speaker 3: and the ideas I've got for it. But it is 95 00:05:28,680 --> 00:05:30,920 Speaker 3: also a vehicle for the guitar, so there's two things 96 00:05:31,040 --> 00:05:34,839 Speaker 3: work in tandem. And then I found that, yeah, you 97 00:05:34,880 --> 00:05:37,480 Speaker 3: can sit down and do a lot. But I started 98 00:05:37,520 --> 00:05:40,840 Speaker 3: writing just words, you know, random sort of things, and 99 00:05:40,880 --> 00:05:43,280 Speaker 3: then i'd later I'd see if I could kind of 100 00:05:43,680 --> 00:05:46,640 Speaker 3: edit them into some shape that might fit with this 101 00:05:46,800 --> 00:05:50,279 Speaker 3: tune or that tune. So basically it was a learning curve. 102 00:05:50,400 --> 00:05:52,240 Speaker 3: I did it a lot of different ways, you know, 103 00:05:52,480 --> 00:05:56,560 Speaker 3: and I did it on cassette recorders, on quarter inch machines, 104 00:05:56,640 --> 00:06:00,360 Speaker 3: you know, on AH track, on digital aight track, and 105 00:06:00,400 --> 00:06:03,680 Speaker 3: now of course protos is remarkable. But I still work 106 00:06:04,000 --> 00:06:06,880 Speaker 3: a home fairly simply on a hard drive. But it's 107 00:06:07,000 --> 00:06:09,640 Speaker 3: not a computer. I don't have to deal with computing. 108 00:06:10,040 --> 00:06:12,680 Speaker 3: So basically, song writing is something if you want to 109 00:06:12,720 --> 00:06:14,559 Speaker 3: do it, you just you know, you just can't stop 110 00:06:14,600 --> 00:06:17,559 Speaker 3: doing it, really, And sometimes I think I'm not writing 111 00:06:17,560 --> 00:06:19,560 Speaker 3: the lyrics anymore. I'm set up with her, and then 112 00:06:19,600 --> 00:06:21,599 Speaker 3: about three months later I get an idea and I 113 00:06:21,640 --> 00:06:26,839 Speaker 3: think it's pretty good, So yeah, it comes back on me. 114 00:06:26,920 --> 00:06:30,520 Speaker 3: But mainly, solo guitar work is what I like writing, 115 00:06:30,600 --> 00:06:33,920 Speaker 3: and those tunes on an album called Motief Volume one, 116 00:06:33,960 --> 00:06:36,400 Speaker 3: and I've got my Teeth Volume two coming out soon, 117 00:06:36,839 --> 00:06:39,760 Speaker 3: and basically that's solo guitar and I love writing for 118 00:06:39,839 --> 00:06:43,120 Speaker 3: that and playing other people's and tunes that Basically it 119 00:06:43,240 --> 00:06:46,960 Speaker 3: is a big vehicle for my writing. Is my solo 120 00:06:47,000 --> 00:06:49,560 Speaker 3: guitar piece, you know, clatt boot for a day. Those 121 00:06:49,560 --> 00:06:52,279 Speaker 3: are the beginnings of it. But since then I've written 122 00:06:52,360 --> 00:06:56,640 Speaker 3: twenty five thirty more pieces that, you know, I enjoyed, 123 00:06:56,680 --> 00:06:59,039 Speaker 3: sketches in some you know, all sorts of things. 124 00:07:00,720 --> 00:07:05,800 Speaker 4: How have you been able to balance being technologically brilliant 125 00:07:05,880 --> 00:07:11,120 Speaker 4: as a guitarist with the emotion of playing guitar, Well, 126 00:07:11,400 --> 00:07:12,000 Speaker 4: I don't. 127 00:07:11,800 --> 00:07:15,760 Speaker 3: Know that That's got to be kind of a natural process, 128 00:07:15,800 --> 00:07:18,280 Speaker 3: the two kind of part of the same thing, you know, 129 00:07:19,720 --> 00:07:26,000 Speaker 3: So basically I would say that I notice how people 130 00:07:26,120 --> 00:07:31,000 Speaker 3: play very precisely