1 00:00:00,560 --> 00:00:03,040 Speaker 1: Taking a Walk that Rollie says it was just a 2 00:00:03,120 --> 00:00:05,080 Speaker 1: digital sort of band. I mean it was more where 3 00:00:05,120 --> 00:00:08,320 Speaker 1: I'd been, you know, I'd been in the band playing blues, 4 00:00:08,400 --> 00:00:10,280 Speaker 1: you know, so they were interduced by blues. 5 00:00:10,280 --> 00:00:11,840 Speaker 2: So they didn't interest me very much. 6 00:00:11,920 --> 00:00:14,600 Speaker 1: Well that I wanted to gig when bless his heart, 7 00:00:14,640 --> 00:00:16,720 Speaker 1: Brian Jonstein, I mean I was looking for like gig. 8 00:00:17,000 --> 00:00:18,799 Speaker 1: I would have jumped in there and said hang on, 9 00:00:18,920 --> 00:00:21,000 Speaker 1: you know, but I just couldn't get through it to anybody. 10 00:00:21,120 --> 00:00:24,960 Speaker 3: Welcome to the Taking a Walk podcast hosted by Buzznight. 11 00:00:25,640 --> 00:00:29,520 Speaker 3: Buzz talks with musicians about the inside story on their legacy, 12 00:00:29,920 --> 00:00:34,239 Speaker 3: their process, and so much more. On this episode, Buzz's 13 00:00:34,240 --> 00:00:38,040 Speaker 3: guest is Steve Howe, classic rock fans on No Steve 14 00:00:38,120 --> 00:00:42,360 Speaker 3: from Yes. He was also part of Asia, gtr and 15 00:00:42,360 --> 00:00:46,600 Speaker 3: Anderson Bruford, Wakeman and Howe. He's had a tremendous solo 16 00:00:46,720 --> 00:00:50,720 Speaker 3: career and he's a legendary progressive rock guitarist who continues 17 00:00:50,800 --> 00:00:55,000 Speaker 3: to make his mark with inspired music. Steve Howe joins 18 00:00:55,040 --> 00:00:57,600 Speaker 3: Buzz Night next on Taking a Walk. 19 00:00:59,200 --> 00:01:02,760 Speaker 4: Well, it's an to have a returning guest to the 20 00:01:02,800 --> 00:01:05,360 Speaker 4: Taken a Walk Podcast. As we were going to take 21 00:01:05,400 --> 00:01:10,160 Speaker 4: a virtual walk down memory lane with the great Steve 22 00:01:10,319 --> 00:01:14,160 Speaker 4: Howe from Yes, Hello Steve, hi boss, It's nice to 23 00:01:14,200 --> 00:01:15,119 Speaker 4: talk to you again, sir. 24 00:01:15,600 --> 00:01:17,960 Speaker 2: L's the guys up with you too. Hope you will. 25 00:01:18,240 --> 00:01:20,440 Speaker 4: Doing very well. I'm talking to you. I couldn't be 26 00:01:20,480 --> 00:01:24,600 Speaker 4: any better. So let's go back in time here and 27 00:01:25,120 --> 00:01:29,240 Speaker 4: talk about the first concert experience that you that you 28 00:01:29,440 --> 00:01:30,720 Speaker 4: experienced in your life. 29 00:01:31,440 --> 00:01:36,280 Speaker 1: Okay, all right. I was about fourteen, I was maybe 30 00:01:36,319 --> 00:01:39,560 Speaker 1: I was thirteen. Anyway, I was still Word Beyond the 31 00:01:39,560 --> 00:01:43,120 Speaker 1: Ears thirteen or fourteen, a school band, a bit of 32 00:01:43,120 --> 00:01:47,480 Speaker 1: a school musicians. We went on stage at a youth 33 00:01:47,600 --> 00:01:52,080 Speaker 1: club and we didn't practice well, tune up or talk 34 00:01:52,080 --> 00:01:55,560 Speaker 1: about anything. We just said, let's play shadows, you know 35 00:01:55,640 --> 00:01:59,840 Speaker 1: the shadows, and so we played apatche and you know, 36 00:02:00,080 --> 00:02:01,680 Speaker 1: the famous guitar instrumental. 37 00:02:01,840 --> 00:02:04,080 Speaker 2: So basically it was pretty awful. 38 00:02:04,040 --> 00:02:08,160 Speaker 1: And after that I didn't play on stage for about 39 00:02:08,160 --> 00:02:08,959 Speaker 1: a year and a half. 40 00:02:09,840 --> 00:02:11,320 Speaker 2: It was dreadful. 41 00:02:11,360 --> 00:02:16,079 Speaker 1: Really, I could tell it wasn't that good, but I thought, well, 42 00:02:16,160 --> 00:02:18,160 Speaker 1: it didn't put me off completely. So when I met 43 00:02:18,240 --> 00:02:23,040 Speaker 1: Kevin Driscoll, bass player in the group called the Syndicats, 44 00:02:23,800 --> 00:02:26,520 Speaker 1: Basically we formed the syndicates together when I met him, 45 00:02:26,560 --> 00:02:29,720 Speaker 1: and that's when I started playing in pubs and things 46 00:02:29,800 --> 00:02:34,600 Speaker 1: like that. But that first concert was I was toned 47 00:02:34,639 --> 00:02:36,880 Speaker 1: deaf to it. You know, it just didn't make sense. 48 00:02:36,919 --> 00:02:39,359 Speaker 1: But that's because you know, there was no preparation. 49 00:02:40,240 --> 00:02:43,160 Speaker 4: And did you actually play at a prison also, Well, 50 00:02:43,200 --> 00:02:43,600 Speaker 4: that's what. 51 00:02:43,600 --> 00:02:45,200 Speaker 2: Happened when I got together with Kevin. 52 00:02:45,440 --> 00:02:47,880 Speaker 1: We formed a group and we got we've got a 53 00:02:47,960 --> 00:02:51,080 Speaker 1: Tuesday Evening or something, a youth club and it was 54 00:02:51,120 --> 00:02:56,400 Speaker 1: connected to what's called Pentonville Prison in no great shakes, 55 00:02:56,840 --> 00:02:59,919 Speaker 1: but anyway, so that was in the area of northol 56 00:03:00,240 --> 00:03:04,600 Speaker 1: and we lived in and basically yeah, yeah, every week 57 00:03:04,639 --> 00:03:06,680 Speaker 1: for a while we played there and the only thing 58 00:03:06,720 --> 00:03:08,400 Speaker 1: we knew that I didn't thing to do in the 59 00:03:08,400 --> 00:03:11,040 Speaker 1: prison was as we packed up the gear, some prisoners 60 00:03:11,040 --> 00:03:13,160 Speaker 1: came in and tied it up the venue. 61 00:03:13,440 --> 00:03:15,359 Speaker 2: So yeah, it was kind of weird. 62 00:03:17,160 --> 00:03:19,600 Speaker 4: It sounds a little spinal tap ish. 63 00:03:19,480 --> 00:03:25,040 Speaker 1: Yeah, yeah, yeah, Johnny Cash at thoughts. 64 00:03:23,480 --> 00:03:29,680 Speaker 4: Yes exactly. I love your appreciation for all diverse styles 65 00:03:29,680 --> 00:03:34,120 Speaker 4: of music, and I think, if I if I'm correct 66 00:03:34,200 --> 00:03:37,960 Speaker 4: on this, one of the first concerts you experienced as 67 00:03:38,000 --> 00:03:43,640 Speaker 4: a fan was heavily roots oriented around like Chuck Berry. 68 00:03:43,720 --> 00:03:44,560 Speaker 4: Does that sound right? 69 00:03:45,000 --> 00:03:46,640 Speaker 2: Yeah, that's right. Yeah. Yeah. 70 00:03:46,640 --> 00:03:49,360 Speaker 1: The first major, kind of proper major console I went 71 00:03:49,400 --> 00:03:52,040 Speaker 1: to was what they called a package too. You know, 72 00:03:52,080 --> 00:03:54,880 Speaker 1: there was most probably five names. I think Eric Burton 73 00:03:54,960 --> 00:03:59,840 Speaker 1: and the Animals. Paul Perkins was actually top of the bill, 74 00:04:00,640 --> 00:04:03,600 Speaker 1: but we didn't know him anywhere near as well as 75 00:04:03,600 --> 00:04:06,240 Speaker 1: we knew Chuck Berry. So chut Berry was like the 76 00:04:06,280 --> 00:04:09,240 Speaker 1: pre thing. Yeah, so that was my I mean, i'd 77 00:04:09,240 --> 00:04:12,840 Speaker 1: seemed like people founding clubs obviously and things like that, 78 00:04:12,840 --> 00:04:16,520 Speaker 1: but this was like sit down, lights out show, and 79 00:04:16,600 --> 00:04:19,960 Speaker 1: Chuck Berry was absolutely magical, you know. I mean he 80 00:04:20,279 --> 00:04:26,479 Speaker 1: did things, you know, well, he was the package, you know, singer, guitarist, songwriter, performer, 81 00:04:26,760 --> 00:04:29,039 Speaker 1: you know, so he leapt about the stage during his 82 00:04:29,160 --> 00:04:32,200 Speaker 1: duck walk and things like this, and he was absolutely great. 83 00:04:32,360 --> 00:04:36,039 Speaker 1: And I think that's that's a major contribution. You know, 84 00:04:36,080 --> 00:04:41,080 Speaker 1: we knew Chuck's music, Bill Haley, Little Richard and other people, 85 00:04:41,160 --> 00:04:44,120 Speaker 1: but that was when it was all happening in that direction. 