1 00:00:00,600 --> 00:00:04,000 Speaker 1: This is Alec Baldwin and you're listening to Here's the thing. 2 00:00:05,120 --> 00:00:25,200 Speaker 1: Get deep each day, so satisfyed on my my way, 3 00:00:26,560 --> 00:00:31,000 Speaker 1: take a straight and strong AGAs to the corner of 4 00:00:33,640 --> 00:00:38,560 Speaker 1: make no white Queen road so fast, she hasn't got 5 00:00:38,720 --> 00:00:46,360 Speaker 1: time to make you win. There are many words that 6 00:00:46,400 --> 00:00:51,360 Speaker 1: can be used to describe singer songwriter John Anderson, Cautious 7 00:00:51,760 --> 00:00:54,920 Speaker 1: is not one of them. Born in England in nine, 8 00:00:56,320 --> 00:00:59,360 Speaker 1: he began singing on his brother's daily route as a 9 00:00:59,400 --> 00:01:04,200 Speaker 1: milkman before falling in love with rock and roll. Adventurous, 10 00:01:04,240 --> 00:01:08,560 Speaker 1: scrappy and spiritual. He formed an instant bond with bassist 11 00:01:08,680 --> 00:01:12,360 Speaker 1: Chris Squire in nineteen sixty eight, and after a short 12 00:01:12,400 --> 00:01:22,240 Speaker 1: stint with another band, the two formed Yes. Like Anderson himself, 13 00:01:22,319 --> 00:01:27,920 Speaker 1: their music was otherworldly, bucking convention in both structure and sound. 14 00:01:28,600 --> 00:01:31,440 Speaker 1: Their songs were a dynamic mix of jazz and rock 15 00:01:31,920 --> 00:01:34,600 Speaker 1: that could last for as long as twenty minutes, and 16 00:01:34,640 --> 00:01:39,240 Speaker 1: their concerts sold out stadiums worldwide. By the nineteen eighties, 17 00:01:39,280 --> 00:01:43,360 Speaker 1: the band had produced more than eleven critically acclaimed albums. 18 00:01:44,160 --> 00:01:47,720 Speaker 1: Their music ushered in what's known today as progressive rock, 19 00:01:48,360 --> 00:01:52,040 Speaker 1: paving the way for bands like Radiohead and the English 20 00:01:52,120 --> 00:01:54,960 Speaker 1: native is still testing the boundaries of music, just like 21 00:01:55,080 --> 00:01:58,600 Speaker 1: he did as a kid. You know, I started singing 22 00:01:58,600 --> 00:02:00,240 Speaker 1: when I was at school in the choir and I 23 00:02:00,280 --> 00:02:04,000 Speaker 1: was told to shut up Anderson not so loud, and 24 00:02:04,160 --> 00:02:05,720 Speaker 1: that kind of calmed down a bit because I used 25 00:02:05,720 --> 00:02:08,160 Speaker 1: to love shouting and singing, you know choir, you know 26 00:02:08,160 --> 00:02:10,960 Speaker 1: when they do that. And then me and my brother Tony, 27 00:02:11,000 --> 00:02:13,720 Speaker 1: we used to sing all the Everly Brothers songs and 28 00:02:13,760 --> 00:02:17,120 Speaker 1: I was the high harmony and I just love singing. 29 00:02:17,120 --> 00:02:20,320 Speaker 1: And then we started a band called the Warriors in 30 00:02:20,400 --> 00:02:24,080 Speaker 1: sixty three. And in April sixty three my brother had 31 00:02:24,080 --> 00:02:29,000 Speaker 1: a motorbike and he drove me and him went to Southport, 32 00:02:29,040 --> 00:02:31,120 Speaker 1: which is just north of Liverpool to see this band 33 00:02:31,160 --> 00:02:34,639 Speaker 1: called the Beatles, and they just released Love Me Do 34 00:02:35,680 --> 00:02:38,519 Speaker 1: sixty three April. And from then on I wanted with 35 00:02:38,600 --> 00:02:43,800 Speaker 1: Paul McCartney, of course, and he started singing and in 36 00:02:43,840 --> 00:02:46,520 Speaker 1: a band. And basically when you start off with a band, 37 00:02:46,880 --> 00:02:49,400 Speaker 1: you have to sing all different kinds of songs from 38 00:02:49,440 --> 00:02:53,280 Speaker 1: jaw text to Nina Simon songs, coverage, you know, and 39 00:02:53,360 --> 00:02:57,520 Speaker 1: your voice you singing it actually, remember remember I used 40 00:02:57,520 --> 00:02:59,720 Speaker 1: to sing gold Finger, It was a big hit then 41 00:03:00,160 --> 00:03:05,519 Speaker 1: by Shirley Bassie s Wales. The review was we found 42 00:03:05,520 --> 00:03:09,280 Speaker 1: the Shirley Bassie of rock and roll. That's gonna be 43 00:03:09,280 --> 00:03:11,560 Speaker 1: our tweets freaked me out. Listen to the of my 44 00:03:11,639 --> 00:03:14,800 Speaker 1: interview with the Shirley Bassie of rock and roll, and uh, 45 00:03:14,919 --> 00:03:17,519 Speaker 1: I just kept singing and enjoined singing and went through 46 00:03:17,560 --> 00:03:20,160 Speaker 1: the sixties with the band, and then went to London, 47 00:03:20,720 --> 00:03:23,440 Speaker 1: eventually meeting up with Chris. And I knew that I 48 00:03:23,440 --> 00:03:26,200 Speaker 1: could sing, and I was very interested in songwriter, and 49 00:03:26,240 --> 00:03:30,079 Speaker 1: I've never written any songs, maybe written wanted to terrible songs. 50 00:03:30,720 --> 00:03:32,480 Speaker 1: But with Chris, I could sort of sit there and 51 00:03:32,520 --> 00:03:38,400 Speaker 1: just work work ideas out with him and singing with yes. 52 00:03:38,440 --> 00:03:41,320 Speaker 1: When it first started, I didn't move. I was very 53 00:03:41,360 --> 00:03:47,280 Speaker 1: still on stage and stoned of course, and uh, just 54 00:03:47,720 --> 00:03:51,200 Speaker 1: happy doing it. Didn't realize until I recorded that I 55 00:03:51,200 --> 00:03:54,800 Speaker 1: had such a bad voice. What you said, well, you 56 00:03:54,840 --> 00:03:57,160 Speaker 1: start listening to yourself for the first time through the 57 00:03:57,200 --> 00:04:00,440 Speaker 1: speakers and everything, recording recording the first hour, but you know, 58 00:04:00,520 --> 00:04:05,400 Speaker 1: and I think, oh my gosh, sort of pretty boring. 59 00:04:05,960 --> 00:04:08,680 Speaker 1: But that's interesting for people who don't know that. When 60 00:04:08,720 --> 00:04:12,280 Speaker 1: you're doing club work and you're performing lives. Yeah, everybody's 61 00:04:12,320 --> 00:04:14,840 Speaker 1: jumping up, they're all drunks or what it mean? You 62 00:04:14,960 --> 00:04:17,200 Speaker 1: sound great? Yeah? Then and then you get into a 63 00:04:17,200 --> 00:04:19,520 Speaker 1: studio and things change. And what I'm also curious about 64 00:04:19,560 --> 00:04:22,840 Speaker 1: is when you're singing covers and you're a very signature 65 00:04:22,920 --> 00:04:26,800 Speaker 1: voice which pitches high, is singing these other songs, where 66 00:04:26,800 --> 00:04:30,400 Speaker 1: does that music come from? Which so unique? You know, 67 00:04:30,480 --> 00:04:33,200 Speaker 1: we weren't from the same town the band itself. It 68 00:04:33,279 --> 00:04:36,719 Speaker 1: was from different towns in England. Normally like the Hollies, 69 00:04:36,760 --> 00:04:40,400 Speaker 1: the Beatles, all the bands, the Animals, they came from Newcastle. 70 00:04:40,800 --> 00:04:45,080 Speaker 1: The Hollies were from Manchester, the Beatles from Liverpool. Everybody 71 00:04:45,240 --> 00:04:48,800 Speaker 1: a little tight group of friends, you know. Well we weren't. 72 00:04:48,839 --> 00:04:52,120 Speaker 1: We were in London and Bill Bruford was from seven 73 00:04:52,120 --> 00:04:55,840 Speaker 1: Oaks down the road. He was he actually he left 74 00:04:55,839 --> 00:04:58,640 Speaker 1: the band after months. He wanted to go. His parents 75 00:04:58,680 --> 00:05:00,920 Speaker 1: said he had to be a lawyer. So we've been 76 00:05:00,920 --> 00:05:02,920 Speaker 1: rehearsing as a band for a month and Bill said 77 00:05:02,960 --> 00:05:05,920 Speaker 1: I'm leaving. I said, wait a minute, We've just started. 78 00:05:07,080 --> 00:05:10,000 Speaker 1: So the strange story was that Bill went to Leeds 79 00:05:10,080 --> 00:05:14,680 Speaker 1: University and two months later we played there and he 80 00:05:14,800 --> 00:05:17,560 Speaker 1: sat he stood in the in the audience, looking sort 81 00:05:17,600 --> 00:05:20,840 Speaker 1: of eyes eyes at the band, thinking this is really 82 00:05:20,880 --> 00:05:23,640 Speaker 1: a great band. What am I doing here at university? 83 00:05:23,839 --> 00:05:25,560 Speaker 1: And within two weeks he was back in the band. 84 00:05:26,360 --> 00:05:30,440 Speaker 1: But the idea is that, you know, you started when 85 00:05:30,440 --> 00:05:33,320 Speaker 1: I met Chris. It was like, I've got to learn 86 00:05:33,600 --> 00:05:37,080 Speaker 1: about writing songs. So I started playing. You had not 87 00:05:37,120 --> 00:05:39,040 Speaker 1: been writing songs? No, No, you didn't know how to 88 00:05:39,040 --> 00:05:43,479 Speaker 1: read music. No. No. The great thing was because both 89 00:05:43,520 --> 00:05:46,040 Speaker 1: Tony Kay in the early days, they were very interested 90 00:05:46,040 --> 00:05:50,560 Speaker 1: in what I had to say, and so I just thought, 91 00:05:50,600 --> 00:05:54,440 Speaker 1: you know, all these ideas, musical ideas. I'd say, Okay, 92 00:05:54,480 --> 00:05:57,520 Speaker 1: some somebody I think it was Peter Banks. He was 93 00:05:57,520 --> 00:06:02,560 Speaker 1: playing on his guitar, just messing around. You know, that's it. 94 00:06:02,600 --> 00:06:06,479 Speaker 1: We're going to do America. So we did a version 95 00:06:06,480 --> 00:06:11,560 Speaker 1: of America that day from story Can't beat It, you know, 96 00:06:11,720 --> 00:06:14,200 Speaker 1: and very popular about yeah, and you take it on 97 00:06:14,279 --> 00:06:17,720 Speaker 1: stage and it gets the audience scoring, you know. So 98 00:06:17,760 --> 00:06:20,080 Speaker 1: in those early days, it was like, well, what should 99 00:06:20,120 --> 00:06:23,400 Speaker 1: we do next? John, Um, Well, I've got this idea. 100 00:06:24,960 --> 00:06:29,320 Speaker 1: I really like Stravinsky, you know, you know, and I'd 101 00:06:29,360 --> 00:06:32,200 Speaker 1: start coming up with ideas on the guitar that you know, 102 00:06:33,920 --> 00:06:36,279 Speaker 1: Peter Banks would say you can't play that chord, and 103 00:06:36,320 --> 00:06:38,680 Speaker 1: I say, well, I just did and it sounds pretty 104 00:06:38,680 --> 00:06:42,200 Speaker 1: good whatever. You know, So you was a non guitar 105 00:06:42,279 --> 00:06:45,320 Speaker 1: player really to take risks that they that they studied 106 00:06:45,320 --> 00:06:47,559 Speaker 1: guitar players were saying to you, you you can't do that, yeah, 107 00:06:47,640 --> 00:06:49,719 Speaker 1: because like you know, it's just one of those things. 