and the emotion that you can. You know, 131 00:07:31,040 --> 00:07:34,400 Speaker 3: it's timing, you know, It's all about how you position 132 00:07:34,600 --> 00:07:37,640 Speaker 3: that note, how you let it resonate, or how you 133 00:07:37,640 --> 00:07:40,560 Speaker 3: play a few more. I don't know what. It's a 134 00:07:40,640 --> 00:07:42,520 Speaker 3: way I used to talk about that really, because yeah, 135 00:07:42,600 --> 00:07:45,160 Speaker 3: you've got to be proficient on your instrument before you 136 00:07:45,200 --> 00:07:49,600 Speaker 3: can be proficient in expressing yourself. Really, So the first 137 00:07:49,640 --> 00:07:51,840 Speaker 3: ten years there are a lot of noodling around having 138 00:07:51,880 --> 00:07:54,000 Speaker 3: a lot of fun. But I think after that, and 139 00:07:54,000 --> 00:07:56,840 Speaker 3: that was when I joined, Yes, I think I knew 140 00:07:56,880 --> 00:08:00,480 Speaker 3: that there was an emotional quality in this is I mean, 141 00:08:00,560 --> 00:08:03,160 Speaker 3: I was playing blues al it's pretty soulful stuff, and 142 00:08:03,200 --> 00:08:05,280 Speaker 3: I was playing soul in a goog called the in 143 00:08:05,480 --> 00:08:09,200 Speaker 3: Crowd in the sixties with Keith West. Basically, I had 144 00:08:09,320 --> 00:08:11,520 Speaker 3: dabbled with a lot of different news that did have 145 00:08:11,920 --> 00:08:15,640 Speaker 3: an emotional sentiment, you know. So I think most music does. 146 00:08:15,720 --> 00:08:19,280 Speaker 4: You know, do you have a position on what artificial 147 00:08:19,320 --> 00:08:24,160 Speaker 4: intelligence is going to do to the technology of recording music? 148 00:08:24,880 --> 00:08:28,360 Speaker 3: Well, so far technology is an amazing amount of things. 149 00:08:28,440 --> 00:08:31,840 Speaker 3: You know. Protols is a great example of very high 150 00:08:32,480 --> 00:08:37,160 Speaker 3: high state of Hey, it's unbelievable working in pro tools, 151 00:08:37,320 --> 00:08:39,880 Speaker 3: you know, I do that when I've got my trax 152 00:08:39,920 --> 00:08:42,880 Speaker 3: and I've got something, then I move into protos with 153 00:08:43,600 --> 00:08:47,920 Speaker 3: Kerrie Schwartz. Usually the guys engineered these Yes records for us. 154 00:08:48,120 --> 00:08:52,680 Speaker 3: So basically that is a process. AI is a kind 155 00:08:52,679 --> 00:08:55,320 Speaker 3: of scary factor. I mean, you know what it can 156 00:08:55,360 --> 00:08:57,520 Speaker 3: do is it's good a look out and nobody's got 157 00:08:57,559 --> 00:08:59,760 Speaker 3: the rate, just like when the Internet came along, nobody 158 00:08:59,800 --> 00:09:03,840 Speaker 3: had the reigns on censorshare for anything. You know, it's 159 00:09:04,000 --> 00:09:08,040 Speaker 3: all void of all the things that we valued about 160 00:09:08,080 --> 00:09:11,920 Speaker 3: democracy was a sense of control. But there again, you know, 161 00:09:12,040 --> 00:09:14,080 Speaker 3: maybe that went too far, but maybe this will go 162 00:09:14,200 --> 00:09:18,080 Speaker 3: too far as well. So I would think I'm a 163 00:09:18,160 --> 00:09:22,559 Speaker 3: little pessimistic that we need to be dominated by machines. 164 00:09:22,600 --> 00:09:26,600 Speaker 3: But there again, you know, we're talking on the fundamental 165 00:09:27,240 --> 00:09:31,440 Speaker 3: machine telephone. But basically since then we've gone to the moon, 166 00:09:31,600 --> 00:09:33,480 Speaker 3: you know. So I mean you got to own up. 167 00:09:33,559 --> 00:09:36,920 Speaker 3: I mean technology is unstoppable. Really. 