86 00:04:44,880 --> 00:04:47,159 Speaker 4: Did you have an aspiration at that point to do 87 00:04:47,200 --> 00:04:47,880 Speaker 4: a duck walk? 88 00:04:48,720 --> 00:04:52,280 Speaker 1: Well, well, I mean I did do them occasionally, yeah, 89 00:04:52,400 --> 00:04:53,800 Speaker 1: In fact, I did one at the Rock and Roll 90 00:04:53,800 --> 00:04:56,520 Speaker 1: Hall of fame when I was playing bass on Owner 91 00:04:56,560 --> 00:04:59,640 Speaker 1: of a Lonely Heart with Yes, because I just sort 92 00:04:59,640 --> 00:05:01,680 Speaker 1: of thought it was getting a bit kitch, so why 93 00:05:01,760 --> 00:05:03,600 Speaker 1: not get Kitcher? 94 00:05:04,160 --> 00:05:04,720 Speaker 2: I love that. 95 00:05:06,400 --> 00:05:09,080 Speaker 4: Now I know you have great admiration also for the 96 00:05:09,760 --> 00:05:13,919 Speaker 4: work of Chad Atkins. Did you ever get to experience 97 00:05:14,000 --> 00:05:14,719 Speaker 4: him play live? 98 00:05:15,640 --> 00:05:15,919 Speaker 2: Yeah? 99 00:05:16,000 --> 00:05:18,760 Speaker 1: Yeah, I saw him a few times, and then I 100 00:05:18,800 --> 00:05:21,240 Speaker 1: met him a few times as well. It was absolutely great. 101 00:05:21,360 --> 00:05:21,680 Speaker 2: Yeah. 102 00:05:22,240 --> 00:05:24,680 Speaker 1: I saw him to a concert in London, and me 103 00:05:24,800 --> 00:05:29,839 Speaker 1: and a guy called Doug Turner, who was a great 104 00:05:30,120 --> 00:05:34,400 Speaker 1: picker himself, went to see him, and because Doug was 105 00:05:34,440 --> 00:05:37,880 Speaker 1: in the chedd Atkins Appreciation Society, we got to meet 106 00:05:37,960 --> 00:05:40,600 Speaker 1: Chet and I actually gave him the music to clap, 107 00:05:40,680 --> 00:05:44,000 Speaker 1: although I'm not sure he ever played it or even 108 00:05:44,080 --> 00:05:48,440 Speaker 1: looked at it. But later, when I developed my career 109 00:05:48,800 --> 00:05:52,240 Speaker 1: a lot more. 110 00:05:51,480 --> 00:05:52,080 Speaker 2: I saw him. 111 00:05:52,160 --> 00:05:52,360 Speaker 3: Well. 112 00:05:52,360 --> 00:05:57,120 Speaker 1: We played together on the same bill in Germany for 113 00:05:57,160 --> 00:06:01,440 Speaker 1: two nights with Larry Larry Coulton, I think Larry Coriel, 114 00:06:01,680 --> 00:06:05,719 Speaker 1: that's right, Larry Coyel. Me and Chet did our own 115 00:06:05,760 --> 00:06:08,039 Speaker 1: spots and there was a sort of jam at the end. 116 00:06:08,120 --> 00:06:11,200 Speaker 1: But as I never thought Chetwood, he didn't he didn't 117 00:06:11,279 --> 00:06:16,080 Speaker 1: join in, and I joined in a little at that concert, 118 00:06:16,120 --> 00:06:18,560 Speaker 1: and you know, I had a little ride about Germany 119 00:06:18,600 --> 00:06:21,559 Speaker 1: with Chet to and from the shows. He was very nice, 120 00:06:21,720 --> 00:06:26,960 Speaker 1: very sweet, very very relaxed, and his company has told 121 00:06:27,000 --> 00:06:29,000 Speaker 1: me that Chet did take a shine to me. 122 00:06:29,240 --> 00:06:34,040 Speaker 4: So that's awesome. You mentioned Larry Coriel. I got to 123 00:06:34,080 --> 00:06:36,919 Speaker 4: tell you a funny story. I briefly, while I was 124 00:06:36,960 --> 00:06:41,080 Speaker 4: in college at the University of Dayton, held the esteemed 125 00:06:41,160 --> 00:06:45,920 Speaker 4: position there of the concert director for the university, and 126 00:06:45,960 --> 00:06:48,080 Speaker 4: Steve I was terrible at it because I was working 127 00:06:48,080 --> 00:06:51,719 Speaker 4: on the radio and going to college, so I really 128 00:06:51,839 --> 00:06:55,640 Speaker 4: was bad at the job. But I did succeed in 129 00:06:55,760 --> 00:07:01,400 Speaker 4: booking Larry Coriel at the University of Dayton. And once 130 00:07:01,440 --> 00:07:04,400 Speaker 4: the show was over, and I guess maybe this happened 131 00:07:04,440 --> 00:07:07,560 Speaker 4: with a lot of artists, he decided to come over 132 00:07:07,600 --> 00:07:12,480 Speaker 4: to our house and party by college buddies. It was 133 00:07:12,520 --> 00:07:13,080 Speaker 4: so nice. 134 00:07:13,440 --> 00:07:15,760 Speaker 2: Oh was it good? Okay? Good? Well, that's sweet. 135 00:07:16,480 --> 00:07:16,920 Speaker 3: Yeah. 136 00:07:17,040 --> 00:07:17,320 Speaker 2: I know. 137 00:07:17,400 --> 00:07:21,840 Speaker 4: You have tremendous admiration as well for obviously the Beatles 138 00:07:21,880 --> 00:07:26,480 Speaker 4: in terms of what they represented in you know, your 139 00:07:26,680 --> 00:07:30,040 Speaker 4: sort of influences and everything. Can you talk about what 140 00:07:30,560 --> 00:07:34,000 Speaker 4: the Beatles meant as you were a musician sort of 141 00:07:34,120 --> 00:07:36,520 Speaker 4: coming through the ranks and developing your style. 142 00:07:37,320 --> 00:07:41,080 Speaker 1: Well, they were quintessentially central, you know, to that era. 143 00:07:41,560 --> 00:07:45,560 Speaker 1: It was only Bob Dylan's Freewheeling that had any kind 144 00:07:45,600 --> 00:07:50,560 Speaker 1: of a comparable weight, you know, in effect opening the door. 145 00:07:50,880 --> 00:07:52,720 Speaker 1: So when the Beatles came out and you know that 146 00:07:52,840 --> 00:07:55,920 Speaker 1: Please Please Me album, I mean, they were just literally 147 00:07:56,000 --> 00:08:01,400 Speaker 1: a sensation. You know, you just can't imagine what you know, 148 00:08:02,800 --> 00:08:05,800 Speaker 1: what effect it was. It was a bit like the pandemic. 149 00:08:06,760 --> 00:08:09,640 Speaker 1: But to say something nice about the pandemic's kind of 150 00:08:09,640 --> 00:08:12,800 Speaker 1: hard really, but basically it was like that, like and 151 00:08:12,840 --> 00:08:16,200 Speaker 1: in that that it spreads the world, and you know, 152 00:08:16,720 --> 00:08:18,480 Speaker 1: we were so proud, you know that this was not 153 00:08:18,520 --> 00:08:21,520 Speaker 1: only you know, a Brit band, it was Liverpool band. 154 00:08:21,800 --> 00:08:24,280 Speaker 1: It's a brit band. And there was like total like 155 00:08:24,400 --> 00:08:27,440 Speaker 1: wipeout you know, this band. There was no competition. There 156 00:08:27,480 --> 00:08:30,000 Speaker 1: was no band that was as good as that anywhere 157 00:08:30,000 --> 00:08:31,920 Speaker 1: in the world. Of course they came, you know, the 158 00:08:32,000 --> 00:08:34,400 Speaker 1: Birds and you know all the great bands you know 159 00:08:34,440 --> 00:08:36,960 Speaker 1: that were going on. Of course we're going on, but 160 00:08:37,040 --> 00:08:39,679 Speaker 1: I mean the Beatles were just like just there they were, 161 00:08:39,880 --> 00:08:44,000 Speaker 1: you know, so anyway to wind it down then, basically 162 00:08:44,080 --> 00:08:47,280 Speaker 1: when when they came out. The first thing I didn't 163 00:08:47,600 --> 00:08:49,720 Speaker 1: I didn't I didn't read music, but I bought sheet 164 00:08:49,800 --> 00:08:52,120 Speaker 1: music because it had the chord symbols on it, you know. 165 00:08:52,559 --> 00:08:55,760 Speaker 1: So anyway I'd buy the you know, the Beatles sheep 166 00:08:55,840 --> 00:08:58,720 Speaker 1: music to understand better the chords that they were using. 