108 00:06:49,720 --> 00:06:52,479 Speaker 1: You do it and then you start realizing you go 109 00:06:52,560 --> 00:06:55,000 Speaker 1: home and start trying other idea. How long did it 110 00:06:55,040 --> 00:06:56,840 Speaker 1: take you to learning to teach yourself the guitar. I'm 111 00:06:56,839 --> 00:07:00,320 Speaker 1: still learning. It's just ongoing, and I don't know what 112 00:07:00,320 --> 00:07:02,440 Speaker 1: I'm playing. You know, I'm playing chords the other day. 113 00:07:02,480 --> 00:07:05,040 Speaker 1: I'm going, oh, this is a beautiful chord. I wish 114 00:07:05,080 --> 00:07:07,400 Speaker 1: I knew what it was, but it sounds really good. 115 00:07:07,200 --> 00:07:10,120 Speaker 1: I can remember that I do. I take everything and 116 00:07:10,160 --> 00:07:13,880 Speaker 1: we remember, in fact, you started doing music that maybe 117 00:07:13,920 --> 00:07:16,640 Speaker 1: five ten years ago. You find a cassette and go, oh, yeah, 118 00:07:16,640 --> 00:07:18,400 Speaker 1: I never finished that. I'll try that now, you know. 119 00:07:18,720 --> 00:07:20,720 Speaker 1: Maybe I wasn't ready then now I am, you know. 120 00:07:21,640 --> 00:07:24,920 Speaker 1: And so an the Leap we got Steve Howe in 121 00:07:24,960 --> 00:07:28,760 Speaker 1: the band, which is like, man, it was amazing because 122 00:07:28,800 --> 00:07:32,640 Speaker 1: this guy could play classical music. On guitar as well 123 00:07:32,680 --> 00:07:37,240 Speaker 1: as Yeah, great rock and roll, you know, and we 124 00:07:37,240 --> 00:07:43,000 Speaker 1: started writing songs together and the well generally, um, I'd 125 00:07:43,000 --> 00:07:45,240 Speaker 1: listened to what they were doing when rehearsal, making a 126 00:07:45,280 --> 00:07:48,160 Speaker 1: lot of noise in the studio recording, and I'd hear 127 00:07:48,480 --> 00:07:52,720 Speaker 1: Steve playing something and I quickly recorded, and then we 128 00:07:52,880 --> 00:07:55,640 Speaker 1: just stopping and said, listen, you played this line, dud, 129 00:08:00,480 --> 00:08:02,640 Speaker 1: what is that? And he said, I don't know, I 130 00:08:02,680 --> 00:08:07,559 Speaker 1: was just jamming. Said no, can you play it again? Okay, 131 00:08:07,560 --> 00:08:10,760 Speaker 1: and then we're going to that. They'll keep going there, 132 00:08:10,760 --> 00:08:15,760 Speaker 1: bringing up again new kid modulate, you know. So my 133 00:08:15,760 --> 00:08:18,360 Speaker 1: my position in the band was waving man's around all 134 00:08:18,360 --> 00:08:23,760 Speaker 1: that and hoping they would understand what was conducting. And then, 135 00:08:23,960 --> 00:08:26,920 Speaker 1: you know, as time moved along, Wakeman came into the 136 00:08:26,960 --> 00:08:30,240 Speaker 1: band and it was like so incredible. Who was the 137 00:08:30,240 --> 00:08:34,520 Speaker 1: most accomplished musically in terms of reading music, writing music? 138 00:08:34,800 --> 00:08:38,000 Speaker 1: Rick was the one who wrote music ridiculous. And the 139 00:08:38,040 --> 00:08:40,680 Speaker 1: neat thing was that you were saying, why the music 140 00:08:41,320 --> 00:08:44,600 Speaker 1: came is because Bill Bruford was a jazz player jazz 141 00:08:44,720 --> 00:08:50,320 Speaker 1: rock and him and Chris together, you know, those early tapes, 142 00:08:50,360 --> 00:08:54,400 Speaker 1: those early recordings are just fantastic the BBC recordings and 143 00:08:54,640 --> 00:08:58,160 Speaker 1: you hear him and Chris rocking away, you know, but 144 00:08:58,240 --> 00:09:03,000 Speaker 1: it's slightly different than just pol pies going on with 145 00:09:03,080 --> 00:09:07,160 Speaker 1: his with his shoulders Bill, you know, is he's going around, 146 00:09:07,240 --> 00:09:11,240 Speaker 1: you know. And so when when would sort of put 147 00:09:11,320 --> 00:09:14,760 Speaker 1: together a song, I feel like I think there's something 148 00:09:14,760 --> 00:09:17,400 Speaker 1: else to happen, you know, maybe Bill and Chris just 149 00:09:17,440 --> 00:09:20,480 Speaker 1: do a groove thing, you know, and then we'll steve 150 00:09:20,600 --> 00:09:24,080 Speaker 1: if you can do, like get your slide guitar. You know, 151 00:09:24,400 --> 00:09:29,160 Speaker 1: what's the first song you record? Probably yesterday and today 152 00:09:32,640 --> 00:09:38,439 Speaker 1: I heard it. Well, it's you know with the album 153 00:09:38,480 --> 00:09:41,160 Speaker 1: didn't The second album just about didn't do well either, 154 00:09:41,240 --> 00:09:43,800 Speaker 1: and the third album we all went to. Uh. I 155 00:09:43,800 --> 00:09:45,840 Speaker 1: wanted to get away from London, so I said, why 156 00:09:45,880 --> 00:09:48,560 Speaker 1: don't we get a farm down in Devon, you know. 157 00:09:49,040 --> 00:09:52,120 Speaker 1: So we rented a farm in Devon, a farmhouse and 158 00:09:52,640 --> 00:09:54,680 Speaker 1: got all the equipment there instead there for a month 159 00:09:54,840 --> 00:09:59,000 Speaker 1: six weeks and that's when Yours Is No Disgrace came 160 00:09:59,080 --> 00:10:02,560 Speaker 1: and event really fragile. But it was like it's very 161 00:10:02,600 --> 00:10:07,520 Speaker 1: important to sort of isolate ourselves away from the Getting 162 00:10:07,559 --> 00:10:10,360 Speaker 1: to rehearsals in a big city can take forever. You know, 163 00:10:10,960 --> 00:10:15,600 Speaker 1: so living together and being together sort of created a harmony. 164 00:10:16,120 --> 00:10:19,040 Speaker 1: And one of the things I've learned is that with 165 00:10:19,040 --> 00:10:21,560 Speaker 1: with harmony, and you notice in acting, if you have 166 00:10:21,679 --> 00:10:25,240 Speaker 1: perfect harmony, anything can happen. It's incredible, you can get there. 167 00:10:25,240 --> 00:10:27,600 Speaker 1: It's beautiful. Yeah, I feel so good too. Yeah. And 168 00:10:27,640 --> 00:10:30,000 Speaker 1: it's rare. It's it's not something that happens all the time. 169 00:10:30,640 --> 00:10:33,800 Speaker 1: Here's like a clue to why I think Yes worked 170 00:10:33,920 --> 00:10:36,920 Speaker 1: in so many ways. It's that up until then, the 171 00:10:37,000 --> 00:10:38,599 Speaker 1: bands would go on stage sing a song, and the 172 00:10:38,679 --> 00:10:42,040 Speaker 1: solo guitar player of the solo, and then the chorus again, 173 00:10:42,080 --> 00:10:45,600 Speaker 1: and then a solo and just finished. I just didn't 174 00:10:45,640 --> 00:10:49,080 Speaker 1: like that because you never know how good you're going 175 00:10:49,160 --> 00:10:51,360 Speaker 1: to be as a solo guitar player if you've had 176 00:10:51,400 --> 00:10:54,920 Speaker 1: too many drinks. You know, so you're great one night, 177 00:10:55,480 --> 00:10:57,319 Speaker 1: and then the next night, what the hell are they thinking? 178 00:10:57,400 --> 00:11:00,280 Speaker 1: You know? So? I said to Steve, especially if he 179 00:11:00,360 --> 00:11:03,960 Speaker 1: was very willing to understand that if you create a 180 00:11:04,040 --> 00:11:10,600 Speaker 1: solo in rehearsal, record it, learn it, then your solo 181 00:11:10,640 --> 00:11:13,520 Speaker 1: will always be the same, and then you can bounce 182 00:11:13,520 --> 00:11:17,240 Speaker 1: and dance around it. And the same with everybody who 183 00:11:17,280 --> 00:11:20,359 Speaker 1: played in the band. You know, I'd say, let's get it. 184 00:11:20,280 --> 00:11:24,920 Speaker 1: It's called its structuring, structure the music. Make sure you 185 00:11:24,960 --> 00:11:27,360 Speaker 1: know exactly what you're gonna play. And the interesting thing 186 00:11:27,480 --> 00:11:31,200 Speaker 1: is Chris bless him was the main guy who stuck 187 00:11:31,280 --> 00:11:35,199 Speaker 1: to that. He was a beautiful bass player. Listen to 188 00:11:35,280 --> 00:11:40,480 Speaker 1: his bass work, incredible and generally um. When you learn 189 00:11:41,720 --> 00:11:44,160 Speaker 1: the art of the structure, you take that on stage 190 00:11:44,160 --> 00:11:46,160 Speaker 1: and it can be eleven minutes long, ten minutes longer. 191 00:11:46,160 --> 00:11:48,439 Speaker 1: You can stretch it a couple of minutes, but take 192 00:11:48,520 --> 00:11:51,000 Speaker 1: for granted what you've already created and know that it worked. 193 00:11:51,120 --> 00:11:54,080 Speaker 1: Stick with it. But you listen to your music. I mean, 194 00:11:54,280 --> 00:11:57,280 Speaker 1: I mean I closed my eyes and then I roll 195 00:11:57,400 --> 00:11:59,960 Speaker 1: your music in my head, and it's so complicated compare 196 00:12:00,040 --> 00:12:01,559 Speaker 1: to everything else that was coming. I mean there was 197 00:12:02,000 --> 00:12:04,360 Speaker 1: the Beatles deep in their work, and you listen to 198 00:12:04,400 --> 00:12:06,280 Speaker 1: your music, you talk about yours is no disgration. It's 199 00:12:06,360 --> 00:12:12,839 Speaker 1: like all those fractions and all that done, done done. 200 00:12:14,640 --> 00:12:17,920 Speaker 1: This is so dramatic. Yes, these surges is like water 201 00:12:18,120 --> 00:12:22,679 Speaker 1: splashing against the sea wall. It's so violent. Sometimes, whose 202 00:12:23,320 --> 00:12:26,240 Speaker 1: concept was this of music? Who said this is what 203 00:12:26,360 --> 00:12:29,160 Speaker 1: we're gonna do? What were you smoking? I was a 204 00:12:29,280 --> 00:12:32,599 Speaker 1: lot of stuff. Man, You know, no, I agree. In 205 00:12:32,720 --> 00:12:35,319 Speaker 1: some ways, it's like you create this music and you 206 00:12:35,400 --> 00:12:38,920 Speaker 1: go on stage and perform it and and it takes over. 207 00:12:39,320 --> 00:12:42,000 Speaker 1: It's as though we've created something that's a little bit 208 00:12:42,160 --> 00:12:45,199 Speaker 1: unique and we've got to make sure he's good. I 209 00:12:45,240 --> 00:12:48,400 Speaker 1: remember the first time we performed Close to the Edge. 210 00:12:48,440 --> 00:12:54,840 Speaker 1: It seem like about an hour eighteen minutes minutes because 211 00:12:54,840 --> 00:12:56,839 Speaker 1: the orders was so quiet. What's going on? What's going on? 212 00:12:57,440 --> 00:12:59,559 Speaker 1: And it was at a game, you know. Elton John 213 00:12:59,720 --> 00:13:01,839 Speaker 1: was for the bill, my vision orchestra and us and 214 00:13:01,920 --> 00:13:03,880 Speaker 1: we did class the Edge. It was like you could 215 00:13:03,920 --> 00:13:08,040 Speaker 1: hear the crickets. So it's already. But when you do that, 216 00:13:08,200 --> 00:13:10,439 Speaker 1: is it hard to replicate it you go out there 217 00:13:10,559 --> 00:13:12,800 Speaker 1: or it wasn't hard to replicate because you know what 218 00:13:12,880 --> 00:13:14,679 Speaker 1: you've got to do. It took months for it to 219 00:13:14,960 --> 00:13:17,560 Speaker 1: kick in. So by the time we came to tour America, 220 00:13:17,600 --> 00:13:20,320 Speaker 1: we're close to the Edge as a song. We'd already 221 00:13:20,360 --> 00:13:22,720 Speaker 1: played it twenty times. But did you need sheet music 222 00:13:22,800 --> 00:13:25,480 Speaker 1: on stage to play it? How did the band remember 223 00:13:25,520 --> 00:13:27,960 Speaker 1: eighteen minutes of all those changes? I don't know. They 224 00:13:28,000 --> 00:13:30,800 Speaker 1: were just into it. Well, I think you know, musicians 225 00:13:31,000 --> 00:13:34,280 Speaker 1: in the last you know, fifty years of concentrating on 226 00:13:34,360 --> 00:13:40,040 Speaker 1: this new exercise of a brain stemrio. You know, I'm 227 00:13:40,040 --> 00:13:44,640 Speaker 1: always amazed. You know, Trevor Raymond are guitar player. He 228 00:13:44,720 --> 00:13:47,360 Speaker 1: can do scores and you can hear all the music. 