168 00:09:38,080 --> 00:09:42,480 Speaker 4: As a legacy member of the band, yes, you've witnessed 169 00:09:43,320 --> 00:09:46,600 Speaker 4: you know, first hand lineup changes. Is there a common 170 00:09:46,679 --> 00:09:52,000 Speaker 4: theme why you think changes occur? And and do you 171 00:09:52,720 --> 00:09:55,040 Speaker 4: have a reason that why the band has been able 172 00:09:55,080 --> 00:09:58,239 Speaker 4: to be so successful with this amazing longevity. 173 00:09:59,160 --> 00:10:01,320 Speaker 3: Well we've had to with all the changes, but they're 174 00:10:01,360 --> 00:10:03,960 Speaker 3: never the same, you know. I mean take Bill Bruford, 175 00:10:04,000 --> 00:10:07,880 Speaker 3: you know, he left. He didn't nobody wanted him to leave. 176 00:10:08,440 --> 00:10:13,320 Speaker 3: So there's all sorts of paradoxical reasons why things happen. 177 00:10:13,679 --> 00:10:16,280 Speaker 3: One of the fundamental reasons is a guy falls out 178 00:10:16,280 --> 00:10:19,720 Speaker 3: of think with really where the general sense of the 179 00:10:19,800 --> 00:10:23,240 Speaker 3: band is heading, and they become restless and we notice 180 00:10:23,280 --> 00:10:26,640 Speaker 3: that and we think, well, this doesn't seem right, you know, 181 00:10:26,880 --> 00:10:31,040 Speaker 3: And sometimes it's a shame, you know, but sometimes it's 182 00:10:31,080 --> 00:10:34,000 Speaker 3: it's just has to be. And there's changes, and there's 183 00:10:34,040 --> 00:10:36,600 Speaker 3: changes you don't want, you know, nobody wants, and then 184 00:10:36,679 --> 00:10:41,720 Speaker 3: there's changes that there are committee approach. Well this isn't 185 00:10:41,760 --> 00:10:43,920 Speaker 3: working well, so we're going to have to do something. 186 00:10:44,000 --> 00:10:45,800 Speaker 3: You know. It's a bit like an orchestra. You know, 187 00:10:45,880 --> 00:10:49,400 Speaker 3: he's going to lead. It's the first violinist. You can't 188 00:10:49,440 --> 00:10:51,280 Speaker 3: mess up, you know, you can't keep messing up the 189 00:10:51,360 --> 00:10:56,240 Speaker 3: gyms otherwise we don't get another first. And I guess yes, 190 00:10:56,320 --> 00:10:59,959 Speaker 3: it's that it's that important. Like the Royal film Onney 191 00:11:00,040 --> 00:11:03,880 Speaker 3: WORKUS series, you know, it's important that what it does 192 00:11:04,000 --> 00:11:06,640 Speaker 3: it does very very well. And on that quality control, 193 00:11:07,120 --> 00:11:11,280 Speaker 3: that idea that there is a level at which yes 194 00:11:11,440 --> 00:11:14,520 Speaker 3: has to perform at it's totally totally real. I mean 195 00:11:14,559 --> 00:11:17,640 Speaker 3: it's a demand, you know, it's an expectation, but at 196 00:11:17,679 --> 00:11:19,640 Speaker 3: the same time, it's a demand that those are the 197 00:11:19,640 --> 00:11:21,200 Speaker 3: things that drive change. 198 00:11:21,920 --> 00:11:24,240 Speaker 1: How's the relationship with you and Johnny Anderson? 