I’ve been a Yes fan and patron going back to my teenage years, and I’ve seen them more than any other band since. My first chance to see the group was during 1977’s Going for the Onetour at the fabulous Forum in Inglewood, California. It began a lifelong patronage.
The Revolving Door: Before and since that first experience, the lineup of musicians who play as part of Yes has been ever changing. Jon Anderson (original vocalist), Steve Howe (guitars), Rick Wakeman and Tony Kaye (keyboards) have come and gone more than once. Guitarist Steve Howe joined after original member Pete Banks left, and Trevor Rabin replaced him in the 80s. Drummer Alan White joined after original maestro Bill Bruford left just before the Close to the Edgetour. In 1980 Jon left for what turned out to be one record, and Trevor Horn sang vocals while Geoff Downes, his partner in the Buggles played keys. Personnel changes only accelerated after that, from 1980 up through today.
I’ve continued to see the band many times since original singer Jon Anderson’s second departure in 2008, due to health issues. When Anderson left for that second time, the band first recruited singer Benoit David, then current singer Jon Davison, who is skilled at covering Anderson’s vocal parts. In 2015 we mourned the passing of Chris Squire, the exceptional bass player and vocalist for Yes and it’s most consistent member. When Squire first announced that his illness would preclude his involvement in the remainder of 2015’s Yes tour, he also indicated his support for collaborator Billy Sherwood, who stepped into the role with grace and reverence, bringing his own skills and style to the stage. Alan White’s recent surgery sidelined him, and ex-Hurricane/Conspiracy/Asia drummer Jay Schellen replaces White for most of the show. Last year, and two years prior, we were able to catch three other core members of Yes billed as ARW – Jon Anderson, Trevor Rabin and Rick Wakeman for several solid performances that found Jon’s voice completely recovered from prior illness. Whew, so many Yes’s so little time!
Which Yes is Yes?Unfortunately, rabid fans carp about “which Yes is Yes” constantly on social media, acting as if they hold the title of band manager, planner, and critic. A common post is “no Yes without Jon” as fans then argue about whether the “official” Yes led by Steve Howe (and Chris Squire before his passing) have any right to play the songs without Jon Anderson. Some of the critics attended the limited ARW tours over the last few years and when they decry the official act, call it a “tribute” or “cover” band. Taste is subjective, but the criticism of particular members gets harsh.
The Important Point:In reality, there’s been something to admire in every Yes tour since the band’s inception and always there have been transcendent moments, no matter what combination of musicians are on stage. Fundamentally, the compositions are amazing and the performances are inspiring as Yes builds their long songs to astral crescendos of power and emotion. They are truly an amazing band, packed with virtuoso musicians whatever the collective, and they are the musicians I’ve seen play live more than any other. This fan catches as many Yes (official), ARW, and Wakeman or Anderson solo tours as possible. Soon, with the passing of time, there will be no more original members of Yes, unfortunately and the baton will be “officially” handed over to tribute bands. If I’m still on this mortal coil I will be there still as this music is meant to be heard in a live setting, and it’s magical when done right.
Case in Point:This year the band booked a summer tour of America, the Royal Affair tour with openers Asia, John Lodge (of the Moody Blues) and Carl Palmer (of ELP) opening.
The show at the Mountain Winery in Saratoga was fantastic. Carl Palmer led his small band through several highlights from the ELP catalog with Arthur Brown covering lead vocals and delivering us his 1960’s hit “Fire” as well. I have to admit we skipped the set from The Moody Blues’ John Lodge’s to go talk to Roger Dean who was showing his work, but he was very well received. We were back inside for Asia, who nailed a rousing set of their best tracks, along with “Lucky Man” from ELP. Ron “Bumblefoot” Thal expertly covered the lead vocal duties formerly helmed by the late John Wetton, and played guitar through the first part of the set, after which Steve Howe did a walk on for the older songs.