167 00:08:58,800 --> 00:09:02,679 Speaker 1: Sometimes stupidly, the card chart was in a different g 168 00:09:03,000 --> 00:09:06,400 Speaker 1: Can you imagine it buys got a guitar, it buys 169 00:09:06,440 --> 00:09:08,920 Speaker 1: the called chart, right, you know the song please please 170 00:09:08,920 --> 00:09:13,040 Speaker 1: miss a different key? What use is that? So anyway 171 00:09:13,080 --> 00:09:16,719 Speaker 1: you work out the chords, and they were just harmonious, 172 00:09:16,800 --> 00:09:19,160 Speaker 1: you know, and of course George was great guitarists, and 173 00:09:19,280 --> 00:09:21,360 Speaker 1: they're all great, you know, they all had I mean, 174 00:09:21,720 --> 00:09:24,480 Speaker 1: you know, and Ringo was just as great as all 175 00:09:24,480 --> 00:09:27,840 Speaker 1: the guys. They had that so much individual style that 176 00:09:27,920 --> 00:09:30,319 Speaker 1: it took her away from the fact that a lot 177 00:09:30,320 --> 00:09:32,600 Speaker 1: of other music, well they had George Martin. I mean, 178 00:09:32,600 --> 00:09:36,880 Speaker 1: come on, let's admit that they had tremendous guidance. So 179 00:09:37,280 --> 00:09:41,040 Speaker 1: in fact, it was a perfect chemistry for about a 180 00:09:41,040 --> 00:09:43,000 Speaker 1: bit like yes with Eddie offered you know, we had 181 00:09:43,040 --> 00:09:46,360 Speaker 1: a run where it was great working with Eddie and 182 00:09:47,040 --> 00:09:52,560 Speaker 1: the Beatles. George was a companion. They must have just 183 00:09:52,760 --> 00:09:56,319 Speaker 1: enjoyed having him there so much because he was so talented, you. 184 00:09:56,280 --> 00:10:02,480 Speaker 4: Know, and impressions through your development of the Rolling Stones 185 00:10:02,520 --> 00:10:03,600 Speaker 4: and what they meant to you. 186 00:10:04,679 --> 00:10:07,600 Speaker 1: Well, the Rolling Stones it was just a difficult sort 187 00:10:07,600 --> 00:10:09,440 Speaker 1: of band. I mean, it was more where I'd been, 188 00:10:10,040 --> 00:10:12,480 Speaker 1: you know, I'd been in the band playing blues, you know, 189 00:10:12,640 --> 00:10:14,960 Speaker 1: so they were influenced by blues, and they didn't interest 190 00:10:15,000 --> 00:10:18,120 Speaker 1: me very much, although I wanted the gig. When bless 191 00:10:18,160 --> 00:10:19,960 Speaker 1: his heart, Brian Jones start, I mean I was looking 192 00:10:20,000 --> 00:10:22,040 Speaker 1: for that gig. I would have jumped in there and 193 00:10:22,040 --> 00:10:23,959 Speaker 1: said hang on, you know, but I just couldn't get 194 00:10:23,960 --> 00:10:27,400 Speaker 1: through to anybody, and that had, you know, the marvelous 195 00:10:27,880 --> 00:10:34,880 Speaker 1: replacement lined up anyway, in Mick Taylor. So basically, I 196 00:10:35,240 --> 00:10:37,000 Speaker 1: when I got off the point, I can forget what 197 00:10:37,040 --> 00:10:37,760 Speaker 1: the question is. 198 00:10:38,120 --> 00:10:41,480 Speaker 2: So basically where were we? Oh? 199 00:10:41,520 --> 00:10:43,600 Speaker 4: Well, you just talking about the Stones and you just 200 00:10:44,000 --> 00:10:45,920 Speaker 4: threw me for a loop on that. I want to 201 00:10:45,920 --> 00:10:49,840 Speaker 4: go back to the notion of Okay, So Brian Jones 202 00:10:49,880 --> 00:10:53,320 Speaker 4: passes away and your eyes light up and you say, 203 00:10:53,720 --> 00:10:57,679 Speaker 4: I think I could join that band. So that's amazing 204 00:10:57,800 --> 00:10:59,640 Speaker 4: to hear that. What do you think would have happened 205 00:10:59,640 --> 00:11:03,400 Speaker 4: if you. 206 00:11:01,600 --> 00:11:04,520 Speaker 1: But they might have thrown me out, of course, they 207 00:11:04,600 --> 00:11:07,320 Speaker 1: might have been a bad influence on me. Now what 208 00:11:07,360 --> 00:11:11,320 Speaker 1: I would say is, look, they've got so much to offer. 209 00:11:11,360 --> 00:11:13,640 Speaker 1: I mean, they're still going, you know, and I love them, 210 00:11:13,720 --> 00:11:15,840 Speaker 1: you know, I really really love them, especially after that 211 00:11:15,880 --> 00:11:18,960 Speaker 1: television program where they featured one of the members for 212 00:11:19,000 --> 00:11:22,319 Speaker 1: a whole program. It was so inside that's a great band, 213 00:11:22,440 --> 00:11:24,840 Speaker 1: like Queen, you know, like a other bands. 214 00:11:25,080 --> 00:11:26,360 Speaker 2: So basically there's. 215 00:11:26,120 --> 00:11:31,040 Speaker 1: A lot of harmonium, their harmoniousness, and you know, it's 216 00:11:31,240 --> 00:11:35,880 Speaker 1: just they're just a different animal altogether, you know. I mean, 217 00:11:35,920 --> 00:11:38,280 Speaker 1: although they did actually play a Lemon of Cartney song, 218 00:11:38,320 --> 00:11:41,560 Speaker 1: it did help them along their way. But basically, the 219 00:11:41,679 --> 00:11:44,760 Speaker 1: Stones were the sort of opposite of the Beatles in 220 00:11:44,800 --> 00:11:47,199 Speaker 1: a way because they were finding a way of developing 221 00:11:47,240 --> 00:11:50,480 Speaker 1: what I'd become tired of, which was the blues. You know, 222 00:11:50,520 --> 00:11:52,800 Speaker 1: I'd done the blues and I love them still, but 223 00:11:52,840 --> 00:11:55,400 Speaker 1: I didn't want to play the blues. So the Stones 224 00:11:55,400 --> 00:11:58,080 Speaker 1: were like the parallel universe going on that said, no, 225 00:11:58,200 --> 00:12:00,120 Speaker 1: we can play the blues, but we're playing. 226 00:12:00,160 --> 00:12:00,720 Speaker 2: This, you know. 227 00:12:00,880 --> 00:12:04,680 Speaker 1: And I think they're a great band, and everything about 228 00:12:04,720 --> 00:12:07,920 Speaker 1: them too is great. But they weren't as much my thing, 229 00:12:08,080 --> 00:12:12,000 Speaker 1: and there's much my development along with Les, Paul chairbackinst 230 00:12:12,120 --> 00:12:15,360 Speaker 1: the Beatles, you know, and then you know, maybe Frank 231 00:12:15,480 --> 00:12:17,880 Speaker 1: Zappa or you know, other people came along that you 232 00:12:17,920 --> 00:12:21,840 Speaker 1: were knocked out with Paul Simon and basically the Birds 233 00:12:22,160 --> 00:12:24,520 Speaker 1: and all these other band great bands from America. 234 00:12:24,640 --> 00:12:26,000 Speaker 2: So it was awful lot happening. 235 00:12:26,040 --> 00:12:29,200 Speaker 1: But but the Beatles stood out in a different way 236 00:12:29,240 --> 00:12:33,520 Speaker 1: because the Rolling Stones had nooriety, sort of bad notoriety, 237 00:12:33,920 --> 00:12:36,600 Speaker 1: great fun. I mean, you know, the poor guys got 238 00:12:36,640 --> 00:12:39,920 Speaker 1: targeted by these idiot policemen in London who thought that 239 00:12:40,000 --> 00:12:44,760 Speaker 1: you know, smoking marijuana was was was like smoking like 240 00:12:44,840 --> 00:12:47,800 Speaker 1: taking hard drugs. So they were fixated with that idea. 241 00:12:47,920 --> 00:12:49,640 Speaker 1: This wasn't fun and they were going to stop it, 242 00:12:49,720 --> 00:12:52,960 Speaker 1: so that the Stones and the Beetles got targeted, and 243 00:12:53,000 --> 00:12:55,400 Speaker 1: that's a dreadful thing. But there again, before that, there 244 00:12:55,400 --> 00:12:59,040 Speaker 1: were greater crimes against you know, homosexuals, and you know, 245 00:12:59,600 --> 00:13:01,640 Speaker 1: I mean the world's been a very cruel place. So 246 00:13:01,760 --> 00:13:04,280 Speaker 1: going back to what isn't cruel is that the Beatles 247 00:13:04,280 --> 00:13:07,199 Speaker 1: were great. The Stones were great, but not as much 248 00:13:07,280 --> 00:13:07,640 Speaker 1: my thing. 249 00:13:08,520 --> 00:13:10,960 Speaker 4: Yeah, I got it, and so let's just go a 250 00:13:11,000 --> 00:13:15,160 Speaker 4: couple of more of the great bands and what they meant? 251 00:13:16,640 --> 00:13:19,080 Speaker 4: The Who and led Zeppelin? What do they mean? 252 00:13:20,200 --> 00:13:22,760 Speaker 1: Well, I can't really do this, you know, How can 253 00:13:22,800 --> 00:13:25,600 Speaker 1: I review a band as big as led Zeppelin in 254 00:13:25,600 --> 00:13:26,280 Speaker 1: a sentence? 255 00:13:28,080 --> 00:13:28,320 Speaker 3: You know. 256 00:13:29,360 --> 00:13:32,080 Speaker 1: I had my Jimmy and I remember leading him in 257 00:13:32,320 --> 00:13:34,319 Speaker 1: Denmark Street. I wonder if you remembers, and he said 258 00:13:34,360 --> 00:13:36,520 Speaker 1: to me, I just formed a new band. It's going 259 00:13:36,559 --> 00:13:39,200 Speaker 1: to be called led Zeppelin. I said, really, oh yeah, great, 260 00:13:39,280 --> 00:13:44,040 Speaker 1: good luck. I led Zeppelin was like, what enormous band 261 00:13:44,679 --> 00:13:45,439 Speaker 1: and who? 262 00:13:45,559 --> 00:13:45,840 Speaker 2: You know? 263 00:13:46,000 --> 00:13:48,360 Speaker 1: They they had their pop hits as well. You know, 264 00:13:48,440 --> 00:13:51,400 Speaker 1: well I wouldn't say, you know, I'll take the as 265 00:13:51,440 --> 00:13:53,880 Speaker 1: well out of that. They had their pop hits and 266 00:13:53,920 --> 00:13:57,480 Speaker 1: they were great bands, you know, and you know there 267 00:13:57,520 --> 00:13:59,880 Speaker 1: was great strength in their writing of course they had 268 00:14:00,640 --> 00:14:03,600 Speaker 1: Like the similarity is that both had a very wild drama. 