199 00:11:24,960 --> 00:11:28,520 Speaker 3: Well, you know, we don't have a lot of contact, 200 00:11:28,520 --> 00:11:30,920 Speaker 3: but what we do have is we have love for 201 00:11:30,960 --> 00:11:34,320 Speaker 3: each other and weep allow each other to get on 202 00:11:34,559 --> 00:11:36,760 Speaker 3: with our lives. You know, that's a very important thing 203 00:11:36,800 --> 00:11:39,599 Speaker 3: with our you know, sort of incarcerating each other in 204 00:11:39,679 --> 00:11:44,200 Speaker 3: some historic expectation. You know, we're all free to move 205 00:11:44,240 --> 00:11:46,680 Speaker 3: around and play the music we love, and write the 206 00:11:46,760 --> 00:11:50,000 Speaker 3: music we love and record them perform the music we love. 207 00:11:50,120 --> 00:11:53,319 Speaker 3: So yeah, I mean, don't I have some nice contacts 208 00:11:53,320 --> 00:11:56,040 Speaker 3: sometimes and I think we're very respectful of each other 209 00:11:56,880 --> 00:11:57,760 Speaker 3: at all times. 210 00:11:58,679 --> 00:12:01,600 Speaker 1: So let's talk about the new album, Mirror to the Sky. 211 00:12:02,000 --> 00:12:06,600 Speaker 4: Tell me about the process of putting that together and 212 00:12:07,559 --> 00:12:09,559 Speaker 4: describe maybe how you feel about it. 213 00:12:10,480 --> 00:12:13,040 Speaker 3: So after we did the quest Or, we were quite 214 00:12:13,080 --> 00:12:18,679 Speaker 3: surprised that we were still hungry for more but Thomas 215 00:12:18,720 --> 00:12:22,439 Speaker 3: at the label Inside Out Sonny, they were very encouraging 216 00:12:22,480 --> 00:12:24,640 Speaker 3: and said, well, you know, if you want to you know, 217 00:12:25,040 --> 00:12:26,720 Speaker 3: we'll definitely be there if you want to do it 218 00:12:26,760 --> 00:12:28,560 Speaker 3: with us, we want to be there with you. So 219 00:12:28,720 --> 00:12:35,560 Speaker 3: basically we took the opportunity as that album was being 220 00:12:35,600 --> 00:12:39,359 Speaker 3: released to start to conjure up this music. And basically, 221 00:12:39,760 --> 00:12:42,160 Speaker 3: you know, we're quite a happy team. We've got lots 222 00:12:42,240 --> 00:12:45,080 Speaker 3: of ways that we work that work for everybody, because 223 00:12:45,080 --> 00:12:47,199 Speaker 3: that's what the producer has to find is the way 224 00:12:47,280 --> 00:12:50,679 Speaker 3: that works for everybody, not just the producer. That's an 225 00:12:50,679 --> 00:12:54,080 Speaker 3: awful idea, but the idea is to make a harmonious 226 00:12:54,120 --> 00:12:59,040 Speaker 3: place and build and have a good team and you 227 00:12:59,040 --> 00:13:01,679 Speaker 3: know technical teams as well. But also you know, we 228 00:13:01,840 --> 00:13:05,840 Speaker 3: look at the management. All those things are important and basically, 229 00:13:06,880 --> 00:13:10,240 Speaker 3: you know, we do want to make music and we 230 00:13:10,400 --> 00:13:14,720 Speaker 3: do want to design it so that it has elements 231 00:13:14,760 --> 00:13:19,200 Speaker 3: of what Yes Yes music is about and can tell 232 00:13:19,200 --> 00:13:23,640 Speaker 3: those kind of stories are kind of femi orchestrated of 233 00:13:24,200 --> 00:13:27,640 Speaker 3: orchestrations and arrangement. Mainly Yes is an arranging band. We 234 00:13:27,720 --> 00:13:29,439 Speaker 3: don't just like play a film with a lot of 235 00:13:29,480 --> 00:13:32,199 Speaker 3: strumming for three minutes and then then it ends we 236 00:13:32,800 --> 00:13:37,760 Speaker 3: kind of develop lots of riots and counterparts and harmonies. 