229 00:13:47,360 --> 00:13:49,920 Speaker 1: It's like I'm adas, you know, it's like it freaks 230 00:13:49,960 --> 00:13:53,200 Speaker 1: me out because I'd love to be well. Yeah, when 231 00:13:53,240 --> 00:13:56,080 Speaker 1: you would perform live, was there a process you had 232 00:13:56,120 --> 00:13:59,319 Speaker 1: about your voice? Was there some kind of technique you 233 00:13:59,400 --> 00:14:01,280 Speaker 1: had in terms of you didn't smoke and you didn't 234 00:14:01,320 --> 00:14:03,600 Speaker 1: eat certain kinds of food. You know, we went vegetarian 235 00:14:03,720 --> 00:14:05,839 Speaker 1: very early on, and you know before they were in 236 00:14:06,360 --> 00:14:09,640 Speaker 1: vegetary restaurants in America, so we'd find one in New 237 00:14:09,760 --> 00:14:12,840 Speaker 1: York maybe, and one in Boston and one in Seattle, 238 00:14:14,200 --> 00:14:17,800 Speaker 1: and we kind of restricted ourselves from doing the norm, 239 00:14:17,880 --> 00:14:21,800 Speaker 1: which is just you know, going for the burghers and stuff. 240 00:14:21,960 --> 00:14:24,560 Speaker 1: I just on stage and say you should all stop 241 00:14:24,640 --> 00:14:28,360 Speaker 1: eating McDonald's, right, So for you that you didn't feel 242 00:14:28,400 --> 00:14:31,040 Speaker 1: because your your your voice is so I mean it 243 00:14:31,120 --> 00:14:33,280 Speaker 1: really sounds like an instrument amount of saying that there 244 00:14:33,360 --> 00:14:35,200 Speaker 1: was no special thing you had to do. You just 245 00:14:35,320 --> 00:14:37,280 Speaker 1: blew it out and it was there in your pocket 246 00:14:37,320 --> 00:14:39,600 Speaker 1: every time you needed it. I just felt very blessed 247 00:14:39,600 --> 00:14:41,760 Speaker 1: that I could sing, and I was actually going through 248 00:14:41,800 --> 00:14:44,480 Speaker 1: this incredible journey. You know, there's not many people get 249 00:14:44,520 --> 00:14:47,000 Speaker 1: the chance to be successful in their work. You know, 250 00:14:47,640 --> 00:14:50,200 Speaker 1: what's your first big date. We all lived in this 251 00:14:50,360 --> 00:14:53,320 Speaker 1: little house, all at the different floor of the house. 252 00:14:54,200 --> 00:14:57,160 Speaker 1: Peterbanks lived in Barnett, which is North London. I've got 253 00:14:57,200 --> 00:14:58,840 Speaker 1: a phone call from a friend. He said, can you 254 00:14:58,880 --> 00:15:04,720 Speaker 1: do a show tonight at Speakeasy, most famous club in town? Yeah? Yeah, 255 00:15:04,960 --> 00:15:06,680 Speaker 1: what time? We're gonna be there at ten o'clock? Why 256 00:15:07,040 --> 00:15:09,520 Speaker 1: because you've got to be there man, Okay, So I 257 00:15:09,600 --> 00:15:11,400 Speaker 1: called Peter, come on, we've got to go and do 258 00:15:11,520 --> 00:15:13,200 Speaker 1: a gig. Get everything to get the drums again and 259 00:15:13,200 --> 00:15:15,040 Speaker 1: getting the van. Come on, let's go. So we went 260 00:15:15,120 --> 00:15:16,920 Speaker 1: to the speak HEAs and we started setting up, and 261 00:15:16,960 --> 00:15:19,680 Speaker 1: then we found out the reason we were there is 262 00:15:19,760 --> 00:15:22,000 Speaker 1: because Sly in the family store had got stopped in 263 00:15:22,680 --> 00:15:26,200 Speaker 1: New Jersey and he couldn't get on the plane whatever 264 00:15:26,400 --> 00:15:29,640 Speaker 1: for whatever he's you know. And I was working at 265 00:15:29,720 --> 00:15:31,880 Speaker 1: that time in a bar above the Marquee Club, a 266 00:15:32,000 --> 00:15:35,440 Speaker 1: very famous club in London. So I kept bumping into 267 00:15:35,680 --> 00:15:37,640 Speaker 1: Keith Emerson because he was playing in nice and I 268 00:15:37,760 --> 00:15:41,440 Speaker 1: kept actually bumped into two or three other Pete Town's 269 00:15:41,560 --> 00:15:43,720 Speaker 1: end and that kind of thing. I never said alone. 270 00:15:45,000 --> 00:15:47,840 Speaker 1: And uh so there were setting up microphones and they 271 00:15:47,840 --> 00:15:51,400 Speaker 1: started walking in. You know, there's Keith Hi, Keith, Oh, John, 272 00:15:51,440 --> 00:15:53,320 Speaker 1: what are you doing? So we're we're doing a show. 273 00:15:53,480 --> 00:15:55,920 Speaker 1: What does it look like? You know? Well, what's happened 274 00:15:55,960 --> 00:15:59,880 Speaker 1: to slice here? And I started passing a joint resident 275 00:16:00,000 --> 00:16:03,200 Speaker 1: have a smoke, calm down. So by the time we 276 00:16:03,320 --> 00:16:06,080 Speaker 1: went on, everybody was happily drunk and stone or whatever. 277 00:16:06,120 --> 00:16:08,560 Speaker 1: And there's I think there was I think Paul and 278 00:16:08,600 --> 00:16:10,560 Speaker 1: Corner was that. I'm not sure, but there's wanted to. 279 00:16:10,720 --> 00:16:13,040 Speaker 1: There's a lot of very famous people there, and we 280 00:16:13,120 --> 00:16:15,360 Speaker 1: put on the show of our life. You know, we'ven't 281 00:16:15,400 --> 00:16:17,760 Speaker 1: have been together for two months. They came expecting sly 282 00:16:17,920 --> 00:16:19,760 Speaker 1: and you came here and you won them over. We 283 00:16:19,840 --> 00:16:24,000 Speaker 1: did it? Come on, guys? What rock and roll? You know? Twiston? Yeah, 284 00:16:24,240 --> 00:16:26,840 Speaker 1: and you came off the stage and yeah. Well the 285 00:16:26,920 --> 00:16:29,040 Speaker 1: manager of the club said, I want to manage you, 286 00:16:30,200 --> 00:16:33,800 Speaker 1: and within a month he got us a gig opening 287 00:16:33,960 --> 00:16:37,880 Speaker 1: for the Cream Farewell concert. So we opened it Rory 288 00:16:38,080 --> 00:16:41,520 Speaker 1: Rory Gallagher the Albert Hall, so Rory Gallagher was on 289 00:16:41,680 --> 00:16:43,600 Speaker 1: second and the cream came on at the end. It 290 00:16:43,720 --> 00:16:48,000 Speaker 1: was like, oh god. You know. The funny thing going 291 00:16:48,080 --> 00:16:51,120 Speaker 1: back to Bill Brufer was in Leeds University and we 292 00:16:51,200 --> 00:16:54,200 Speaker 1: found it we were going to play this gig at 293 00:16:54,720 --> 00:16:56,680 Speaker 1: the Albert Hall. So I said, Bill, you wanted to 294 00:16:56,760 --> 00:16:59,320 Speaker 1: rejoin the Bandy said yeah, yeah, well in two weeks 295 00:16:59,360 --> 00:17:02,320 Speaker 1: we're playing at the Albert Hall. Be there and he was. 296 00:17:03,880 --> 00:17:06,119 Speaker 1: Life is like Scrange, isn't it. And then when the 297 00:17:06,160 --> 00:17:10,680 Speaker 1: recording contract was with who you signed that Urgan? God 298 00:17:10,720 --> 00:17:13,159 Speaker 1: bless him and he found you where in London? He 299 00:17:13,240 --> 00:17:16,399 Speaker 1: came to see us. We did a lunchtime half an 300 00:17:16,440 --> 00:17:20,119 Speaker 1: hour for it. He had almost like audition and what 301 00:17:20,280 --> 00:17:25,439 Speaker 1: year was this, early sixty nine maybe Our manager at 302 00:17:25,440 --> 00:17:27,719 Speaker 1: that time was the speakeas and manager, the sweetest guy 303 00:17:27,760 --> 00:17:29,800 Speaker 1: in the world, but he just you know, he enjoyed 304 00:17:29,840 --> 00:17:34,639 Speaker 1: a drink and he was drunk. And it was one 305 00:17:34,680 --> 00:17:37,600 Speaker 1: o'clock in the afternoon, you know, And so we we 306 00:17:37,720 --> 00:17:41,320 Speaker 1: did our little sort of audition and I thought I 307 00:17:41,359 --> 00:17:43,159 Speaker 1: gotta go the toilet, So went to the toilet and 308 00:17:43,600 --> 00:17:46,280 Speaker 1: Roy comes in stands next to we around a pay, 309 00:17:46,400 --> 00:17:48,880 Speaker 1: you know, and he says, I'm going to get this past, 310 00:17:48,880 --> 00:17:50,800 Speaker 1: to this American past. I'm going to make sure you've 311 00:17:50,800 --> 00:17:53,800 Speaker 1: got the best contract ever ever in the world. And 312 00:17:53,840 --> 00:18:01,320 Speaker 1: at that moment the toilet flush. Did he get you? 313 00:18:01,400 --> 00:18:03,800 Speaker 1: Did he get you the best contract from this American bostard? 314 00:18:03,880 --> 00:18:08,119 Speaker 1: He signed as for ten years, for ten years like 315 00:18:08,280 --> 00:18:12,800 Speaker 1: two points. You know. It was very cool because you know, 316 00:18:12,800 --> 00:18:14,920 Speaker 1: the second album didn't do too well. The third album 317 00:18:15,040 --> 00:18:17,680 Speaker 1: was the Yes album was Okay Stragle and then fourth 318 00:18:17,720 --> 00:18:20,960 Speaker 1: album was from But when you signed with Ernigan, you 319 00:18:21,040 --> 00:18:22,800 Speaker 1: had not been recording for anybody else. This was the 320 00:18:22,840 --> 00:18:25,640 Speaker 1: beginning of your recording. Show track you do album number one, man, 321 00:18:25,920 --> 00:18:28,199 Speaker 1: you do album number two, number three maybe, and then 322 00:18:28,280 --> 00:18:32,000 Speaker 1: four hits, four hits, Well, the thing was roundabout was 323 00:18:32,119 --> 00:18:35,480 Speaker 1: eight minutes long. That it was a stage song. The idea, 324 00:18:36,119 --> 00:18:38,000 Speaker 1: I think one of the things I've always been interested 325 00:18:38,000 --> 00:18:42,040 Speaker 1: in is putting on a show, probably comes from my 326 00:18:42,160 --> 00:18:44,879 Speaker 1: dad because he was a showman in the in the 327 00:18:45,040 --> 00:18:47,679 Speaker 1: army in time. What did he do? All I can 328 00:18:47,800 --> 00:18:49,840 Speaker 1: remember I was in a stroller and he was on 329 00:18:50,000 --> 00:18:53,080 Speaker 1: stage in a kilt is Scottish. He was on stage 330 00:18:53,080 --> 00:18:57,879 Speaker 1: when in a kilt and Hitler mustache, telling jokes and 331 00:18:57,920 --> 00:19:00,760 Speaker 1: I think he played the harmonica. He is a Scottish 332 00:19:00,920 --> 00:19:05,399 Speaker 1: Nazi harmonica player. Man, that's I'm sorry. I were you 333 00:19:05,480 --> 00:19:08,880 Speaker 1: close with him? Yeah, sort of got He got very ill, 334 00:19:09,400 --> 00:19:11,119 Speaker 1: very early on in his life. He died when he 335 00:19:11,200 --> 00:19:14,840 Speaker 1: was how old and you were? How old? You got 336 00:19:14,920 --> 00:19:17,280 Speaker 1: me there at four? My dad died when I was 337 00:19:17,320 --> 00:19:20,280 Speaker 1: twenty six. My dad died down. I was able to 338 00:19:20,320 --> 00:19:22,200 Speaker 1: see him at the end to give him a good 339 00:19:22,240 --> 00:19:24,919 Speaker 1: hug and said thanks. Or either of your siblings musical? 340 00:19:25,359 --> 00:19:28,000 Speaker 1: Oh gosh, yeah, my brother Tony, because we started off 341 00:19:28,040 --> 00:19:33,280 Speaker 1: as the brothers of Accrington. So he's a performer. No, 342 00:19:33,560 --> 00:19:36,840 Speaker 1: he's a he's a preacher actually, so he's a performer. 