269 00:14:03,679 --> 00:14:05,559 Speaker 1: You know, but a lot of drumas are very wild. 270 00:14:06,440 --> 00:14:07,640 Speaker 2: Yeah. 271 00:14:07,720 --> 00:14:13,000 Speaker 4: Well, what's amazing about yes, is you created music that 272 00:14:13,080 --> 00:14:16,920 Speaker 4: really previously didn't exist in a whole category, that really 273 00:14:16,960 --> 00:14:21,120 Speaker 4: didn't exist in terms of you know, the style and 274 00:14:21,280 --> 00:14:24,360 Speaker 4: what it led to in terms of other bands. Tell 275 00:14:24,400 --> 00:14:26,760 Speaker 4: me how it feels to have had that sort of 276 00:14:26,800 --> 00:14:29,680 Speaker 4: impact on a whole new genre. 277 00:14:30,280 --> 00:14:32,680 Speaker 1: Well, I think it started, you know, nineteen sixty seven, 278 00:14:32,800 --> 00:14:35,840 Speaker 1: you know when when the in Crowd became Tomorrow and 279 00:14:35,920 --> 00:14:38,960 Speaker 1: we played My Bicycle and there was a whole new 280 00:14:39,240 --> 00:14:42,320 Speaker 1: like New Year to move up to. But there was 281 00:14:42,360 --> 00:14:44,880 Speaker 1: a bit of a lull, you know after that. London 282 00:14:44,960 --> 00:14:47,960 Speaker 1: was a very dark and cold place. And then suddenly, 283 00:14:48,040 --> 00:14:52,760 Speaker 1: you know, I joined Yes, and basically progressive what was 284 00:14:52,800 --> 00:14:56,280 Speaker 1: already happening and Yes when I joined, and I didn't 285 00:14:56,280 --> 00:14:59,040 Speaker 1: know they were playing that. Really they were playing their 286 00:14:59,080 --> 00:15:01,600 Speaker 1: own songs, you know, and that's what was vital to me, 287 00:15:01,720 --> 00:15:04,240 Speaker 1: that the band wanted to play their own songs. So 288 00:15:04,640 --> 00:15:10,280 Speaker 1: basically that that meant that my opportunities, you know, as 289 00:15:10,280 --> 00:15:15,480 Speaker 1: a guitar is primarily first and foremost really was that, Okay, 290 00:15:15,520 --> 00:15:17,520 Speaker 1: I could get in here and play some you know, 291 00:15:17,560 --> 00:15:20,440 Speaker 1: really good guitar. These guys can you know, they understand 292 00:15:20,440 --> 00:15:24,640 Speaker 1: the provisation, they want structure, improvisation, harmonies. You know, it 293 00:15:24,680 --> 00:15:27,520 Speaker 1: was like the whole canon, the whole wall of sound 294 00:15:27,640 --> 00:15:29,240 Speaker 1: was going to come from. Yes, you know, we could 295 00:15:29,280 --> 00:15:32,360 Speaker 1: do everything. And you know when you see Yes songs 296 00:15:32,400 --> 00:15:35,080 Speaker 1: or something like that, you know that film. I mean 297 00:15:35,160 --> 00:15:39,200 Speaker 1: the band plays so sort of magnetically close, you know 298 00:15:39,320 --> 00:15:42,720 Speaker 1: that it's quite surprising, you know, it surprises me. We're 299 00:15:42,720 --> 00:15:45,920 Speaker 1: playing the same notes that we wrote, but they came 300 00:15:45,920 --> 00:15:49,200 Speaker 1: from the studio and went on stage and yes, grew, 301 00:15:49,360 --> 00:15:51,840 Speaker 1: you know, Yes, that was the test. So the albums 302 00:15:51,880 --> 00:15:55,320 Speaker 1: that we didn't play much on stage were for good 303 00:15:55,360 --> 00:15:58,440 Speaker 1: reason because they didn't work on stage so much and 304 00:15:58,520 --> 00:16:01,320 Speaker 1: we didn't enjoy them, and there were arguments about who 305 00:16:01,360 --> 00:16:04,680 Speaker 1: plays what or why this doesn't you know, if we improvised, 306 00:16:04,800 --> 00:16:07,160 Speaker 1: you know, it had to be a structure because on 307 00:16:07,280 --> 00:16:09,920 Speaker 1: stage you need structure, as Chris always said, you know, 308 00:16:10,000 --> 00:16:12,760 Speaker 1: so anywhere that was a bit too jammy. We could 309 00:16:12,800 --> 00:16:16,000 Speaker 1: never reproduce on stage, and we we we had to 310 00:16:16,000 --> 00:16:19,040 Speaker 1: think of something else to do. And so yeah, I 311 00:16:19,040 --> 00:16:23,120 Speaker 1: mean watching everybody else absorb, you know, the electronic development 312 00:16:23,160 --> 00:16:25,800 Speaker 1: of keyboards, and then what was possible for the guitar, 313 00:16:25,960 --> 00:16:28,520 Speaker 1: And then in GTR, I was doing like some midi 314 00:16:28,560 --> 00:16:30,920 Speaker 1: guitar and there was a lot of synth stuff going 315 00:16:30,960 --> 00:16:34,040 Speaker 1: on like there was on Drama. But basically, you know, 316 00:16:35,240 --> 00:16:37,960 Speaker 1: Asia was a kind of interesting diversion for me to 317 00:16:38,000 --> 00:16:41,480 Speaker 1: get more sort of like pop oriented rock, you know, 318 00:16:41,560 --> 00:16:44,160 Speaker 1: and I love that too. That was great fun. So 319 00:16:45,720 --> 00:16:48,680 Speaker 1: it kept developing. You know, sension with Yes in the 320 00:16:48,680 --> 00:16:52,280 Speaker 1: mid nineties was another attempt to find the pulse. 321 00:16:52,320 --> 00:16:52,480 Speaker 2: You know. 322 00:16:52,520 --> 00:16:54,040 Speaker 1: We did a lot of things great, and we did 323 00:16:54,080 --> 00:16:57,160 Speaker 1: other things not so great. And then you know, by 324 00:16:57,240 --> 00:16:59,760 Speaker 1: two thousand and four, I mean Yes, it'd come back 325 00:16:59,760 --> 00:17:02,560 Speaker 1: to Rogitine stage and we were playing big venues. It 326 00:17:02,600 --> 00:17:06,080 Speaker 1: was all very exciting, and we stopped and then we 327 00:17:06,119 --> 00:17:09,040 Speaker 1: had a long gap of three years. So when we 328 00:17:09,080 --> 00:17:12,600 Speaker 1: re group with Chris and Iron Allen, primarily getting my 329 00:17:12,800 --> 00:17:17,000 Speaker 1: Benmir David and Oliver wait Minion, we basically just had 330 00:17:17,040 --> 00:17:20,760 Speaker 1: to forge a new way on for Yes that wasn't 331 00:17:20,760 --> 00:17:23,959 Speaker 1: restricted and had a full commitment from people. Although I 332 00:17:24,040 --> 00:17:26,800 Speaker 1: was in Asia as well at the same time, which 333 00:17:28,280 --> 00:17:32,879 Speaker 1: eventually wore out, and I left Asia in twenty twelve 334 00:17:32,920 --> 00:17:35,520 Speaker 1: because I wanted to concentrate on Yes and my own 335 00:17:35,600 --> 00:17:38,040 Speaker 1: solo music and I couldn't do all these things at 336 00:17:38,040 --> 00:17:41,479 Speaker 1: once if I had Asia in there as well. So 337 00:17:41,560 --> 00:17:45,240 Speaker 1: basically I think it's developed, and I think merrit to 338 00:17:45,280 --> 00:17:48,480 Speaker 1: the sky and any future records we made the quest. 339 00:17:48,760 --> 00:17:52,320 Speaker 1: The things we're doing now is to show that we're 340 00:17:52,600 --> 00:17:56,800 Speaker 1: partly got one foot like really with much respect for 341 00:17:57,040 --> 00:17:59,919 Speaker 1: all the old material, and another foot in the idea 342 00:18:00,119 --> 00:18:04,000 Speaker 1: that to do that, to play the old music really well, 343 00:18:04,400 --> 00:18:06,480 Speaker 1: the group's got to be a real group. It's it's 344 00:18:06,480 --> 00:18:08,879 Speaker 1: got to have music going right now. And that's what 345 00:18:09,000 --> 00:18:11,480 Speaker 1: Marriature the sky is, you know, and that's what we 346 00:18:12,040 --> 00:18:15,080 Speaker 1: thrive on, is a balance of yeah, we've we've we 347 00:18:15,200 --> 00:18:19,440 Speaker 1: love playing Starship Trooper. Nobody can take that enjoyment from us. 348 00:18:19,760 --> 00:18:22,840 Speaker 1: It's a great feeling. But there again, you know, it's 349 00:18:22,840 --> 00:18:25,280 Speaker 1: not so much that we need to play all this 350 00:18:25,640 --> 00:18:27,879 Speaker 1: new music on stage. That would be you know, a 351 00:18:28,000 --> 00:18:32,480 Speaker 1: challenge and an interesting one. But I think we just 352 00:18:32,640 --> 00:18:36,000 Speaker 1: balance it more minimally so that we don't appear to 353 00:18:36,080 --> 00:18:40,040 Speaker 1: be sort of like, you know, comparing the music some 354 00:18:40,119 --> 00:18:42,760 Speaker 1: of it. You know, we need more time on to 355 00:18:42,760 --> 00:18:45,320 Speaker 1: to play new music on stage. So maybe there's a 356 00:18:45,359 --> 00:18:49,040 Speaker 1: reason why that should happen. But at the most point, 357 00:18:49,240 --> 00:18:55,360 Speaker 1: we are enjoying the credibility of the music that I had. 358 00:18:55,480 --> 00:18:57,080 Speaker 1: Part of that, you know, a lot a lot of 359 00:18:57,080 --> 00:18:59,680 Speaker 1: it was John Andson and all the other guys in 360 00:19:00,480 --> 00:19:04,240 Speaker 1: what Patrick Mariz did from you know, for Relea was sensational. 