237 00:13:38,080 --> 00:13:40,800 Speaker 3: So basically, yeah, we do want to do this. You know, 238 00:13:40,800 --> 00:13:41,719 Speaker 3: we're happy doing it. 239 00:13:42,280 --> 00:13:45,400 Speaker 1: Oh congrats on Mirror to the Sky. I'm so happy 240 00:13:45,440 --> 00:13:45,720 Speaker 1: for you. 241 00:13:45,760 --> 00:13:49,880 Speaker 4: I could hear the excitement in your in your voice. 242 00:13:50,200 --> 00:13:57,120 Speaker 4: When when you think about being a pioneer of progressive rock, 243 00:13:58,760 --> 00:14:01,960 Speaker 4: can you describe what you think the impact of that 244 00:14:02,320 --> 00:14:04,520 Speaker 4: entire great genre of music is. 245 00:14:05,960 --> 00:14:10,920 Speaker 3: Well, I guess it's a widening of influences, you know, 246 00:14:11,000 --> 00:14:13,360 Speaker 3: if he liked like that. Up to the mid sixties, 247 00:14:13,760 --> 00:14:18,120 Speaker 3: music was kind of contained within a certain format expectation. 248 00:14:18,280 --> 00:14:22,280 Speaker 3: But I think with psychedelic music that became oh that 249 00:14:22,320 --> 00:14:27,160 Speaker 3: became kind of wild and free and improvisational, and that 250 00:14:27,280 --> 00:14:31,480 Speaker 3: carried on in progressive rock. But what progressive rock brought 251 00:14:31,520 --> 00:14:34,240 Speaker 3: to it was that where they used a minute ago arrangement, 252 00:14:34,600 --> 00:14:37,920 Speaker 3: because what that is mostly if you hear a good 253 00:14:38,160 --> 00:14:41,840 Speaker 3: progressive rock piece of music, it's got a sense of arrangement, 254 00:14:41,880 --> 00:14:45,480 Speaker 3: but also a sense of fire an improvisation too, because 255 00:14:45,600 --> 00:14:50,160 Speaker 3: music it's nothing without invisation, but improvisation is nothing without structure. 256 00:14:50,400 --> 00:14:53,520 Speaker 3: And that's something Chris Guire really believed that you know 257 00:14:54,040 --> 00:14:57,800 Speaker 3: I could leap off the fingerboard, providing he had a 258 00:14:57,840 --> 00:15:00,600 Speaker 3: part that could hold it together. Yeah, and that's what 259 00:15:00,640 --> 00:15:03,040 Speaker 3: your TeamWorks all about in the band. It's all about 260 00:15:03,040 --> 00:15:06,000 Speaker 3: sharing and then the vocal section, you know, so everybody's 261 00:15:06,040 --> 00:15:08,840 Speaker 3: got to like, okay, find a place. Finding a place 262 00:15:09,080 --> 00:15:11,760 Speaker 3: as a musician is what we're doing all the time, 263 00:15:12,040 --> 00:15:14,200 Speaker 3: finding the right sort of part at the right sort 264 00:15:14,240 --> 00:15:17,000 Speaker 3: of level, at the right sort of tone. It's fascinating, 265 00:15:17,160 --> 00:15:17,360 Speaker 3: you know. 266 00:15:17,600 --> 00:15:21,840 Speaker 4: It's really just what advice would you give to aspiring 267 00:15:22,040 --> 00:15:24,880 Speaker 4: musicians who might be listening to this podcast. 268 00:15:26,080 --> 00:15:28,600 Speaker 3: I think I did something recently with ours. These are 269 00:15:28,680 --> 00:15:35,320 Speaker 3: five tips. One tip that basically find your comfort zone, 270 00:15:35,360 --> 00:15:39,800 Speaker 3: but be ready to kind of learn about making that 271 00:15:40,280 --> 00:15:43,680 Speaker 3: work in other environments, because your own comfort zone is 272 00:15:43,720 --> 00:15:45,560 Speaker 3: really cushy. You know, you sit in the home and 273 00:15:45,600 --> 00:15:48,440 Speaker 3: you're