343 00:19:39,000 --> 00:19:42,200 Speaker 1: I'm curious about for people who you know, don't completely 344 00:19:42,280 --> 00:19:45,639 Speaker 1: understand this, like myself. You do an album Errigan signed you, 345 00:19:45,800 --> 00:19:47,760 Speaker 1: and the first album doesn't work, and the second album 346 00:19:47,800 --> 00:19:49,560 Speaker 1: doesn't work. In the third up, maybe they're all growing 347 00:19:49,640 --> 00:19:51,840 Speaker 1: and he sees something, because how do you get to 348 00:19:51,920 --> 00:19:54,520 Speaker 1: do the eight minute round about his on Fragile before 349 00:19:54,520 --> 00:19:56,480 Speaker 1: the album? So when you say to Ergan we're going 350 00:19:56,520 --> 00:19:58,320 Speaker 1: to do an eight minute piece, did he see you down? 351 00:19:58,359 --> 00:20:00,840 Speaker 1: To go Fellas Fellas Fellas. He said, you haven't earn 352 00:20:00,880 --> 00:20:02,639 Speaker 1: the right to do it. He said. Somebody, and I 353 00:20:02,760 --> 00:20:06,800 Speaker 1: remember very vividly it was Gosh, I can't remember his name, 354 00:20:06,920 --> 00:20:12,000 Speaker 1: very famous producer, came to London. We're we're doing Do 355 00:20:12,160 --> 00:20:20,320 Speaker 1: Do Do Do Do Do, and the guys they're sitting 356 00:20:20,359 --> 00:20:22,879 Speaker 1: there and saying, why don't you put a funky BASSI 357 00:20:24,000 --> 00:20:31,920 Speaker 1: I said, no, it's possible, and that's what it is. 358 00:20:32,080 --> 00:20:35,600 Speaker 1: Is your move actually was yeah, of course your move 359 00:20:35,960 --> 00:20:43,280 Speaker 1: he said boom boom, yeah, your guitar on stage that one. No, 360 00:20:43,960 --> 00:20:45,920 Speaker 1: we just didn't do it. We just said I said, 361 00:20:46,080 --> 00:20:49,120 Speaker 1: I'm sorry, I like you very much, but I don't 362 00:20:49,160 --> 00:20:50,680 Speaker 1: want it to be that way. It's round about the 363 00:20:50,720 --> 00:20:53,680 Speaker 1: first hit, Yeah, because somebody got some scissors out and 364 00:20:53,840 --> 00:20:57,000 Speaker 1: didn't tell us. I know, with it in your contract 365 00:20:57,040 --> 00:20:59,480 Speaker 1: that they could do that. Of course they could. They 366 00:20:59,520 --> 00:21:02,720 Speaker 1: could get our sport right, So so they cut round 367 00:21:02,760 --> 00:21:05,040 Speaker 1: about from what to what. Well, they just took out 368 00:21:05,119 --> 00:21:08,119 Speaker 1: the whole middle section, so it goes from the end 369 00:21:08,160 --> 00:21:10,800 Speaker 1: of the second, third verse or third core, second chorus 370 00:21:10,880 --> 00:21:14,359 Speaker 1: whatever straining in the solo. And we were driving around 371 00:21:14,400 --> 00:21:17,920 Speaker 1: Pittsburgh to a gig and it would turn on the 372 00:21:18,000 --> 00:21:20,600 Speaker 1: radio and it's round about it, round of bus on 373 00:21:20,680 --> 00:21:23,119 Speaker 1: our on the on the radio. We couldn't believe it. 374 00:21:23,359 --> 00:21:28,959 Speaker 1: And then it went straight into the solo. We'll charged 375 00:21:29,080 --> 00:21:31,160 Speaker 1: the view. I mean, I mean, I know, I'm kind 376 00:21:31,200 --> 00:21:33,320 Speaker 1: of getting carried away here with you because I'm so 377 00:21:33,440 --> 00:21:36,639 Speaker 1: excited actually talking to you. But you know, Yes Songs 378 00:21:36,720 --> 00:21:40,000 Speaker 1: is really one of the greatest live albums ever. I mean, 379 00:21:40,080 --> 00:21:42,880 Speaker 1: if you if you're a Yes fan and you dig 380 00:21:43,000 --> 00:21:45,359 Speaker 1: that music, you guys just crushed it, you know, did 381 00:21:45,440 --> 00:21:47,720 Speaker 1: you did you know that when you recorded? Really? You know, 382 00:21:48,080 --> 00:21:50,240 Speaker 1: I just knew we were sort of getting into the 383 00:21:50,320 --> 00:21:53,119 Speaker 1: pocket when I learned later the pocket is when it 384 00:21:53,280 --> 00:21:57,119 Speaker 1: just happens and music takes over. And that was one 385 00:21:57,160 --> 00:21:58,720 Speaker 1: of those shows. I think we did about four in 386 00:21:58,800 --> 00:22:03,280 Speaker 1: a row when we've Cordy one of them, and I 387 00:22:03,359 --> 00:22:06,560 Speaker 1: don't know, I going back to George Martin, you know, 388 00:22:06,960 --> 00:22:09,639 Speaker 1: and listen to what he did before tracks. I wonder 389 00:22:09,680 --> 00:22:13,040 Speaker 1: why we're not as something when when when you hear 390 00:22:13,880 --> 00:22:17,159 Speaker 1: us playing live, what what's what's wrong? I've always been 391 00:22:17,240 --> 00:22:21,919 Speaker 1: like that. I'm terrible critical for you self critical? Did 392 00:22:21,960 --> 00:22:24,120 Speaker 1: you drive the other band members crazy with your criticism? 393 00:22:25,000 --> 00:22:27,760 Speaker 1: They called me the poem they did, yes, the quiet. 394 00:22:27,880 --> 00:22:31,040 Speaker 1: Do you agree that the band needs an external source 395 00:22:31,119 --> 00:22:34,480 Speaker 1: of management in order to really function or did you 396 00:22:34,640 --> 00:22:36,760 Speaker 1: kind of function as a manager of your own. We 397 00:22:36,840 --> 00:22:39,919 Speaker 1: stopped we stopped using a producer after the third album, 398 00:22:40,600 --> 00:22:43,120 Speaker 1: so we were producing ourselves with a very good engineer 399 00:22:43,200 --> 00:22:45,960 Speaker 1: called Offord, who was brilliant. How did that work for 400 00:22:46,000 --> 00:22:48,520 Speaker 1: you with your self producing brilliant? You think so? It's 401 00:22:48,520 --> 00:22:53,639 Speaker 1: a great photograph of everybody on the Leavers, we've got 402 00:22:53,680 --> 00:22:57,760 Speaker 1: their own sets. Yes, I think we should do this. Yeah, 403 00:22:58,320 --> 00:23:02,000 Speaker 1: and it's just the idea of uh have trusting. You know, 404 00:23:02,119 --> 00:23:04,680 Speaker 1: trust is everything in music. You got to trust everybody 405 00:23:04,720 --> 00:23:07,400 Speaker 1: to want the same thing, even though we're not quite 406 00:23:07,440 --> 00:23:09,080 Speaker 1: sure what it is yet. Did you feel you were 407 00:23:09,119 --> 00:23:12,640 Speaker 1: in charge? Yeah? Well I wasn't. I used to say 408 00:23:13,000 --> 00:23:15,200 Speaker 1: to Chris, because Chris always to look at me and say, 409 00:23:15,440 --> 00:23:18,000 Speaker 1: I just want to make you happy. John said, yeah, 410 00:23:18,160 --> 00:23:20,159 Speaker 1: I'm not trying to bust everybody around. I just want 411 00:23:20,200 --> 00:23:22,760 Speaker 1: to make it work. And somebody's got to come up. 412 00:23:22,800 --> 00:23:25,560 Speaker 1: If you come up with if somebody, if you come 413 00:23:25,600 --> 00:23:28,200 Speaker 1: up with ideas, I'll follow it through. But it tends 414 00:23:28,240 --> 00:23:31,280 Speaker 1: to happen somebody tends to be more of an idea 415 00:23:31,440 --> 00:23:33,960 Speaker 1: person and I was into that, you know, like with 416 00:23:34,600 --> 00:23:37,520 Speaker 1: reading Herman Hess and thinking I really want to do 417 00:23:37,680 --> 00:23:43,840 Speaker 1: something a little bit more experimental and long form. Steve, 418 00:23:44,160 --> 00:23:46,560 Speaker 1: come here, man, can you play some cords like this 419 00:23:46,840 --> 00:23:50,600 Speaker 1: and plan them? I said, okay, and he say, I've 420 00:23:50,640 --> 00:23:52,560 Speaker 1: got this. I've got this thing. It goes close to 421 00:23:52,680 --> 00:23:57,280 Speaker 1: the edge, run by the corner and I seen down 422 00:23:57,400 --> 00:24:00,560 Speaker 1: at the end, run by the river. What do you 423 00:24:00,560 --> 00:24:06,320 Speaker 1: they sees bad by I'm gonna go. I get a card. 424 00:24:06,520 --> 00:24:11,000 Speaker 1: It's like I need I need some chords there, you know, 425 00:24:11,240 --> 00:24:14,240 Speaker 1: and Steve here you talking through and then when you 426 00:24:14,359 --> 00:24:16,440 Speaker 1: listen to the music, it's like something in a church. Yeah, 427 00:24:17,440 --> 00:24:20,200 Speaker 1: and this is you know, it's it's like subconsciously, I'll 428 00:24:20,200 --> 00:24:23,880 Speaker 1: be chords. And he played perfect chords and I said, 429 00:24:24,160 --> 00:24:28,000 Speaker 1: that's it. Recorded. Next part? Did you interact with Wakeman 430 00:24:28,040 --> 00:24:31,920 Speaker 1: the same way? Did he go with you? Because Rick 431 00:24:32,160 --> 00:24:35,960 Speaker 1: was very fast, just coming up with stuff I didn't 432 00:24:36,000 --> 00:24:39,600 Speaker 1: really not know. And again I hear something that's you 433 00:24:39,680 --> 00:24:41,920 Speaker 1: just played something I need that please? And what is 434 00:24:42,000 --> 00:24:44,520 Speaker 1: this one that? Oh? Yeah, I need that a little 435 00:24:44,560 --> 00:24:47,760 Speaker 1: differenever it was and you know, you you go through 436 00:24:47,840 --> 00:24:52,880 Speaker 1: these emotions in the studio of really listening to everybody 437 00:24:52,920 --> 00:24:55,480 Speaker 1: and making sure that they are in a good place 438 00:24:55,600 --> 00:24:58,399 Speaker 1: to perform. Well, you know, it's it's part of the 439 00:24:58,560 --> 00:25:02,359 Speaker 1: routine of being buddies, musical brothers. If you like you, 440 00:25:02,640 --> 00:25:10,640 Speaker 1: I see the cold listen and watched the news, roll 441 00:25:10,760 --> 00:25:25,920 Speaker 1: outside I learned, and every single day inside outside way 442 00:25:29,119 --> 00:25:37,600 Speaker 1: the song the Cold Stone and moving to the door 443 00:25:40,640 --> 00:25:54,560 Speaker 1: I watch, and every single the inside out outside coming up. 444 00:25:54,800 --> 00:25:59,240 Speaker 1: John Anderson explains why Paul McCartney was his inspiration for 445 00:25:59,359 --> 00:26:04,720 Speaker 1: taking drugs. While Yes was rocking the UK, the self 446 00:26:04,800 --> 00:26:09,080 Speaker 1: described cussing Christian behind Grand Funk Railroad was lighting up 447 00:26:09,119 --> 00:26:13,760 Speaker 1: America the word from the Atlanta Pop Festival. You know, 448 00:26:13,880 --> 00:26:18,920 Speaker 1: we opened noon the first day. They liked us so 449 00:26:19,080 --> 00:26:22,120 Speaker 1: well they moved us to seven o'clock the second day, 450 00:26:22,240 --> 00:26:24,040 Speaker 1: and then the third day we were on at eleven 451 00:26:24,080 --> 00:26:28,119 Speaker 1: o'clock under the lights. They're the people that they're waiting for. Now. 452 00:26:29,600 --> 00:26:33,080 Speaker 1: To hear more about Mark Farner's story, go to Here's 453 00:26:33,119 --> 00:26:38,520 Speaker 1: the Thing dot org. This is Alec Baldwin and you 454 00:26:38,600 --> 00:26:43,800 Speaker 1: were listening to Here's the Thing. Nicknamed Napoleon. English singer 455 00:26:43,880 --> 00:26:48,800 Speaker 1: songwriter John Anderson constantly pushed his bandmates to experiment further, 456 00:26:49,560 --> 00:26:53,119 Speaker 1: considering that Yes sold more than fifty million albums in 457 00:26:53,320 --> 00:26:57,640 Speaker 1: his time with them. It worked, but although Anderson's adventurous 458 00:26:57,760 --> 00:27:01,000 Speaker 1: spirit played a role in propelling them forward, there were 459 00:27:01,040 --> 00:27:05,120 Speaker 1: other factors too, namely competition. We did Close to the Edge, 460 00:27:06,400 --> 00:27:09,040 Speaker 1: and if there was ever a rival band that I 461 00:27:09,240 --> 00:27:12,000 Speaker 1: kind of watched and listen to was a Bang Cooking 462 00:27:12,080 --> 00:27:17,399 Speaker 1: Crimson because I had heard about them, and me and 463 00:27:17,520 --> 00:27:19,840 Speaker 1: Chris went to see them Speak Easy. This is like 464 00:27:20,040 --> 00:27:25,080 Speaker 1: nineteen seventy I think maybe late sixty nine, and they 465 00:27:25,240 --> 00:27:29,560 Speaker 1: performed the whole first album and it was it was 466 00:27:29,640 --> 00:27:33,320 Speaker 1: just so incredibly good. They performed at vocals. It was 467 00:27:33,760 --> 00:27:35,640 Speaker 1: in the court of the Crimson King, and I looked 468 00:27:35,640 --> 00:27:38,240 Speaker 1: at Christ and said, we've got to practice more. Guys, 469 00:27:40,160 --> 00:27:44,960 Speaker 1: you're very competitive, So we did I know. Then we 470 00:27:45,040 --> 00:27:47,920 Speaker 1: went to Close to the Edge and I thought we'd 471 00:27:48,080 --> 00:27:52,239 Speaker 1: opened this door. Musically speaking, we found this is um. 472 00:27:52,560 --> 00:27:55,880 Speaker 1: It's a yes is um. It's something that every note 473 00:27:56,040 --> 00:28:00,320 Speaker 1: is known to the band. We know every in you 474 00:28:00,440 --> 00:28:05,120 Speaker 1: there and to perform it was going to be amazing. 