361 00:19:04,400 --> 00:19:08,160 Speaker 1: So the progginess has just kind of like evolved and 362 00:19:08,640 --> 00:19:13,720 Speaker 1: become accepted, you know, and hopefully we can influence. 363 00:19:14,840 --> 00:19:17,000 Speaker 3: We'll be right back with more of the Taken a 364 00:19:17,040 --> 00:19:24,720 Speaker 3: Walk Podcast. Welcome back to the Taken a Walk Podcast. 365 00:19:26,040 --> 00:19:30,399 Speaker 4: What's the first band after Yes in the progressive movement 366 00:19:30,520 --> 00:19:32,160 Speaker 4: that you were really wowed by? 367 00:19:33,160 --> 00:19:34,840 Speaker 1: Well, I mean I used to listen to The Soft 368 00:19:34,880 --> 00:19:37,399 Speaker 1: Machine a lot, you know, in the early days, and 369 00:19:38,080 --> 00:19:40,520 Speaker 1: now of course you know, they've got John Etheridge as well, 370 00:19:40,640 --> 00:19:43,240 Speaker 1: so that kind of work is interesting. 371 00:19:44,800 --> 00:19:47,280 Speaker 2: I saw that we were part of a. 372 00:19:47,280 --> 00:19:50,880 Speaker 1: Pool, you know, and it wasn't really about pop records, 373 00:19:50,880 --> 00:19:52,879 Speaker 1: you know, at all. You know, it was about albums. 374 00:19:53,119 --> 00:19:55,720 Speaker 1: But of course Genesis took that leap like Yes did 375 00:19:55,760 --> 00:19:58,199 Speaker 1: in the eighties, which I'm no part of with the 376 00:19:58,240 --> 00:20:01,280 Speaker 1: owner of a Lonely Heart salga. So basically that kind 377 00:20:01,280 --> 00:20:04,239 Speaker 1: of era of the band isn't very proggy, you know, 378 00:20:04,520 --> 00:20:09,200 Speaker 1: but it's it can be very useful, and in many 379 00:20:09,240 --> 00:20:14,600 Speaker 1: ways Genesis showed that how very powerfully, not only you know, 380 00:20:14,880 --> 00:20:18,040 Speaker 1: but also it highlights that, you know, people like Peter Gabriel, 381 00:20:18,080 --> 00:20:23,080 Speaker 1: you know, their talents were missed in Genesis, but he 382 00:20:23,119 --> 00:20:27,400 Speaker 1: could develop his talent. But also Genesis could without him, 383 00:20:27,720 --> 00:20:31,920 Speaker 1: so that that's the story of you know, having a 384 00:20:31,960 --> 00:20:34,560 Speaker 1: team of people that like working together. 385 00:20:35,880 --> 00:20:38,960 Speaker 4: One of the things when I first saw Yes back 386 00:20:39,000 --> 00:20:44,600 Speaker 4: in the mid seventies that wowed me was the incredible 387 00:20:44,760 --> 00:20:49,760 Speaker 4: sound at the concert, just the amazing sonic nature of it. 388 00:20:49,920 --> 00:20:54,240 Speaker 4: Tell me how that ultimately became such an important part 389 00:20:54,240 --> 00:20:57,520 Speaker 4: of Yes. That that amazing sound in the concerts. 390 00:20:58,680 --> 00:21:02,399 Speaker 1: Well, if you're talking, I mean really partly that's Claire 391 00:21:02,440 --> 00:21:05,119 Speaker 1: brother sound, you know, Claire Claire. It's called now but 392 00:21:05,200 --> 00:21:09,920 Speaker 1: clear Brother sound audio. Claire audio was. We heard that 393 00:21:09,960 --> 00:21:12,520 Speaker 1: on the Jethra Total tour and we said, when we 394 00:21:12,560 --> 00:21:15,560 Speaker 1: come back, we want Claire, you know, because we heard 395 00:21:15,560 --> 00:21:18,320 Speaker 1: the sound. But a similar thing happened like a few 396 00:21:18,400 --> 00:21:21,080 Speaker 1: years earlier than that, because that was like nineteen seventy one, 397 00:21:21,200 --> 00:21:24,119 Speaker 1: seventy two. But of course in nineteen seventy we bought 398 00:21:24,280 --> 00:21:27,880 Speaker 1: Iron Butterflies Pa because we wanted a sound like we 399 00:21:27,920 --> 00:21:30,200 Speaker 1: did on their tour. You know, they wanted to sell 400 00:21:30,280 --> 00:21:32,320 Speaker 1: we wanted to buy it. So we bought the w 401 00:21:32,400 --> 00:21:35,919 Speaker 1: bin's mid range horns and high high horns, and we 402 00:21:35,920 --> 00:21:39,000 Speaker 1: bought this system and we started to really care about 403 00:21:39,080 --> 00:21:41,280 Speaker 1: how we sounded because we didn't really like the sound 404 00:21:41,320 --> 00:21:44,720 Speaker 1: of the pas that were available in England generally, so 405 00:21:44,760 --> 00:21:46,760 Speaker 1: we had our own PA. Then we went to America 406 00:21:46,800 --> 00:21:49,320 Speaker 1: and we said, Claire Brothers is it and we we 407 00:21:49,359 --> 00:21:52,919 Speaker 1: swore blind that we never play without Claire. Sometimes we've 408 00:21:53,000 --> 00:21:56,320 Speaker 1: had to certain things have changed, but whenever we can, 409 00:21:56,600 --> 00:22:00,240 Speaker 1: we still want to play with that sound because their 410 00:22:00,320 --> 00:22:02,120 Speaker 1: top notch, you know, at the top of the game. 411 00:22:02,560 --> 00:22:05,119 Speaker 1: But the way it was in the beginning of the 412 00:22:05,160 --> 00:22:08,320 Speaker 1: seventies was that Eddie started mixed. Eddie has started mixing 413 00:22:08,359 --> 00:22:10,679 Speaker 1: the show and that was wonderful, you know, that was 414 00:22:10,920 --> 00:22:11,720 Speaker 1: very exciting. 415 00:22:12,640 --> 00:22:13,879 Speaker 2: He got a bit carried away. 416 00:22:14,480 --> 00:22:16,639 Speaker 1: Unfortunately we lost the plot, so we had to find 417 00:22:16,760 --> 00:22:19,800 Speaker 1: somebody great, like Dave Lattel. So for a lot of 418 00:22:19,800 --> 00:22:22,879 Speaker 1: the time, Dave Lattel was our front of house and 419 00:22:22,920 --> 00:22:26,680 Speaker 1: he does the rolling stones. And basically we had a 420 00:22:26,720 --> 00:22:29,360 Speaker 1: great team of people who were going like we were. 421 00:22:29,760 --> 00:22:32,200 Speaker 1: Our career was going forwards, and so was there and 422 00:22:33,040 --> 00:22:36,320 Speaker 1: they were part of our polish, you know, like Roger Dean. 423 00:22:36,400 --> 00:22:39,120 Speaker 1: You know, the fact that we started using his designs 424 00:22:39,160 --> 00:22:43,000 Speaker 1: with his brother Martin Dean for our staging was a 425 00:22:43,000 --> 00:22:47,120 Speaker 1: big development. He started retails from Gravications Tour, so basically 426 00:22:47,160 --> 00:22:50,159 Speaker 1: we were messing with all that quality stuff that we 427 00:22:50,240 --> 00:22:53,240 Speaker 1: could have made, but a lot of it was to 428 00:22:53,320 --> 00:22:54,280 Speaker 1: make our show better. 429 00:22:54,320 --> 00:22:55,680 Speaker 2: You know. He started with a mirror ball. 430 00:22:56,359 --> 00:23:00,600 Speaker 1: Mickey Tate thought of that and he, yeah, I went 431 00:23:00,640 --> 00:23:03,480 Speaker 1: on to become our light designers. So we had great lights. 432 00:23:03,720 --> 00:23:06,800 Speaker 1: We had a team of people who really cared about 433 00:23:07,000 --> 00:23:10,720 Speaker 1: making a mark themselves, not just I was working for Yes, 434 00:23:10,840 --> 00:23:12,399 Speaker 1: you know, just like being a slave. 435 00:23:12,560 --> 00:23:12,600 Speaker 4: No. 436 00:23:12,880 --> 00:23:17,359 Speaker 1: No, They came with creativity and there was always things 437 00:23:17,400 --> 00:23:20,320 Speaker 1: developing and that was what was exciting. And we try 438 00:23:20,359 --> 00:23:23,440 Speaker 1: to keep that going today, you know, and we've recently 439 00:23:23,560 --> 00:23:26,960 Speaker 1: just changed from doing video and lots of moving things. 