Once Yes took the stage, they performed rousing renditions of songs like “Tempus Fugit” and “Siberian Khatru” at the proper pace and with accuracy. The centerpiece moment this time was a piece of music they hadn’t played for decades, side one of Relayer (1975) — “The Gates of Delirium” and “Soon.” This is over 20 minutes of the most challenging progressive rock the band ever wrote, with one-time keyboard player Patrick Moraz. While it cleared a few rows of attendees out of the venue, we were transfixed. Howe sliced thru the staccato guitar riffs that lead into and reach crescendo during “the battle” section of “Gates…” as the long song tells the tale of the development, pursuit, and aftermath of war. Downes hit his leads, Davison nailed the highest notes, and Sherwood gently colored “Soon’s” soft tones with care that would have made Squire proud. If the group as rumored will be back to do the whole album with Moraz guesting, it will be spectacular.
Every band that night had experienced the loss of former colleagues who have passed on. We lost Asia’s John Wetton, and Keith Emerson and Greg Lake from ELP just over the last few years. Songs were highlighted during those sets as being played for these fallen musical heroes, to somber effect, and some celebration of lives well lived and music shared.
All in all a great show – one that left an exclamation mark on the statement that anyone interested in seeing members of Yes ply their most amazing trade live, should be going out to support them. In addition, Rick Wakeman just played Journey to the Center of the Earthon two nights in London for what he says is the last time. He is doing a solo tour of the states this fall, as is Jon Anderson. So hey, we get to see almost every key member who’ve been in Yes over these many years, just on different nights – go for the one!
Fresh air, exceptional, challenging music, calm seas, good fellowship: this year’s floating concert spectacle, Cruise to the Edge 2017 was undeniably one of the best yet. It’s the forth time progressive rock heroes Yes have sponsored this particular festival and it was smooth sailing in almost every respect. This time we were afloat on the Brilliance of the Seas, a Royal Caribbean cruise liner which experienced travellers said was above average though not the best craft in the league. Made little difference – the real attraction of these trips is the exciting lineup of progressive rock bands new and old, fresh or reconstituted, and this year’s collection of artists ensured there was something for every fan.
Yes has been joined in the past by their 1970s contemporaries Marillion, Steve Hackett, Carl Palmer, PFM, Three Friends (Gentle Giant), Tangerine Dream, UK, Caravan, and Martin Barre (Jethro Tull), along with newer prog acts Anathema, Enchant, Moon Safari, Lifesigns and many others. Each festival has had something to offer, and has been successful despite each running into a storm during the voyage!
This year’s lineup included returning mainstays and new acts: Yes, Steve Hackett, Kansas, Mike Portnoy, The Neal Morse Band, Spock’s Beard, Stickmen, Haken, IO Earth, Patrick Moraz, Bad Dreams, District 97, Anglagard, Curved Air, Frost, Electric Asturias, Focus, The Fringe, Dave Kerezner, Pain of Salvation, and Scott Henderson. An excellent lineup made even better with a special appearance by Dixie Dregs/Kansas/Deep Purple axe-man Steve Morse who surprised the crowd on opening day with a great but short set from Flying Colors, staged during Mike Portnoy’s 50th birthday bash.
Missing this year but certainly not forgotten was prog legend John Wetton, who passed away just before the cruise was to depart, a very short time after announcing he would not be able to make the event. John Lodge from The Moody Blues stepped in after the unfortunate announcement. There was a moment of silence for John at the opening event, and a number of tributes to him by the other artists on the cruise – possibly the most touching when Steve Hackett dedicated the Genesis mainstay “Afterglow” to our fallen friend. We miss you more …as well.
Once again Jon Kirkman was our eloquent master of ceremonies. Jon is so deeply studied in the prog arts and music in general that his many interviews with band members during the course of the cruise are a always a highlight. Jon’s new book, Yes Dialogue (@TimeAndAWordTheYesInterviews) is hitting stores now. We had the brief chance to take a look at this excellent book, which sports numerous never-before-seen photos and lots of inside information on this enduring band.