475 00:28:05,200 --> 00:28:07,760 Speaker 1: And then Bill said I'm leaving the band. About two 476 00:28:07,760 --> 00:28:09,920 Speaker 1: weeks after we finished it, of course to the edge. 477 00:28:09,960 --> 00:28:14,000 Speaker 1: You know why he wanted to join King Crimson really did, 478 00:28:14,560 --> 00:28:17,280 Speaker 1: really and it broke my heart. And what what was 479 00:28:17,359 --> 00:28:19,399 Speaker 1: that like for you? Well, I thought, you guys are 480 00:28:19,440 --> 00:28:20,840 Speaker 1: with the quest of the way you've just done this 481 00:28:20,960 --> 00:28:24,040 Speaker 1: piece of music. That meant we are now free to 482 00:28:24,200 --> 00:28:26,359 Speaker 1: do and create what we want. We're just as good 483 00:28:26,400 --> 00:28:29,399 Speaker 1: as King Crimson. Oh yeah, But when you feel you're 484 00:28:29,440 --> 00:28:32,119 Speaker 1: just as good as Crimson, you're different. Is that what 485 00:28:32,240 --> 00:28:36,040 Speaker 1: he wanted was different? He just said making the album 486 00:28:36,160 --> 00:28:39,280 Speaker 1: was great, John, But I'm just not comfortable with Chris 487 00:28:39,520 --> 00:28:42,280 Speaker 1: wanting this and me wanting that. And we'll see. I 488 00:28:42,440 --> 00:28:44,880 Speaker 1: I used to say, I always think the beat starts 489 00:28:44,960 --> 00:28:48,560 Speaker 1: with the bass, drum, bass, and everything evolves from Derek. 490 00:28:48,640 --> 00:28:51,760 Speaker 1: Chris was said, no, the base is the beat. So 491 00:28:51,920 --> 00:28:56,960 Speaker 1: there's that argument going on with Bill and basically he 492 00:28:57,040 --> 00:28:59,360 Speaker 1: went to Crimson and I actually saw their first gig. 493 00:28:59,440 --> 00:29:01,800 Speaker 1: There was a bandy changed their name to Discipline or 494 00:29:01,920 --> 00:29:04,560 Speaker 1: is an album called Discipline with King Crimson and it 495 00:29:04,680 --> 00:29:08,000 Speaker 1: was remarkable to watch because he had Bill Bruford on 496 00:29:08,160 --> 00:29:10,560 Speaker 1: stage with a little kid right at the front of 497 00:29:10,640 --> 00:29:15,160 Speaker 1: the stage. Guitar player I forgot his name for now, 498 00:29:15,760 --> 00:29:19,280 Speaker 1: keyboard player, another guitar player, and this guy called Jamie 499 00:29:19,400 --> 00:29:22,840 Speaker 1: Muir who was like a percussionist, and he looked like 500 00:29:22,920 --> 00:29:26,080 Speaker 1: a wild man from born. You had a long black 501 00:29:26,160 --> 00:29:30,120 Speaker 1: hair and he had this sort of black wooly shoulder thing. 502 00:29:30,320 --> 00:29:33,360 Speaker 1: Man him look a very skinny ape and what he 503 00:29:33,400 --> 00:29:36,240 Speaker 1: would do, which was kind of interesting. He had sort 504 00:29:36,240 --> 00:29:38,000 Speaker 1: of gongs in his hand and he banged him on 505 00:29:38,080 --> 00:29:42,000 Speaker 1: the floor and your microphones. So he had this band 506 00:29:45,440 --> 00:29:48,640 Speaker 1: and this guy was jumping up against pieces of metal, 507 00:29:48,840 --> 00:29:52,080 Speaker 1: large scale pieces of metal to me, the microphones on there. 508 00:29:52,640 --> 00:29:56,200 Speaker 1: So there's incredible company of energy going around the band, 509 00:29:56,280 --> 00:30:00,320 Speaker 1: which is very tight, right, And I couldn't be leaving. 510 00:30:00,760 --> 00:30:02,920 Speaker 1: And I went to Bill Brufford's wedding and there was 511 00:30:03,000 --> 00:30:07,680 Speaker 1: Jamie Muller and I said, Jamie, what do you what? 512 00:30:08,120 --> 00:30:10,800 Speaker 1: What what do you? What are you doing? And he 513 00:30:10,880 --> 00:30:13,760 Speaker 1: said wait there and he went off and he came 514 00:30:13,840 --> 00:30:16,560 Speaker 1: back with a book and it was the Autobiography of 515 00:30:16,600 --> 00:30:19,680 Speaker 1: a Yogi by Yogananda, and he just gave it to me. 516 00:30:19,720 --> 00:30:22,320 Speaker 1: He didn't say anything else, and that changed my life. 517 00:30:22,920 --> 00:30:27,200 Speaker 1: How So, it's a very clear understanding that all religions 518 00:30:27,240 --> 00:30:29,040 Speaker 1: are the same, and all rivers go to the same 519 00:30:29,120 --> 00:30:32,280 Speaker 1: motion and divine, divine energies all around us all the time. 520 00:30:32,840 --> 00:30:36,200 Speaker 1: After Close to the finished, Closely and Close the Edge 521 00:30:36,280 --> 00:30:41,040 Speaker 1: was like to me a very concept album in itself. 522 00:30:41,080 --> 00:30:44,440 Speaker 1: And you and I, you finished Close to the Edge, 523 00:30:44,440 --> 00:30:47,680 Speaker 1: Brufford leaves, You go to his wedding, You meet Jamie, 524 00:30:48,120 --> 00:30:51,200 Speaker 1: he gives you the autobiography of a Yogi, and and 525 00:30:51,360 --> 00:30:53,800 Speaker 1: and and who replaced Brufford at that remedia at that time. 526 00:30:55,440 --> 00:30:58,160 Speaker 1: So the next album, after Course of the Edges, then 527 00:30:58,240 --> 00:31:00,880 Speaker 1: we went into toto graphic world of craziness. You know, 528 00:31:01,520 --> 00:31:05,200 Speaker 1: because why do you say that? Because well, it's it's 529 00:31:05,240 --> 00:31:08,120 Speaker 1: such a you know, what's the word, It's such an 530 00:31:08,200 --> 00:31:13,120 Speaker 1: incredible moment in my life. Anyway, Why well, because, uh, 531 00:31:13,280 --> 00:31:16,800 Speaker 1: you know, some joker in a newspaper said close to 532 00:31:16,840 --> 00:31:18,200 Speaker 1: the as, Yeah, the next thing they're going to do 533 00:31:18,320 --> 00:31:24,560 Speaker 1: is the Bible to Music, And I thought, yeah, So 534 00:31:24,920 --> 00:31:26,720 Speaker 1: I got the book, and I was on a trip 535 00:31:26,800 --> 00:31:30,080 Speaker 1: to Japan with the band with Alan and everything, and 536 00:31:30,560 --> 00:31:34,040 Speaker 1: Steve and I read in the bottom of the book 537 00:31:34,200 --> 00:31:38,760 Speaker 1: these four energies that create almost everything is the revealing 538 00:31:39,280 --> 00:31:44,160 Speaker 1: of everything, the remembering of everything, the ancient and the 539 00:31:44,320 --> 00:31:46,680 Speaker 1: ritual of life. You know, and I thought, that's it 540 00:31:47,720 --> 00:31:50,280 Speaker 1: with the four movements, you know, so I sort of 541 00:31:50,720 --> 00:31:53,520 Speaker 1: jump tones Steve. It was perfect for it, you know, 542 00:31:53,560 --> 00:31:57,200 Speaker 1: and why because he's very receptive, very he was ready 543 00:31:57,240 --> 00:31:59,280 Speaker 1: to go with you. You're very quick to read the book, 544 00:32:00,240 --> 00:32:01,520 Speaker 1: do you know? I don't know. Did you give all 545 00:32:01,560 --> 00:32:03,120 Speaker 1: of them the book and say this is required reading? 546 00:32:03,160 --> 00:32:05,160 Speaker 1: Before he started the album, I just knew that if 547 00:32:05,200 --> 00:32:07,240 Speaker 1: you're going to go anywhere, why don't you just jump 548 00:32:07,280 --> 00:32:09,040 Speaker 1: in the deep end, you know, so when you get it, 549 00:32:09,120 --> 00:32:11,400 Speaker 1: when you head towards tales, when you go to as 550 00:32:11,440 --> 00:32:15,160 Speaker 1: you were saying this topographic madness, how were they changing 551 00:32:15,240 --> 00:32:17,640 Speaker 1: the other ones in the band you? Since are they 552 00:32:17,680 --> 00:32:19,120 Speaker 1: all on this journey and kind of getting into with 553 00:32:19,200 --> 00:32:20,560 Speaker 1: you and getting high with you? Or some of them 554 00:32:20,600 --> 00:32:22,440 Speaker 1: sitting there looking at there, watching on how much more 555 00:32:22,520 --> 00:32:25,720 Speaker 1: of this revealing science of God? And and wait a second, 556 00:32:25,880 --> 00:32:27,640 Speaker 1: is this cat really going to do the Bible next? 557 00:32:27,680 --> 00:32:29,880 Speaker 1: Where are we going with this guy? Was it all 558 00:32:29,960 --> 00:32:34,120 Speaker 1: kind of cool? Or most of the time me Steve 559 00:32:34,720 --> 00:32:38,240 Speaker 1: and Alan and then Chris on on a level, we're 560 00:32:38,360 --> 00:32:43,160 Speaker 1: very there. Rick was finding his own sort of passway. 561 00:32:43,920 --> 00:32:47,960 Speaker 1: He started writing some music about King Arthur or every 562 00:32:48,040 --> 00:32:50,320 Speaker 1: the eighth and stuff and that, and that was sort 563 00:32:50,360 --> 00:32:52,400 Speaker 1: of sense. When he came in, he was he was 564 00:32:52,480 --> 00:32:56,520 Speaker 1: thinking of other stuff. So it was like lovely guy, 565 00:32:56,720 --> 00:32:58,800 Speaker 1: but still a young guy. It was so young. It 566 00:32:58,920 --> 00:33:02,200 Speaker 1: was very who when he joined them, and so I 567 00:33:02,360 --> 00:33:07,400 Speaker 1: was sort of headlong into this thing. Nobody can dissuade 568 00:33:07,400 --> 00:33:09,440 Speaker 1: me at all. We're going there. That's all there is 569 00:33:09,520 --> 00:33:11,800 Speaker 1: to it. It's going to be great. What is it 570 00:33:11,880 --> 00:33:14,520 Speaker 1: about you that makes you so driven that way? I mean, 571 00:33:14,560 --> 00:33:17,440 Speaker 1: you see, you have an almost a hab like quest 572 00:33:17,960 --> 00:33:21,760 Speaker 1: to synthesize what you're thinking, feeling, dreaming, believing into the 573 00:33:21,880 --> 00:33:25,040 Speaker 1: music you're doing, regardless of the cost. Do you know 574 00:33:25,200 --> 00:33:28,240 Speaker 1: why you're so self examining? I would think, why, Yeah, 575 00:33:28,280 --> 00:33:32,480 Speaker 1: I'm just so grateful. I suppose you just enjoy the journey. Yeah, 576 00:33:32,520 --> 00:33:36,680 Speaker 1: I'm so thankful. There's a certain point in time when 577 00:33:36,720 --> 00:33:39,800 Speaker 1: I was very lost on heavy drugs and stuff in 578 00:33:40,120 --> 00:33:45,840 Speaker 1: earlier smith at that publicly, I don't remember. Did you 579 00:33:45,920 --> 00:33:47,480 Speaker 1: do that? Because it was for free and for fun 580 00:33:47,560 --> 00:33:49,200 Speaker 1: and silly and funny, and then it got to be 581 00:33:50,000 --> 00:33:51,600 Speaker 1: it makes it makes you sick kind of And then 582 00:33:52,080 --> 00:33:54,040 Speaker 1: how do you see it now? In perspective? What's that 583 00:33:54,720 --> 00:34:00,560 Speaker 1: your drug experience was it was, it was and abashed 584 00:34:00,840 --> 00:34:06,680 Speaker 1: endorsements de Limera front page. Paul McCartney took ascid. I said, 585 00:34:06,720 --> 00:34:13,279 Speaker 1: that's it. That was my key. He didn't pay the 586 00:34:13,360 --> 00:34:17,480 Speaker 1: guy that things love me do my god, all you 587 00:34:17,600 --> 00:34:22,040 Speaker 1: need is love Christman. So tails comes out. No, no, no, no. 588 00:34:22,200 --> 00:34:24,920 Speaker 1: Fragile is a hit and close to the edges and 589 00:34:25,719 --> 00:34:27,960 Speaker 1: you guys are really rolling and see me, And what 590 00:34:28,120 --> 00:34:31,600 Speaker 1: is the tourist situation like now your big stadium's big places? 