440 00:23:27,240 --> 00:23:29,240 Speaker 1: We got fed up with that, so now we just 441 00:23:29,280 --> 00:23:33,080 Speaker 1: got like really quite intense lighting. Now that's more theatrical, 442 00:23:33,240 --> 00:23:35,520 Speaker 1: and we have a set, but it's very. 443 00:23:35,560 --> 00:23:36,280 Speaker 2: Kind of simple. 444 00:23:36,720 --> 00:23:39,239 Speaker 1: It's a few screens, but they're not used, you know, 445 00:23:39,359 --> 00:23:43,879 Speaker 1: to show somebody tapping their foot on. It's just the 446 00:23:43,920 --> 00:23:46,400 Speaker 1: best thing about it is that we want to focus 447 00:23:46,440 --> 00:23:49,440 Speaker 1: on the band, the players, the music. 448 00:23:51,160 --> 00:23:51,359 Speaker 2: You know. 449 00:23:51,440 --> 00:23:54,760 Speaker 4: One of the great things about Yes is the beauty 450 00:23:54,760 --> 00:23:59,760 Speaker 4: of collaboration with you know, all the band members. What's 451 00:23:59,800 --> 00:24:03,760 Speaker 4: the key to that great collaboration that's been so much 452 00:24:04,040 --> 00:24:05,760 Speaker 4: part of Yes through the career. 453 00:24:06,480 --> 00:24:10,320 Speaker 1: Well, it's joint willingness, you know. I mean it's like 454 00:24:10,400 --> 00:24:14,160 Speaker 1: you can't go, you know, we can't go in opposite directions. 455 00:24:14,240 --> 00:24:16,359 Speaker 1: We've got to be willing to go the same way. 456 00:24:16,680 --> 00:24:20,440 Speaker 1: And that to find that willingness is in the belief, 457 00:24:20,600 --> 00:24:22,880 Speaker 1: you know, in the band, in the music, the love 458 00:24:22,880 --> 00:24:24,679 Speaker 1: of the band. But also it's about getting on with 459 00:24:24,720 --> 00:24:28,000 Speaker 1: the guys, you know, and finding a way of working 460 00:24:28,040 --> 00:24:30,719 Speaker 1: professionally with each other. That's the first thing. But the 461 00:24:30,760 --> 00:24:35,919 Speaker 1: second is to have the harmony, understanding that there is 462 00:24:36,359 --> 00:24:38,520 Speaker 1: closeness if it needs to be, you know, there is 463 00:24:38,560 --> 00:24:41,520 Speaker 1: a discussion between two people if it needs to be, 464 00:24:42,080 --> 00:24:44,760 Speaker 1: And basically you can work as much out as you 465 00:24:44,840 --> 00:24:48,719 Speaker 1: can and make it a happy environment. That's what I 466 00:24:48,760 --> 00:24:52,960 Speaker 1: said when I put my name forward to produce the quest. 467 00:24:53,240 --> 00:24:55,520 Speaker 1: I said, it's got I don't want to do unless 468 00:24:55,560 --> 00:24:58,520 Speaker 1: it's fun, you know, because there is a fun element 469 00:24:58,640 --> 00:25:01,360 Speaker 1: that you need. That doesn't mean, you know, we've got 470 00:25:01,359 --> 00:25:03,440 Speaker 1: a comedian in the group. No, I don't want to 471 00:25:03,480 --> 00:25:06,880 Speaker 1: commedian in the group. But fun is enjoying your art, 472 00:25:07,080 --> 00:25:11,200 Speaker 1: you know, enjoying your opportunity to make your art even better, 473 00:25:11,320 --> 00:25:14,360 Speaker 1: you know, to have a pool of pin not just you, 474 00:25:14,440 --> 00:25:17,000 Speaker 1: but to have a pool of people who they've got 475 00:25:17,000 --> 00:25:19,800 Speaker 1: to get if they like it, it means a lot, 476 00:25:19,960 --> 00:25:22,040 Speaker 1: you know. And so if you do something and that 477 00:25:22,160 --> 00:25:26,000 Speaker 1: acts nice, yeah, then in a way all the music 478 00:25:26,040 --> 00:25:29,919 Speaker 1: starts coming together, flowing together, and there's no opposition, you know. 479 00:25:30,880 --> 00:25:34,159 Speaker 1: In other words, there's no bad stuff left there. Stew 480 00:25:34,640 --> 00:25:36,040 Speaker 1: you know, there isn't any bad stuff. 481 00:25:37,280 --> 00:25:40,920 Speaker 4: Can you take me back to the creation of the 482 00:25:41,000 --> 00:25:46,000 Speaker 4: Fragile album. How was that collaboration in terms of creating that, 483 00:25:46,400 --> 00:25:50,760 Speaker 4: How long did it take? Any specific memories of that 484 00:25:51,560 --> 00:25:54,840 Speaker 4: which ultimately produced a masterpiece in my opinion? 485 00:25:55,720 --> 00:25:58,119 Speaker 1: Well, thanks, I mean there's only so many and now 486 00:25:58,160 --> 00:26:01,160 Speaker 1: are the same ones. I have to say whenever I'm 487 00:26:01,160 --> 00:26:04,920 Speaker 1: asked this question, because I do remember some things about Fragile, 488 00:26:05,080 --> 00:26:08,360 Speaker 1: it's not very broad. I remember that although the Yes 489 00:26:08,480 --> 00:26:12,919 Speaker 1: album was worked on as a very collaborative you know unit, 490 00:26:13,119 --> 00:26:16,040 Speaker 1: John and I had just managed to formulate the idea 491 00:26:16,080 --> 00:26:20,119 Speaker 1: around about together during tours. In fact, we were in 492 00:26:20,119 --> 00:26:24,479 Speaker 1: Scotland and I think we both remember somehow that it 493 00:26:24,520 --> 00:26:26,679 Speaker 1: was it was on one of my cassette tapes that 494 00:26:26,760 --> 00:26:30,239 Speaker 1: John and I were like jamming stuff and say and 495 00:26:30,280 --> 00:26:32,280 Speaker 1: he'd say, what if you got that's a bit like this, 496 00:26:32,400 --> 00:26:35,320 Speaker 1: or if you got any chords, you know, or you know, 497 00:26:35,480 --> 00:26:38,040 Speaker 1: just kind of throwing in around and suddenly we got roundabout, 498 00:26:38,119 --> 00:26:42,280 Speaker 1: you know. And so when we started Fragile, John and 499 00:26:42,359 --> 00:26:45,000 Speaker 1: I started the thing we did quite often in the 500 00:26:45,040 --> 00:26:50,879 Speaker 1: seventies that coast the edge tales awaken. We were able 501 00:26:50,960 --> 00:26:53,560 Speaker 1: to jointly put the foot the idea forward. So that 502 00:26:53,720 --> 00:26:57,280 Speaker 1: song was built like that, if you like, from the 503 00:26:57,359 --> 00:26:59,600 Speaker 1: understanding that John and I had a song, we'd do it, 504 00:26:59,600 --> 00:27:01,640 Speaker 1: and we'd do range it and blah blah blah. We'd 505 00:27:01,640 --> 00:27:04,119 Speaker 1: record bits and we come back the next day at 506 00:27:04,119 --> 00:27:06,560 Speaker 1: a rehearsal room for three or four weeks. 507 00:27:06,560 --> 00:27:07,080 Speaker 2: Three weeks. 508 00:27:07,160 --> 00:27:10,400 Speaker 1: But in that time, of course, Tony Kay had left 509 00:27:10,400 --> 00:27:13,960 Speaker 1: the band. It was it was very sad. It was 510 00:27:14,040 --> 00:27:16,200 Speaker 1: not really that anybody ever fired him. But he said 511 00:27:16,200 --> 00:27:18,800 Speaker 1: to her, do you want to do multi keyboards? He says, no, 512 00:27:18,920 --> 00:27:20,200 Speaker 1: I no, I don't want to do that at all. 513 00:27:20,400 --> 00:27:22,600 Speaker 1: I want to play piano or kind of thing. And 514 00:27:22,640 --> 00:27:25,199 Speaker 1: that made him appear to us and it may not 515 00:27:25,240 --> 00:27:29,280 Speaker 1: have been hund present true that you know, we were 516 00:27:29,760 --> 00:27:32,200 Speaker 1: just going to stay there you know, with those sounds, 517 00:27:32,359 --> 00:27:35,720 Speaker 1: and we had this imaginary idea that other people were 518 00:27:35,800 --> 00:27:39,320 Speaker 1: like doing stuff, you know with new synthesizer, you know, 519 00:27:39,440 --> 00:27:41,600 Speaker 1: new kind of Keeople's coming, and that was Rick. So 520 00:27:41,720 --> 00:27:44,679 Speaker 1: we found Rick, and before we knew we were, he 521 00:27:44,880 --> 00:27:48,000 Speaker 1: was popping in. He wasn't at the writing so much 522 00:27:48,000 --> 00:27:51,280 Speaker 1: of the album, but he came in and did things 523 00:27:51,320 --> 00:27:53,560 Speaker 1: with us as much as he could, you know, because 524 00:27:53,560 --> 00:27:55,919 Speaker 1: he had some sessions and you know, he was kind 525 00:27:55,960 --> 00:27:58,240 Speaker 1: of a busy guy and we'd snatched him and he 526 00:27:58,320 --> 00:27:59,760 Speaker 1: was going to work with us. He's going to make 527 00:27:59,760 --> 00:28:02,480 Speaker 1: the album. So but we had to write the stuff 528 00:28:02,480 --> 00:28:05,040 Speaker 1: first of all. So but he was there when we 529 00:28:05,080 --> 00:28:08,600 Speaker 1: wrote Heart the Sunrise and things, and there was music 530 00:28:08,800 --> 00:28:11,359 Speaker 1: flowing around. We didn't have a lot of South Side 531 00:28:11,359 --> 00:28:13,760 Speaker 1: of the Sky that was pretty much written in the studio. 