leedling. You know you're recording, but I think you 274 00:15:48,480 --> 00:15:51,720 Speaker 3: know what I've felt. You know, unless unless you peak 275 00:15:51,720 --> 00:15:54,280 Speaker 3: who wonder or you know you're somebody who can write 276 00:15:54,280 --> 00:15:58,000 Speaker 3: everything and play everything, then you should learn you know 277 00:15:58,160 --> 00:16:01,240 Speaker 3: the trade, and by doing that, you learn about your 278 00:16:01,320 --> 00:16:07,960 Speaker 3: comfort zone. Like encouraging some comment and then you are 279 00:16:08,040 --> 00:16:10,960 Speaker 3: able to comment on what the other musical idea that 280 00:16:11,240 --> 00:16:15,400 Speaker 3: might be coming to you, and it's about sharing. Yeah, 281 00:16:15,440 --> 00:16:17,760 Speaker 3: you learn to share. It's not a very easy process. 282 00:16:18,000 --> 00:16:20,240 Speaker 3: I can tell it. I was well sensitive when people 283 00:16:20,280 --> 00:16:25,440 Speaker 3: said I don't like that much. You don't like it, 284 00:16:25,440 --> 00:16:29,360 Speaker 3: It's like, how insulting, But it's not. It's it's a 285 00:16:29,400 --> 00:16:31,920 Speaker 3: comment that you've got to learn to take on board 286 00:16:31,920 --> 00:16:34,160 Speaker 3: and say I don't like that, but you know, and 287 00:16:34,520 --> 00:16:38,800 Speaker 3: you've got to learn to be strong. I guess as. 288 00:16:38,600 --> 00:16:42,720 Speaker 4: You reflect on your All of Fame career, is there 289 00:16:42,720 --> 00:16:45,960 Speaker 4: anything that you might have done differently? 290 00:16:48,520 --> 00:16:52,520 Speaker 3: Yeah, I would have kept ADWH going and not become Yes, 291 00:16:52,840 --> 00:16:56,160 Speaker 3: that would have been a big difference, but you know, 292 00:16:56,200 --> 00:16:58,360 Speaker 3: and that was yes union. So I mean other people 293 00:16:58,480 --> 00:17:00,880 Speaker 3: like this union. But basically it was a kind of 294 00:17:00,920 --> 00:17:04,880 Speaker 3: steel from thunder because abe Wh did some great things 295 00:17:05,040 --> 00:17:07,359 Speaker 3: and we went out on tour and we were quite 296 00:17:07,400 --> 00:17:10,119 Speaker 3: happy to do that, and then suddenly we had the 297 00:17:10,240 --> 00:17:13,920 Speaker 3: complications of I think three or four managers, three or 298 00:17:13,920 --> 00:17:18,359 Speaker 3: four accountants, three or four labels, eight musicians. It was 299 00:17:18,440 --> 00:17:21,960 Speaker 3: really quite hard. But basically that's what I would have 300 00:17:21,960 --> 00:17:22,840 Speaker 3: done different. 301 00:17:24,000 --> 00:17:27,919 Speaker 4: Well, I'm so grateful for the music that you've given 302 00:17:28,000 --> 00:17:31,680 Speaker 4: through your career and that you continue to give. Congratulations 303 00:17:31,720 --> 00:17:36,000 Speaker 4: on the new Yes album Mirror to the Sky. It's 304 00:17:36,000 --> 00:17:38,760 Speaker 4: so great to catch up with you again. Steve Howe 305 00:17:38,880 --> 00:17:41,200 Speaker 4: on taking a Walk all right. 306 00:17:41,040 --> 00:17:43,360 Speaker 3: Thanks very much. Good to tell me. He thanks so much, 307 00:17:44,119 --> 00:17:46,720 Speaker 3: Thanks for your enthusiasm. 308 00:17:46,760 --> 00:17:52,040 Speaker 2: Taking a Walk with Buzznight is available on Spotify, Apple Podcasts, 309 00:17:52,520 --> 00:17:54,680 Speaker 2: or wherever you get your podcasts.