591 00:34:33,719 --> 00:34:36,359 Speaker 1: No not not? You know I think we did three 592 00:34:36,480 --> 00:34:39,839 Speaker 1: nights for Madison Square and you know, did you enjoy them? Yeah? 593 00:34:40,320 --> 00:34:44,040 Speaker 1: It was like very dream sequence sort of looking back, 594 00:34:44,160 --> 00:34:46,839 Speaker 1: you just remember it as being, Wow, I gotta get 595 00:34:46,840 --> 00:34:49,080 Speaker 1: on stage. I gotta I don't know what I'm doing. 596 00:34:50,000 --> 00:34:52,680 Speaker 1: Don't worry about it. Look for the furthest people away 597 00:34:52,680 --> 00:34:54,440 Speaker 1: and wave to them, because you don't want to just 598 00:34:54,520 --> 00:34:56,839 Speaker 1: play to the twenty people in front row. You gotta 599 00:34:56,840 --> 00:34:59,880 Speaker 1: pay Mark, you gotta play, You gotta play to everybody, 600 00:35:00,000 --> 00:35:02,200 Speaker 1: you know, you gotta. Mark Farner told to see tours 601 00:35:02,239 --> 00:35:03,520 Speaker 1: close off because one of the people in the back 602 00:35:03,600 --> 00:35:06,560 Speaker 1: road and pay attention to him. He ripped down to 603 00:35:06,560 --> 00:35:09,839 Speaker 1: It was like a little speed up from Grand Funk Railroad. Yeah, 604 00:35:10,000 --> 00:35:12,560 Speaker 1: but but when you also were doing this and regardless 605 00:35:12,560 --> 00:35:14,880 Speaker 1: of the size, but I'm assuming, particularly where there's the 606 00:35:15,000 --> 00:35:17,200 Speaker 1: size and the amount of money available to the to 607 00:35:17,320 --> 00:35:21,400 Speaker 1: the promoters, does the stage tableau change what's happening on 608 00:35:21,600 --> 00:35:25,600 Speaker 1: his lighting and graphics say we're lucky, you see, because 609 00:35:25,640 --> 00:35:28,319 Speaker 1: your music lends itself to something spectacular. Yeah, it's an 610 00:35:28,360 --> 00:35:31,479 Speaker 1: interesting story that the first road we have was Mike Tate, 611 00:35:32,120 --> 00:35:35,000 Speaker 1: and Mike Tate is now Take Tower is one of 612 00:35:35,040 --> 00:35:42,360 Speaker 1: the biggest touring companies in America for sure. And we 613 00:35:42,480 --> 00:35:44,840 Speaker 1: were doing a show up in north of England in 614 00:35:44,920 --> 00:35:50,000 Speaker 1: a small pub and he was driving us and obviously 615 00:35:50,040 --> 00:35:52,680 Speaker 1: a stripper would come on most nights in the pub 616 00:35:52,760 --> 00:35:54,879 Speaker 1: that we're doing our show, and there's all these little 617 00:35:55,040 --> 00:35:57,799 Speaker 1: sort of switches on the side of the the wall 618 00:35:58,200 --> 00:36:00,160 Speaker 1: and he was up and down with all colors, was 619 00:36:00,320 --> 00:36:02,920 Speaker 1: like that, with little switches like that, and I thought, oh, 620 00:36:03,080 --> 00:36:05,880 Speaker 1: that's really cool. So we drove down to London and 621 00:36:06,960 --> 00:36:09,560 Speaker 1: Mike said, I'm going back to Australia. I said no, no, no, 622 00:36:09,640 --> 00:36:11,959 Speaker 1: he kind of ahead. You're gonna be our lighting guys. 623 00:36:11,960 --> 00:36:13,560 Speaker 1: I said, what do you mean? I said, what do 624 00:36:13,560 --> 00:36:15,440 Speaker 1: you need because I just saw you didn't know it yet. 625 00:36:16,520 --> 00:36:18,400 Speaker 1: So we've we've we've got some money and he got 626 00:36:18,480 --> 00:36:20,440 Speaker 1: he made these Genie towers which came out of a 627 00:36:20,560 --> 00:36:24,319 Speaker 1: box in one of them, and the car light car lights. 628 00:36:25,000 --> 00:36:27,520 Speaker 1: He had a little little thing coin and but you 629 00:36:27,560 --> 00:36:31,440 Speaker 1: didn't have any screens and images that came topographic time 630 00:36:31,480 --> 00:36:35,680 Speaker 1: we started projection, we were first first band and what 631 00:36:35,880 --> 00:36:37,759 Speaker 1: the band? What are the other bandmates feel about you 632 00:36:37,840 --> 00:36:39,520 Speaker 1: bringing that ettlement out of the stage. You talked to 633 00:36:39,600 --> 00:36:41,680 Speaker 1: me about so much about it. Just think I think 634 00:36:41,800 --> 00:36:44,960 Speaker 1: Roger Dean had done the artwork. Him and his brother 635 00:36:45,320 --> 00:36:48,600 Speaker 1: started doing the staging, and the best staging that they 636 00:36:48,680 --> 00:36:52,239 Speaker 1: did for us was the Relayer tour. Get some delirium 637 00:36:52,280 --> 00:36:55,800 Speaker 1: with a three headed sort of thing. How did you 638 00:36:55,960 --> 00:36:58,600 Speaker 1: meet for Chard Dean? Tell people how did you meet him? 639 00:36:58,719 --> 00:37:06,840 Speaker 1: I don't know. I think Steve said, yes, right, no, 640 00:37:06,960 --> 00:37:09,680 Speaker 1: I had seen this album covered a bang called OSSI 641 00:37:09,800 --> 00:37:12,880 Speaker 1: visa in London and it was just fantastic. And I 642 00:37:12,960 --> 00:37:16,160 Speaker 1: looked at Von Roger Deane and Steve said, I think 643 00:37:16,239 --> 00:37:17,799 Speaker 1: I know some really knows him. I said, we'll get 644 00:37:17,880 --> 00:37:20,279 Speaker 1: him getting to come over, you know in fragile. We're 645 00:37:20,280 --> 00:37:23,480 Speaker 1: working on fragile, and I just said, Rogier, how are 646 00:37:23,520 --> 00:37:25,480 Speaker 1: you all met? And just put you know, it makes 647 00:37:25,520 --> 00:37:28,840 Speaker 1: some very fragile Hafan kar. So he came back with 648 00:37:28,920 --> 00:37:31,360 Speaker 1: this little world and I said, that's perfect, you know, 649 00:37:31,560 --> 00:37:33,440 Speaker 1: And from then on, you know, we just kept working 650 00:37:33,480 --> 00:37:36,200 Speaker 1: with him so he would be involved in staging. Mike 651 00:37:36,280 --> 00:37:39,279 Speaker 1: Tait was the lighting guy, and that was the way 652 00:37:39,360 --> 00:37:42,279 Speaker 1: we worked in the seventies. Explained to me because I 653 00:37:42,320 --> 00:37:44,800 Speaker 1: don't understand this either, I really don't, and I'm always 654 00:37:44,840 --> 00:37:48,400 Speaker 1: fascinated by this. When you're exploring your music, it's so 655 00:37:48,600 --> 00:37:52,000 Speaker 1: dynamic and it's so spiritual and rock at the same time. 656 00:37:52,080 --> 00:37:56,200 Speaker 1: It's everything. It's jazz. It means it's its own planet 657 00:37:56,239 --> 00:37:57,880 Speaker 1: if you will. I mean, I really believe that. But 658 00:37:57,960 --> 00:38:01,080 Speaker 1: at any point do you feel that the vocals need uh? 659 00:38:01,239 --> 00:38:02,880 Speaker 1: Does it ever cross your mind, like we've got to 660 00:38:02,920 --> 00:38:05,360 Speaker 1: get a girl in here? Is there ever a discussion 661 00:38:05,400 --> 00:38:07,200 Speaker 1: of a woman joining the mayor? Is that never come out? 662 00:38:07,280 --> 00:38:10,480 Speaker 1: Do we need a feminine voice? Never? The music is 663 00:38:10,520 --> 00:38:14,400 Speaker 1: always put through the prism of John's the singer, and 664 00:38:14,640 --> 00:38:16,880 Speaker 1: you get into that zone of well, I'm writing the 665 00:38:17,000 --> 00:38:20,080 Speaker 1: lyrics as well. Because I like writing lyrics, and me 666 00:38:20,160 --> 00:38:22,480 Speaker 1: and Steve would write lyrics with each other, Me and 667 00:38:22,560 --> 00:38:24,560 Speaker 1: Chris would write lyrics with each other. But I just 668 00:38:24,680 --> 00:38:27,840 Speaker 1: tend to write a lot and think a lot, and 669 00:38:28,160 --> 00:38:30,640 Speaker 1: drive a lot, and come on up the mountain, people, 670 00:38:30,760 --> 00:38:33,120 Speaker 1: Come on. We got to do this because who else 671 00:38:33,239 --> 00:38:35,160 Speaker 1: is going to help us? Who else is going to 672 00:38:35,280 --> 00:38:38,040 Speaker 1: help Nobody else is going to help us, because we're 673 00:38:38,080 --> 00:38:40,960 Speaker 1: going this way. And we went on that journey and 674 00:38:41,040 --> 00:38:43,399 Speaker 1: it went right through the seventies to that point where 675 00:38:43,760 --> 00:38:47,120 Speaker 1: it couldn't go any further because the House of Cards 676 00:38:47,200 --> 00:38:49,200 Speaker 1: fell down. We really talk about that in a minute. 677 00:38:49,200 --> 00:38:51,600 Speaker 1: But when you get when you when typographic comes out, 678 00:38:52,440 --> 00:38:55,719 Speaker 1: how does that do well? It's it's It's well documented 679 00:38:55,960 --> 00:39:01,160 Speaker 1: that it was heavily criticized and very confused used atmosphere 680 00:39:01,200 --> 00:39:05,080 Speaker 1: around it because Rick hated it. He hated that it 681 00:39:05,200 --> 00:39:07,760 Speaker 1: was too much for him because he was already half 682 00:39:08,040 --> 00:39:11,120 Speaker 1: into something else. I think he wanted to be somewhere else. 683 00:39:11,160 --> 00:39:13,320 Speaker 1: I think so. Yeah. And when he said he hated it, 684 00:39:13,400 --> 00:39:14,919 Speaker 1: he was on the record at the time or while 685 00:39:14,920 --> 00:39:17,319 Speaker 1: you were. He said, it's too it's too much. It's 686 00:39:17,360 --> 00:39:20,080 Speaker 1: too much music for people. It's too much music for them, 687 00:39:20,680 --> 00:39:22,520 Speaker 1: And of course I was what did you mean by 688 00:39:22,560 --> 00:39:24,920 Speaker 1: too much music? It was like you're trying to make 689 00:39:24,960 --> 00:39:28,120 Speaker 1: people eat a whole cake at once. You should do 690 00:39:28,200 --> 00:39:32,360 Speaker 1: it in pieces were too long. It was the structure 691 00:39:32,360 --> 00:39:35,080 Speaker 1: of the album was not right for twenty minute pieces, 692 00:39:35,320 --> 00:39:37,520 Speaker 1: because that's all you could fit on an album. Right. 693 00:39:39,560 --> 00:39:41,280 Speaker 1: I can just see you, I can see you awaking. 