532 00:28:15,200 --> 00:28:17,919 Speaker 1: So and the idea of us having our own solo 533 00:28:18,080 --> 00:28:23,040 Speaker 1: pieces was great, you know Bill's idea. I think after 534 00:28:23,119 --> 00:28:26,560 Speaker 1: I had Clap on yes album, I suppose he thought, well, 535 00:28:26,560 --> 00:28:28,159 Speaker 1: why don't we all have a solo and he was 536 00:28:28,200 --> 00:28:33,280 Speaker 1: perfectly right. So Fragile was a unique album where we 537 00:28:33,320 --> 00:28:35,399 Speaker 1: all had a solo piece. So that that was a 538 00:28:35,480 --> 00:28:37,800 Speaker 1: nice distraction because musically you go off and do that 539 00:28:37,880 --> 00:28:41,760 Speaker 1: yourself and decide what it was yourself, and some people 540 00:28:41,880 --> 00:28:44,360 Speaker 1: use the band. Bill's idea was that we all used 541 00:28:44,360 --> 00:28:48,920 Speaker 1: the band we always, but of course Rick and I didn't, 542 00:28:49,160 --> 00:28:53,520 Speaker 1: John didn't a lot, but Chris did on the Fish. 543 00:28:53,600 --> 00:28:58,680 Speaker 1: So basically the album was unique in that sense. Roundabout 544 00:28:58,760 --> 00:29:02,680 Speaker 1: is one of the sounds I'm most impressed with that. 545 00:29:03,720 --> 00:29:08,160 Speaker 1: Eddie helped us get the tightness and somewhat simplicity of it, 546 00:29:08,200 --> 00:29:11,400 Speaker 1: the rock factor in there. Yes, must never forget they're 547 00:29:11,440 --> 00:29:14,080 Speaker 1: a rock band. The worst thing we ever do and 548 00:29:14,200 --> 00:29:16,920 Speaker 1: we do it sometimes it is begins at a rock band. 549 00:29:17,200 --> 00:29:20,400 Speaker 1: I mean noodle around, you know, with some nerdy stuff 550 00:29:20,400 --> 00:29:24,440 Speaker 1: sometimes and spire what is and has been some great 551 00:29:24,440 --> 00:29:27,440 Speaker 1: pieces of music. I'm thinking partly what was on Keys 552 00:29:27,480 --> 00:29:31,840 Speaker 1: two Cention studio recording. They're very good, but they pull 553 00:29:31,920 --> 00:29:35,000 Speaker 1: down here and there. So basically there is a continuity 554 00:29:35,280 --> 00:29:39,280 Speaker 1: needed that. That's the teamwork, and that's production also, because 555 00:29:39,840 --> 00:29:41,560 Speaker 1: like Time in the words, is a great album if 556 00:29:41,600 --> 00:29:45,840 Speaker 1: it had been really properly produced, you know, so it's 557 00:29:46,040 --> 00:29:49,560 Speaker 1: great performances thrown together, you know, in a in a 558 00:29:49,560 --> 00:29:52,640 Speaker 1: big sound. You know that isn't as clear as the 559 00:29:52,720 --> 00:29:56,600 Speaker 1: Yes album. You can hear the space in the music. 560 00:29:57,400 --> 00:29:59,640 Speaker 1: Of course you do in actually tell a lie, I 561 00:29:59,640 --> 00:30:04,840 Speaker 1: mean in no opportunity necessary, there's marvelous Yes arranging. Why 562 00:30:04,920 --> 00:30:06,560 Speaker 1: we're not playing that every night? 563 00:30:06,760 --> 00:30:11,680 Speaker 2: Done? Do you know what I mean? That stuff? I'm 564 00:30:11,800 --> 00:30:13,200 Speaker 2: going to write it down. We're going to have to 565 00:30:13,200 --> 00:30:14,160 Speaker 2: play that somewhere. 566 00:30:14,840 --> 00:30:17,520 Speaker 4: I love it. I got a big smile on my face, Steve, 567 00:30:17,600 --> 00:30:20,440 Speaker 4: with you taking me back on that. I absolutely love 568 00:30:21,280 --> 00:30:25,880 Speaker 4: love that story. Oh my god, that's amazing. So let's 569 00:30:25,920 --> 00:30:28,560 Speaker 4: talk about the current the current lineup, and I think 570 00:30:28,600 --> 00:30:32,440 Speaker 4: what's fascinating about the current lineup is there's so many 571 00:30:32,480 --> 00:30:36,480 Speaker 4: players in the group who really are students of the group. 572 00:30:36,640 --> 00:30:40,640 Speaker 4: So talk about the lineup and how you love playing 573 00:30:40,680 --> 00:30:41,680 Speaker 4: with this band. 574 00:30:42,200 --> 00:30:45,960 Speaker 1: Well, of course, John's been a key to the going 575 00:30:46,000 --> 00:30:48,920 Speaker 1: forwards of this band since Permont David left and he 576 00:30:49,040 --> 00:30:51,800 Speaker 1: joined about eleven twelve years ago. I think it is 577 00:30:51,840 --> 00:30:54,920 Speaker 1: ten eleven twelve, I mean time for Lies, Tempest Future. 578 00:30:55,200 --> 00:31:00,160 Speaker 1: But basically John John was a very solid person come 579 00:31:00,200 --> 00:31:04,680 Speaker 1: in the band, and we share some views about how 580 00:31:04,720 --> 00:31:08,200 Speaker 1: to play on stage, how to work. We kind of 581 00:31:08,200 --> 00:31:10,920 Speaker 1: feel at ease with each other because we're both simple 582 00:31:10,920 --> 00:31:13,280 Speaker 1: a so roughly state. 583 00:31:13,040 --> 00:31:15,120 Speaker 2: Of mind where we're clear. 584 00:31:14,920 --> 00:31:18,800 Speaker 1: About what's going on, we're excited, we're ready, we haven't 585 00:31:18,840 --> 00:31:22,600 Speaker 1: compromised the day, we haven't composed the show by anything 586 00:31:22,600 --> 00:31:25,000 Speaker 1: we've done in the day. So we were there. We're 587 00:31:25,000 --> 00:31:27,880 Speaker 1: really there one hundred percent. So but Jay of course 588 00:31:28,160 --> 00:31:32,760 Speaker 1: had joining in part. At first he was doing some drumming, 589 00:31:32,960 --> 00:31:34,720 Speaker 1: and then he was doing a lot of the drumming 590 00:31:35,040 --> 00:31:37,960 Speaker 1: as Alan White was starting to find the whole set 591 00:31:38,000 --> 00:31:40,000 Speaker 1: was too much for him to play, and we felt 592 00:31:40,000 --> 00:31:42,320 Speaker 1: it was too much for him to play and the 593 00:31:42,360 --> 00:31:46,200 Speaker 1: intricacies and everything. We didn't want to keep demanding that 594 00:31:46,280 --> 00:31:49,360 Speaker 1: Alan plays for like two and a half hours or something. 595 00:31:49,560 --> 00:31:51,720 Speaker 1: So it was a beautiful experience to have Alan do 596 00:31:51,800 --> 00:31:54,960 Speaker 1: the last set in the music, the encore stuff. So 597 00:31:55,000 --> 00:31:58,960 Speaker 1: when Jay took over, when Alan Sadley passed away some 598 00:31:59,160 --> 00:32:03,920 Speaker 1: time back then, Jay has brought with him that previous 599 00:32:04,000 --> 00:32:06,400 Speaker 1: experience of being you know, like the helper and the 600 00:32:07,120 --> 00:32:12,320 Speaker 1: provider and the solid assistant. But now he's got the 601 00:32:12,320 --> 00:32:16,320 Speaker 1: whole flaw, you know, so we're finding out what that means, 602 00:32:16,400 --> 00:32:20,560 Speaker 1: you know, and it should be marvelous. Of course, Jeff 603 00:32:20,600 --> 00:32:25,080 Speaker 1: has had you know, like Billy a revisit experience coming 604 00:32:25,080 --> 00:32:29,280 Speaker 1: back to Yes after Fly from Here, and so he 605 00:32:29,400 --> 00:32:33,000 Speaker 1: brings all that drama experience as well, and that era 606 00:32:33,200 --> 00:32:37,800 Speaker 1: of course, Jean not forgetting we were in Asia together. 