694 00:39:41,360 --> 00:39:42,800 Speaker 1: I have this image of you waking up. I'm in 695 00:39:42,880 --> 00:39:45,359 Speaker 1: bed and you pick up like how many? How many 696 00:39:45,440 --> 00:39:49,480 Speaker 1: minutes fit on an album? Again is great? I've got 697 00:39:49,600 --> 00:39:54,960 Speaker 1: four twenty minute first songs pieces, the revealing, the remembering, ritual, 698 00:39:55,239 --> 00:39:58,479 Speaker 1: ancient and you think there's got to be a meaning 699 00:39:58,560 --> 00:40:02,319 Speaker 1: to you stopped believing in in the structure of Yes' music. Yeah, 700 00:40:02,360 --> 00:40:04,600 Speaker 1: he just felt that it wasn't going to work. And 701 00:40:04,719 --> 00:40:06,800 Speaker 1: a lot of people agree with that. And was he 702 00:40:06,880 --> 00:40:10,360 Speaker 1: gone after topographic? And did you feel about that? I 703 00:40:10,560 --> 00:40:14,040 Speaker 1: was sort of beaten up because in terms of musicianship, 704 00:40:14,080 --> 00:40:16,680 Speaker 1: you could never find anybody who was his Again, he's 705 00:40:16,680 --> 00:40:20,920 Speaker 1: one of the greatest history. Ridiculous. You know, you go 706 00:40:21,040 --> 00:40:23,960 Speaker 1: through that feeling like I think I went I went 707 00:40:24,120 --> 00:40:28,200 Speaker 1: amid the wrong I went down the wrong road. I 708 00:40:28,239 --> 00:40:30,600 Speaker 1: should have thought because all all the time we were 709 00:40:30,680 --> 00:40:33,160 Speaker 1: doing close to the age. You know, why are you 710 00:40:33,239 --> 00:40:35,680 Speaker 1: doing cross the edge? Why don't you do another roundabout? 711 00:40:35,680 --> 00:40:37,440 Speaker 1: What's the matter with you? You want to make We 712 00:40:37,480 --> 00:40:39,799 Speaker 1: can make so much money now, just one and another, 713 00:40:39,840 --> 00:40:42,160 Speaker 1: one another, one another that I said, No, I'm not interested. 714 00:40:42,480 --> 00:40:46,719 Speaker 1: I want to hold your hands right your version. You 715 00:40:46,760 --> 00:40:52,920 Speaker 1: wanted me to sing a thousand that one for the 716 00:40:53,080 --> 00:40:59,440 Speaker 1: Night has a thousand dies and a thousand dies? You 717 00:40:59,520 --> 00:41:02,239 Speaker 1: want me to do that? Don't please don't tell me 718 00:41:02,600 --> 00:41:05,319 Speaker 1: when was yes songs recorded in between, which I think 719 00:41:05,360 --> 00:41:07,640 Speaker 1: it was just after Fragile. I think you think Fragile 720 00:41:07,719 --> 00:41:10,040 Speaker 1: close to the jest songs typographic you got it. But 721 00:41:10,160 --> 00:41:14,240 Speaker 1: the idea is that everybody, you know, Steve and Alan 722 00:41:14,280 --> 00:41:16,719 Speaker 1: and Chris put so much into topographic, you know, and 723 00:41:16,800 --> 00:41:20,239 Speaker 1: it was it was it was magic to perform and 724 00:41:20,440 --> 00:41:22,719 Speaker 1: to hold an audience for twenty minutes. You can hear 725 00:41:22,760 --> 00:41:26,640 Speaker 1: a pin drop every now, you know, every It's amazing. 726 00:41:26,719 --> 00:41:28,560 Speaker 1: How are the audiences when you perform that? It was 727 00:41:28,600 --> 00:41:31,040 Speaker 1: amazing because our own car was close to the edge, 728 00:41:32,800 --> 00:41:35,879 Speaker 1: so it was like we were living this new new 729 00:41:35,960 --> 00:41:38,759 Speaker 1: world of music, which is kind of crazy thinking, but 730 00:41:39,239 --> 00:41:42,839 Speaker 1: I felt we'd found this big cloud that we could 731 00:41:42,880 --> 00:41:44,719 Speaker 1: sail around the world on, you know, and we were 732 00:41:44,840 --> 00:41:48,359 Speaker 1: playing this music that was you know, and then as 733 00:41:48,440 --> 00:41:51,120 Speaker 1: time went along, you realized that one part of the 734 00:41:51,400 --> 00:41:54,640 Speaker 1: puzzle rag he wasn't enjoying it, and it sounded like 735 00:41:54,760 --> 00:41:58,839 Speaker 1: he wasn't enjoying it. And he was caught once with um, 736 00:41:59,239 --> 00:42:02,839 Speaker 1: was it some Indian food underneath this keyboard? He were 737 00:42:02,840 --> 00:42:05,520 Speaker 1: doing the show and he has some Indian currier underneath 738 00:42:05,640 --> 00:42:09,759 Speaker 1: this keyboard, so that that broke the back. But help 739 00:42:09,840 --> 00:42:11,239 Speaker 1: me with this because of the thing I've learned from 740 00:42:11,280 --> 00:42:14,600 Speaker 1: people who are these immensely successful and people are just 741 00:42:15,360 --> 00:42:18,520 Speaker 1: eating your music up alive and they love it. It's 742 00:42:18,560 --> 00:42:21,560 Speaker 1: so fresh and so new and so brilliant. And you 743 00:42:21,640 --> 00:42:23,920 Speaker 1: guys are going along and then one cylinder and the 744 00:42:24,000 --> 00:42:26,359 Speaker 1: engine decides to pop out. What are the other guys? 745 00:42:26,440 --> 00:42:29,200 Speaker 1: How do they feel? Oh, we gotta get a new guitar. 746 00:42:31,440 --> 00:42:33,680 Speaker 1: Where's a new keyboard player? That was the first, you know, 747 00:42:33,800 --> 00:42:37,680 Speaker 1: I thought he the silliest story ever. I started thinking, 748 00:42:37,960 --> 00:42:40,840 Speaker 1: and I just heard about this guy called Vane Pat 749 00:42:41,480 --> 00:42:44,400 Speaker 1: who lived in Paris, and I've seen a photograph of 750 00:42:44,480 --> 00:42:47,759 Speaker 1: him using laser beams. So we got laser beams and 751 00:42:47,840 --> 00:42:51,840 Speaker 1: I went to meet Van Gelis and I loved his 752 00:42:51,920 --> 00:42:54,640 Speaker 1: first album. It's called Creation Dumont. I used to play 753 00:42:54,640 --> 00:42:57,520 Speaker 1: it before Yes Show. So when audiences are coming in 754 00:42:57,560 --> 00:43:00,600 Speaker 1: there here in this cosmic music by bank Ellis. You know. 755 00:43:01,719 --> 00:43:06,040 Speaker 1: So um, I won't tell you the story meeting and everything, 756 00:43:06,120 --> 00:43:08,680 Speaker 1: but he nearly joined the band. I invited him to 757 00:43:08,760 --> 00:43:10,759 Speaker 1: London to join the band soon as Rick went on, 758 00:43:10,880 --> 00:43:12,759 Speaker 1: why do you want to tell the story of beating him? Why, Well, 759 00:43:13,080 --> 00:43:16,120 Speaker 1: it's silly, you know, It's like, well, okay, So I 760 00:43:16,719 --> 00:43:19,839 Speaker 1: get to Paris, I find his phone number, I got 761 00:43:19,920 --> 00:43:25,520 Speaker 1: his call him up. Hello, Hello Van Ellis. Yes, Oh, 762 00:43:25,840 --> 00:43:28,000 Speaker 1: my name is John Anderson. I sing in a band 763 00:43:28,040 --> 00:43:32,240 Speaker 1: called Yes Watch. Yes, I don't know, Yes, it's a band, 764 00:43:32,640 --> 00:43:37,560 Speaker 1: you know, a band I'm singer. Oh oh, John Johnny, Oh, 765 00:43:37,719 --> 00:43:40,080 Speaker 1: come over. So I went over to his apartment right 766 00:43:40,760 --> 00:43:43,959 Speaker 1: and I opened the door and he's standing there, tall 767 00:43:44,000 --> 00:43:46,600 Speaker 1: guy with a long sort of kaftan, you know, big 768 00:43:46,719 --> 00:43:49,200 Speaker 1: beard and everything. And he has a big bone arrow 769 00:43:49,320 --> 00:43:52,680 Speaker 1: over his shoulder like a long ball. You know. Hey, Johnny, 770 00:43:52,800 --> 00:43:55,920 Speaker 1: come and can get home. You know. So he was 771 00:43:55,920 --> 00:43:58,360 Speaker 1: in the middle of an archery session he said he 772 00:43:58,440 --> 00:44:01,080 Speaker 1: had a very long hallway. All the way down the 773 00:44:01,120 --> 00:44:05,759 Speaker 1: bottom of the hallway was a target he's shooting and 774 00:44:05,840 --> 00:44:08,200 Speaker 1: he said, what's this John? And he takes a born 775 00:44:08,320 --> 00:44:13,520 Speaker 1: arrow and it went right through the window and hit 776 00:44:13,600 --> 00:44:17,120 Speaker 1: the postman. Hey. I just laughed because it was just 777 00:44:17,160 --> 00:44:20,560 Speaker 1: so beautiful. And I went around his house was sets everywhere. Oh, 778 00:44:20,640 --> 00:44:23,000 Speaker 1: listen to this, I have this music. Listen to this. 779 00:44:23,120 --> 00:44:24,960 Speaker 1: And then he started playing with his big fat fingers, 780 00:44:25,239 --> 00:44:27,640 Speaker 1: the most gorgeous music I've ever heard. When you see 781 00:44:27,640 --> 00:44:29,640 Speaker 1: he almost joined the band. What was that about? Well? 782 00:44:29,880 --> 00:44:33,680 Speaker 1: I asked him to come over to England and joined 783 00:44:33,719 --> 00:44:37,279 Speaker 1: the band, and Stephen Chris thought I was crazy. Who 784 00:44:37,400 --> 00:44:39,320 Speaker 1: is this guy? You know? I said, let's try it 785 00:44:39,520 --> 00:44:44,040 Speaker 1: and shoot arrows at us. Yeah, I know, so we 786 00:44:44,200 --> 00:44:47,800 Speaker 1: we we We started rehearsing and Steve's got his guitar 787 00:44:47,960 --> 00:44:51,600 Speaker 1: tuning up and perhaps and mindedly Van Gelly said, oh, 788 00:44:51,719 --> 00:44:54,239 Speaker 1: you know, little guitar, not a real instrument, you know, 789 00:44:55,320 --> 00:44:58,680 Speaker 1: because it was one of those crazy Greek I said, 790 00:44:58,719 --> 00:45:02,560 Speaker 1: we're trying to make friends here. Vane didn't work so 791 00:45:02,920 --> 00:45:05,520 Speaker 1: he was good, and then I became friends with angels. 792 00:45:05,600 --> 00:45:07,879 Speaker 1: Of course, how do you find your next keyboardist. Where 793 00:45:08,160 --> 00:45:11,080 Speaker 1: so Patrick Raz came along to my my house and 794 00:45:11,160 --> 00:45:14,240 Speaker 1: started playing the piano. He was brilliant. He was in London, 795 00:45:14,840 --> 00:45:19,840 Speaker 1: he's from Switzerland band he was in a band called Refugee, 796 00:45:21,400 --> 00:45:24,359 Speaker 1: but he wanted to join the band. And as soon 797 00:45:24,400 --> 00:45:27,359 Speaker 1: as he played the piano, I said, you're you're You're good. 798 00:45:27,560 --> 00:45:30,960 Speaker 1: You're very good. And I was overjoyed that we found 799 00:45:31,000 --> 00:45:35,680 Speaker 1: somebody equally as exciting and possibly talented as Rick. So 800 00:45:36,760 --> 00:45:40,040 Speaker 1: we started rehearsing and we did the relay our album. 801 00:45:40,800 --> 00:45:43,359 Speaker 1: One song we did was called Gates of Delirium, which 802 00:45:43,400 --> 00:45:46,840 Speaker 1: is a long form piece of music, and it was 803 00:45:46,920 --> 00:45:50,279 Speaker 1: the first one that I actually, strangely enough, I've been 804 00:45:50,320 --> 00:45:52,800 Speaker 1: playing the piano a lot. I took to the band 805 00:45:53,880 --> 00:45:57,840 Speaker 1: me playing it Do Do Do Do Do Do Do? 806 00:45:59,360 --> 00:46:02,239 Speaker 1: But uh, you know, and I went through it with 807 00:46:02,800 --> 00:46:11,680 Speaker 1: that I'd learned four parts, you know. And if I 808 00:46:11,800 --> 00:46:14,840 Speaker 1: can't believe that they understood me, because that was terrible. 809 00:46:15,120 --> 00:46:19,160 Speaker 1: That was terrible. Yeah, he did layer. Chris was on 810 00:46:19,280 --> 00:46:22,320 Speaker 1: top of that case of delivering. Was fantastic to perform. 