607 00:32:38,240 --> 00:32:42,120 Speaker 1: So like Jeff and I have particularly trained, if you like, 608 00:32:42,280 --> 00:32:49,720 Speaker 1: unusual multi connections with musical styles. And so Jeff's really good. 609 00:32:49,800 --> 00:32:54,280 Speaker 1: And Jeff's never said anything different than he is in 610 00:32:54,400 --> 00:32:58,000 Speaker 1: Yes to play every keyboard part that Yes ever played, 611 00:32:58,160 --> 00:33:03,040 Speaker 1: you know, if required. So Billy is an exceptional person, 612 00:33:03,120 --> 00:33:07,120 Speaker 1: took his multi instrumentalist, you know, talented writer, produce all 613 00:33:07,200 --> 00:33:09,760 Speaker 1: those things. He has to do is home it down 614 00:33:09,880 --> 00:33:13,800 Speaker 1: into his admiration of Chris really, you know, and taking 615 00:33:13,880 --> 00:33:16,560 Speaker 1: on the role of Chris with the bass battles with 616 00:33:16,640 --> 00:33:20,800 Speaker 1: the vocals. Chris was not just the bass player by 617 00:33:20,880 --> 00:33:24,960 Speaker 1: any means. So it's a big demanding job and he's 618 00:33:26,160 --> 00:33:30,240 Speaker 1: he's doing really well, and we are. We are Rarey 619 00:33:30,360 --> 00:33:34,600 Speaker 1: determined to keep the ship tightly you know, not controlled, 620 00:33:34,680 --> 00:33:38,960 Speaker 1: but tightly agreeably run, you know, between us. 621 00:33:39,960 --> 00:33:42,320 Speaker 4: So Yes is going to be going out on the 622 00:33:42,360 --> 00:33:46,760 Speaker 4: summer tour playing with the Deep Purple. Tell me how 623 00:33:47,480 --> 00:33:49,240 Speaker 4: excited you are for that experience? 624 00:33:50,280 --> 00:33:52,800 Speaker 1: Yeah, I mean, you know, last year we did our 625 00:33:53,120 --> 00:33:55,360 Speaker 1: sort of that normal tours. Yeah, mainly if they had 626 00:33:55,360 --> 00:33:59,120 Speaker 1: a tour, and you know, we did about seven weekends. 627 00:33:59,120 --> 00:34:01,520 Speaker 1: I think it was across seven weekends, so it's about 628 00:34:01,520 --> 00:34:03,520 Speaker 1: six and a half or seven weeks. So we were 629 00:34:03,560 --> 00:34:06,240 Speaker 1: wondering as the year you know, started up, you know, 630 00:34:06,480 --> 00:34:09,120 Speaker 1: we're going to target another tour like that, and we 631 00:34:09,120 --> 00:34:12,400 Speaker 1: were virtually going to do that, and then this offer 632 00:34:12,440 --> 00:34:16,240 Speaker 1: came along where it fitted in between going to Japan 633 00:34:16,360 --> 00:34:19,000 Speaker 1: you know and leave and leaving the UK and Japan. 634 00:34:19,040 --> 00:34:20,719 Speaker 2: It's big, big two month gap there. 635 00:34:20,800 --> 00:34:23,880 Speaker 1: So yeah, so it's marvelous to think that finally we 636 00:34:24,000 --> 00:34:26,120 Speaker 1: got to play with the burb. It's been it's been 637 00:34:26,239 --> 00:34:29,880 Speaker 1: talked about before, and we've always been very very excited 638 00:34:29,880 --> 00:34:32,560 Speaker 1: about the idea. And there's a group I mean what 639 00:34:32,840 --> 00:34:35,319 Speaker 1: I mean he talked about the sixties. I mean they 640 00:34:35,320 --> 00:34:41,040 Speaker 1: were going before before. Yes, I'm absolutely sure, am I sure? Anyway, 641 00:34:41,560 --> 00:34:45,360 Speaker 1: there's a long, beautiful history of and now of course, 642 00:34:46,160 --> 00:34:49,640 Speaker 1: sadly Steve Mors isn't with them this tour, but they've 643 00:34:49,680 --> 00:34:55,040 Speaker 1: got a remarkable guitarist in Simon McBride. He's really a 644 00:34:55,080 --> 00:34:59,280 Speaker 1: fine player and I'm privileged to be you know, working 645 00:34:59,280 --> 00:35:01,480 Speaker 1: along with him. He's wonderful player. 646 00:35:01,880 --> 00:35:05,560 Speaker 4: That's awesome. Well, in closing, as someone who was so 647 00:35:05,719 --> 00:35:10,960 Speaker 4: dedicated to his craft, how do you stay curious and 648 00:35:11,080 --> 00:35:13,800 Speaker 4: how do you stay always with a thirst for learning 649 00:35:13,840 --> 00:35:16,080 Speaker 4: something new? 650 00:35:16,160 --> 00:35:20,880 Speaker 2: Definitely, I guess well I stay alive. Yeah, it is 651 00:35:21,000 --> 00:35:23,920 Speaker 2: just that simple. I mean that what I do is 652 00:35:24,000 --> 00:35:24,600 Speaker 2: what I do. 653 00:35:24,800 --> 00:35:27,120 Speaker 1: You know, I haven't got a side job, like you know, 654 00:35:27,120 --> 00:35:32,480 Speaker 1: I fix motorbikes or something. You know, benmar David did 655 00:35:32,560 --> 00:35:36,520 Speaker 1: have a really profitable hobby or partly profitable, you know, 656 00:35:36,680 --> 00:35:39,320 Speaker 1: you like fixing boats, you know. So I mean people 657 00:35:39,360 --> 00:35:41,480 Speaker 1: do have some other things they want to get on it, 658 00:35:41,520 --> 00:35:44,400 Speaker 1: but no, I haven't got you know, all the things 659 00:35:44,440 --> 00:35:49,000 Speaker 1: that see the guitar collection. Having the guitars I want 660 00:35:49,160 --> 00:35:51,160 Speaker 1: is very very important to me. And I just bought 661 00:35:51,200 --> 00:35:54,080 Speaker 1: a new pedal steel guitar because my old ones were 662 00:35:54,120 --> 00:35:55,799 Speaker 1: too tired. I had to get rid of them. They 663 00:35:55,840 --> 00:35:58,040 Speaker 1: were they were out of my face, you know. But 664 00:35:58,200 --> 00:36:01,799 Speaker 1: now my Williams pedal steel is just so. I get 665 00:36:01,840 --> 00:36:07,560 Speaker 1: things like that, and it's remarkable how they we as 666 00:36:07,600 --> 00:36:10,080 Speaker 1: if I don't need it, they kind of stimulate my 667 00:36:10,600 --> 00:36:14,319 Speaker 1: interest in using particularly different kinds of sound. I bought 668 00:36:14,480 --> 00:36:17,680 Speaker 1: a guitar last year called Gibson Tennessee and which was 669 00:36:17,719 --> 00:36:20,919 Speaker 1: designed by Chad Atkins with Gibson. And I saw Chat 670 00:36:21,000 --> 00:36:24,560 Speaker 1: playing this on stage in some videos, you know, in 671 00:36:24,600 --> 00:36:27,160 Speaker 1: his later years, and he always sounded great. I thought, 672 00:36:27,560 --> 00:36:30,759 Speaker 1: guitar sounds great. Of course it's action, it's black. So 673 00:36:30,880 --> 00:36:34,200 Speaker 1: I get one and I go, yeah, but these guitars 674 00:36:34,239 --> 00:36:37,560 Speaker 1: are great. This is a great guitar, so of course 675 00:36:37,600 --> 00:36:40,480 Speaker 1: you can, you can excel. So I think that, you know, 676 00:36:40,560 --> 00:36:43,960 Speaker 1: it's a bit like you know, it's just refreshing to 677 00:36:44,000 --> 00:36:46,359 Speaker 1: be able to do that, and thank god I can 678 00:36:46,480 --> 00:36:51,680 Speaker 1: do that. And you know, basically music still excites me, 679 00:36:51,800 --> 00:36:53,359 Speaker 1: you know, from bark to. 680 00:36:54,880 --> 00:36:55,560 Speaker 2: Well, I don't know, I'm. 681 00:36:55,440 --> 00:36:59,880 Speaker 1: Trying to think of another Bee, but Barker's aren't anyway. 682 00:37:00,360 --> 00:37:03,000 Speaker 1: Fulk is a big is a big player. But of 683 00:37:03,000 --> 00:37:06,239 Speaker 1: course thro Walk music is primarily you know, what got 684 00:37:06,280 --> 00:37:08,160 Speaker 1: me off the sofa. 685 00:37:10,040 --> 00:37:13,120 Speaker 4: It is so joyous to talk to you again. Your 686 00:37:13,239 --> 00:37:16,440 Speaker 4: music means so much to so many fans, including me, 687 00:37:17,120 --> 00:37:21,120 Speaker 4: And you're one of the gentlemen in the business and 688 00:37:21,160 --> 00:37:23,760 Speaker 4: one of the nice people and the most talented people. 689 00:37:23,800 --> 00:37:27,480 Speaker 4: And I'm so grateful, Steve, how that we got to 690 00:37:27,520 --> 00:37:29,880 Speaker 4: talk again on the Taking a Walk podcast. 691 00:37:30,000 --> 00:37:31,399 Speaker 2: Thank you, that's very nice, boss. 692 00:37:31,440 --> 00:37:33,560 Speaker 1: Thanks so much for saying that that means a lot 693 00:37:33,600 --> 00:37:34,120 Speaker 1: to eat too. 694 00:37:35,120 --> 00:37:37,560 Speaker 3: Thanks for listening to this episode of the Taking a 695 00:37:37,600 --> 00:37:41,480 Speaker 3: Walk podcast. Share this and other episodes with your friends 696 00:37:41,600 --> 00:37:45,080 Speaker 3: and follow us so you never miss an episode. Taking 697 00:37:45,120 --> 00:37:49,000 Speaker 3: a Walk is available on the iHeartRadio app, Apple Podcasts, 698 00:37:49,200 --> 00:37:51,480 Speaker 3: and wherever you get your podcasts.