811 00:46:22,440 --> 00:46:26,920 Speaker 1: It was like, it's wild warlike tendency. Why why humans 812 00:46:27,120 --> 00:46:30,239 Speaker 1: or why we're all into war? And now when you 813 00:46:30,400 --> 00:46:33,239 Speaker 1: say the house of cards falls, what happens if the 814 00:46:33,320 --> 00:46:37,719 Speaker 1: relayer comes out? Are there more changes? And get no, 815 00:46:37,840 --> 00:46:42,160 Speaker 1: it gets it gets a bit strange because Pat Patrick, 816 00:46:42,320 --> 00:46:45,520 Speaker 1: bless him, starts to wander off and finds himself in 817 00:46:45,600 --> 00:46:48,680 Speaker 1: Brazil and he got married and things like that, and 818 00:46:48,880 --> 00:46:53,080 Speaker 1: we lost contact and we decided Patrick Mora, Yeah, we 819 00:46:53,160 --> 00:46:57,839 Speaker 1: decided we wanted to start recording. And some somebody said, well, 820 00:46:57,880 --> 00:46:59,960 Speaker 1: why do we record with the Queen? Have been recording 821 00:47:00,120 --> 00:47:03,399 Speaker 1: in montro They've got a studio there. It's lovely there 822 00:47:03,440 --> 00:47:06,439 Speaker 1: in Switzerland, and we wanted to pay taxes that year 823 00:47:06,520 --> 00:47:09,800 Speaker 1: and like kind of crap. And so we all go 824 00:47:09,880 --> 00:47:12,839 Speaker 1: to Switzerland and Montroy is beautiful, and you know, I'm 825 00:47:12,920 --> 00:47:17,800 Speaker 1: there and writing and dust was gathering on his keyboards. 826 00:47:18,000 --> 00:47:21,120 Speaker 1: Is that kind of strange feeling? Where is he? And 827 00:47:21,520 --> 00:47:26,360 Speaker 1: so we carried on racing ideas and stuff, and you know, 828 00:47:26,440 --> 00:47:32,040 Speaker 1: I actually bumped into Steve how at a holiday in 829 00:47:32,160 --> 00:47:36,279 Speaker 1: near Detroit about four months earlier. Had gone past his 830 00:47:36,440 --> 00:47:38,359 Speaker 1: room and the smoke coming out from under the door 831 00:47:38,400 --> 00:47:41,600 Speaker 1: and he was playing this rift down, don't don't die? 832 00:47:41,719 --> 00:47:47,520 Speaker 1: Are you? Are you? That sort of thing, and I thought, 833 00:47:47,600 --> 00:47:49,719 Speaker 1: that's kind of nice, and I said, I Steve John 834 00:47:49,800 --> 00:47:51,440 Speaker 1: and I went to have breakfast. I came back. He's 835 00:47:51,440 --> 00:47:55,600 Speaker 1: still playing it. I said, why don't you change key down? 836 00:47:55,920 --> 00:48:00,880 Speaker 1: Don don don't. So I walked in and sing the 837 00:48:00,960 --> 00:48:03,759 Speaker 1: main line of Awaken, which is the first verse, or 838 00:48:03,880 --> 00:48:06,120 Speaker 1: that kind of thing, and then I said, Steve, how 839 00:48:06,120 --> 00:48:09,320 Speaker 1: many chords can you play without repeating? And he started 840 00:48:09,320 --> 00:48:12,520 Speaker 1: playing all these chords. I said, keep playing them and 841 00:48:12,640 --> 00:48:16,640 Speaker 1: repeat for do do do do do workings and man 842 00:48:16,760 --> 00:48:20,040 Speaker 1: said to play out historical life real again in the 843 00:48:20,160 --> 00:48:23,200 Speaker 1: flower of the Fruit of History, and he just popped up. 844 00:48:23,520 --> 00:48:26,680 Speaker 1: And I was actually in that space of saying, let's 845 00:48:26,719 --> 00:48:28,840 Speaker 1: just do that. That would be the second stanza, and 846 00:48:28,880 --> 00:48:30,719 Speaker 1: then there'll be another stanza and then I'm going to 847 00:48:30,760 --> 00:48:35,000 Speaker 1: do a harp thing. And Steve said, why because I'm 848 00:48:35,040 --> 00:48:37,200 Speaker 1: playing the harp every day I'm on tour, at which 849 00:48:37,200 --> 00:48:39,680 Speaker 1: I did. You know, But that was great making that 850 00:48:39,800 --> 00:48:42,840 Speaker 1: album and the Waken. It's so beautiful to create and perform, 851 00:48:42,960 --> 00:48:45,719 Speaker 1: and we'd still perform it. Just now, what's music in 852 00:48:45,840 --> 00:48:47,759 Speaker 1: your life that's not your music? Are you? Do? You 853 00:48:47,880 --> 00:48:51,240 Speaker 1: listen to a lot of music? I know it's terrible. 854 00:48:51,680 --> 00:48:55,359 Speaker 1: What's your favorite I just listened to the seventh three 855 00:48:55,440 --> 00:48:58,680 Speaker 1: times yesterday before I came here. I was driving around 856 00:48:58,760 --> 00:49:03,480 Speaker 1: shopping for some reason. Oh my god, yeah, I love 857 00:49:03,520 --> 00:49:08,239 Speaker 1: the real sonorous and movie Russian Russians were on top 858 00:49:08,280 --> 00:49:11,200 Speaker 1: of them. He was pissed. You know, so classical is 859 00:49:11,239 --> 00:49:13,600 Speaker 1: big in your life? Well, I think yeah, I think. 860 00:49:14,160 --> 00:49:16,439 Speaker 1: Well I was very big in to wrest On Rollan Kirk. 861 00:49:17,120 --> 00:49:20,799 Speaker 1: I thought he was just amazing. What about contemporary music, now, 862 00:49:21,000 --> 00:49:22,920 Speaker 1: are you do you? Well, there's always a great song 863 00:49:23,000 --> 00:49:26,319 Speaker 1: here and there every week another song, Oh my god, yeah, 864 00:49:26,400 --> 00:49:28,640 Speaker 1: And there's a lot of great music out there that 865 00:49:28,880 --> 00:49:31,040 Speaker 1: most people are not going to hear on radio anyway. 866 00:49:31,400 --> 00:49:33,759 Speaker 1: So the only way you can do it here music 867 00:49:33,920 --> 00:49:36,480 Speaker 1: is going to like somebody sent me a link and 868 00:49:36,560 --> 00:49:40,320 Speaker 1: it was this band doing an insurance song using pipes 869 00:49:40,400 --> 00:49:42,680 Speaker 1: and things on a on a on a table, and 870 00:49:42,760 --> 00:49:45,839 Speaker 1: who was the most glorious work of art these people 871 00:49:45,920 --> 00:49:49,080 Speaker 1: singing in his song but doing these kind of spoons 872 00:49:49,120 --> 00:49:52,120 Speaker 1: and and singing and beautiful harmony, and the very famous 873 00:49:52,160 --> 00:49:56,080 Speaker 1: man actually five million people watch that. There are people, 874 00:49:56,200 --> 00:49:57,960 Speaker 1: I mean, I hope this comes out the right way. 875 00:49:58,040 --> 00:50:01,000 Speaker 1: There are people who write music. I'm not saying this 876 00:50:01,080 --> 00:50:03,160 Speaker 1: with any judgment of them. And the music is pretty simple. 877 00:50:03,280 --> 00:50:06,480 Speaker 1: It means it's it's it's rock music, and it's exciting 878 00:50:06,560 --> 00:50:08,600 Speaker 1: and and and and it's I love you and you 879 00:50:08,680 --> 00:50:10,680 Speaker 1: don't love me? And why don't you love me? And 880 00:50:10,760 --> 00:50:14,640 Speaker 1: your music is very nugety and very dense and very rich. 881 00:50:15,160 --> 00:50:17,479 Speaker 1: And I'm assuming that the making of that music would 882 00:50:17,560 --> 00:50:20,840 Speaker 1: probably set you up for even a worst case what 883 00:50:20,920 --> 00:50:23,480 Speaker 1: people suffered of their personal lives. And did you find 884 00:50:23,520 --> 00:50:25,120 Speaker 1: that the music that you were writing and the work 885 00:50:25,200 --> 00:50:27,800 Speaker 1: you were doing was so intense that it negatively impacted 886 00:50:27,840 --> 00:50:31,279 Speaker 1: your personal life? And what didn't You were married, You 887 00:50:31,320 --> 00:50:36,040 Speaker 1: weren't married to your music totally, so you were polygamous. 888 00:50:36,080 --> 00:50:39,480 Speaker 1: You were married to your wife and your music totally. Okay, Now, 889 00:50:39,600 --> 00:50:42,640 Speaker 1: my second wife, Jane, we've been to twenty five years, 890 00:50:42,719 --> 00:50:46,400 Speaker 1: so it's amazing she is. You didn't find that that 891 00:50:46,719 --> 00:50:48,640 Speaker 1: to be a challenge to balance your home life and 892 00:50:48,680 --> 00:50:51,120 Speaker 1: your work. Obviously, you know you're growing up and you're 893 00:50:51,120 --> 00:50:55,000 Speaker 1: getting older, and you're trusting accountants to take every finances 894 00:50:55,040 --> 00:50:56,759 Speaker 1: and things like that, and just keep saying you've got 895 00:50:56,840 --> 00:50:58,720 Speaker 1: to buy more stuff. You've got to buy more stuff 896 00:50:58,719 --> 00:51:01,000 Speaker 1: because there's so much money and to buy more stuff, 897 00:51:01,760 --> 00:51:04,880 Speaker 1: and you think, why you know I'm not interested in stuff. 898 00:51:04,920 --> 00:51:07,120 Speaker 1: To be honest, I don't come from that. I come 899 00:51:07,160 --> 00:51:12,560 Speaker 1: from a very um simple background from Accrington. I used 900 00:51:12,600 --> 00:51:15,400 Speaker 1: to be I used to be the ball boy for 901 00:51:15,440 --> 00:51:17,799 Speaker 1: Acklington Stanley, one of the first teams in the First 902 00:51:17,880 --> 00:51:23,560 Speaker 1: League that ever was soccer. You know, my core values 903 00:51:23,600 --> 00:51:27,480 Speaker 1: are very very simple, very clear that I can't believe 904 00:51:27,560 --> 00:51:30,600 Speaker 1: I'm doing what I'm doing. I'm so grateful to be 905 00:51:30,760 --> 00:51:33,680 Speaker 1: here speaking with you because I've seen you work and 906 00:51:33,800 --> 00:51:37,200 Speaker 1: I know you're great. And it's just the idea that 907 00:51:38,239 --> 00:51:40,839 Speaker 1: I can't wait until tomorrow because I know the great 908 00:51:40,920 --> 00:51:43,560 Speaker 1: music is coming. I know some great stuff is happening. 909 00:51:43,680 --> 00:51:46,640 Speaker 1: When you perform, now, do you need to adjust the 910 00:51:46,760 --> 00:51:49,359 Speaker 1: key and the way you sing? Do you do down 911 00:51:49,400 --> 00:51:52,040 Speaker 1: a ton or half a ton? You know, I listened 912 00:51:52,040 --> 00:51:53,560 Speaker 1: to my stuff. I was done. I was singing on 913 00:51:53,680 --> 00:51:57,560 Speaker 1: helium half of it. But it's so I didn't realize. 914 00:51:58,080 --> 00:52:04,160 Speaker 1: It's incredible when you look back on the amazing, amazing 915 00:52:04,560 --> 00:52:07,440 Speaker 1: work you did in the amazing music you made, and 916 00:52:08,320 --> 00:52:10,520 Speaker 1: I thank you, I thank you, But when you look back, 917 00:52:10,640 --> 00:52:14,640 Speaker 1: was there anything you would have done differently? I can't 918 00:52:14,640 --> 00:52:16,440 Speaker 1: believe where I am now. You know we're just going 919 00:52:16,520 --> 00:52:18,320 Speaker 1: to go into the Hall of Fame. Well, when you 920 00:52:18,880 --> 00:52:22,080 Speaker 1: do something you wanted, you know it was something to 921 00:52:22,160 --> 00:52:24,600 Speaker 1: do with this manager twenty years ago. I said, I'm 922 00:52:24,640 --> 00:52:26,120 Speaker 1: going to get you in the Hall of Fame. I said, 923 00:52:26,120 --> 00:52:28,000 Speaker 1: I don't care. It will happen when it happens. And 924 00:52:28,080 --> 00:52:30,640 Speaker 1: that's my mantra. Things will happen when they happen. Don't 925 00:52:30,680 --> 00:52:32,279 Speaker 1: tell me. I'm going to be in the Hall of Fame. 926 00:52:33,239 --> 00:52:35,879 Speaker 1: All my heroes are there, and there's nothing you would 927 00:52:35,880 --> 00:52:41,120 Speaker 1: do differently. I can't know. I can't think. There's obviously 928 00:52:41,200 --> 00:53:34,600 Speaker 1: things I should have done differently. Yes, seasons say this 929 00:53:34,800 --> 00:53:39,960 Speaker 1: is just In an interview last August with Classic Rock, 930 00:53:40,560 --> 00:53:43,880 Speaker 1: Anderson said, quote for me, yes was about the adventure 931 00:53:44,239 --> 00:53:48,000 Speaker 1: of music, not making a living. The adventure itself will 932 00:53:48,120 --> 00:53:53,560 Speaker 1: create great things. Unquote. Indeed it has. This is Alec 933 00:53:53,640 --> 00:53:56,040 Speaker 1: Baldwin and you're listening to here's the thing