Roger Dean was in attendance again this year, with Michael and the team at Trading Boundaries at his gallery top deck. This was another chance for cruisers to obtain one of Roger’s stunning prints, from the Yes and Virgin Records logos, to the cover of Gentle Giant’s Octopus (UK), or the magnificent cover for Yes Tales From Topographic Oceans. Roger kindly displayed a copy of my new book Rockin’ the City of Angelsat his front desk with postcard ads as this tome contains licensed shots of the Yes Relayer tour taken by Martyn Dean in addition to a couple of Roger’s legendary album cover images. https://www.amazon.com/Rockin-City-Angels-Douglas-Harr/dp/0997771100/
One of the fantastic features of this cruise is the Late Night Live sessions. As the name implies live music fills the wee hours from about midnight into the early morning. Organized by broadcaster Rob Rutz and a team of dedicated proggers, this event gives attendees who can play or sing a chance to take the stage and perform with other fans, sometimes with one of the professional musicians who come to cheer them on and lend an occasional hand. This afforded us a chance to see and hear Jon Davison (Yes), Nad Sylvan (Steve Hackett) members of Circuline and others perform side by side with many talented fans, as they work together often for the first time, through long set lists that cover tracks from our prog favorites old and new.
As mentioned, there was something for fans of nearly every style of progressive rock music from the big acts to the newer lot. As usually there isn’t time to get to all of the bands. Here are some snaps from the top acts I was able to see:
Yes: Continued their album-pair set that included the hard-driving Drama record and two sides of masterwork Tales From Topographic Oceans. Jay Shellen was there to assist Alan White on drums, and Billy Sherwood was absolutely on fire, visibly happy, relaxed and just nailing bass parts that were absolutely reminiscent of Chris Squire yet still colored by his own unique palette. I could have watched the whole show again just to see and hear Sherwood at that level of excellence. It had to be part of what drove the whole band, including guitarist Steve Howe to perform at the top of their game. That Drama was featured surely inspired keyboard wizard Geoff Downes who was a part of that era’s lineup. Jon Davison also mentioned in interview that it was liberating for him to do some vocals not originally recorded by founder Jon Anderson as this allowed for some stretching out, on material that is more strident and modern (added Howe and White).
Steve Hackett: played a few stellar new tracks, along with a set list that included several from Genesis masterwork Wind and Wuthering, now 40 years on. These songs included “Eleventh Earl of Mar,” “One for the Vine,” and EP B-side “Inside and Out” along with the oft-played suite that ends the album. During that coda, Hackett dedicated “Afterglow” to fallen friend John Wetton leaving not many a dry eye in the house. Hackett and his band continue to stage innovative progressive rock concerts that are second to none.
Kansas took the stage for a pair of first time CTTE performances, receiving many standing ovations from the audience. With the addition of Ronnie Platt on vocals and keys, and additional expert musicians, the band is able to present new and old Kansas music with the level of instrumental and vocal prowess once championed by retired founders Kerry Livgren and Steve Walsh, albeit without the handstands!
Mike Portnoy celebrated his 50th birthday, and for his fans and admirers this was a key event on the cruise. Of the various bands he’s been in, my top vote goes to Flying Colors and they were the toast of the launch.
Haken: They get the award for continuous improvement. I’ve seen them over the years and each time their performances just get tighter, both instrumentally and vocally, fronting compositions that increasingly achieve balance between light and dark for a melodic and powerful form of prog.
Anglagard: Similarly this exceptional Swedish band continues to amaze as they endure. Their first performance was cut short by late night rain, but the full set the next day found them astutely blending electric and acoustic piano/sax/flute against electric frets for a compelling strain of prog, most reminiscent of the 70s era while still sounding new and all their own.
IO Earth: beautiful compositions and performance that blended middle eastern motifs with rock instrumentation.
Focus: They sounded better than any time I’ve seen them – great sound and performance by this Dutch band, fronted by the always entertaining, Thijs van Leer.
Curved Air: Legendary British band fronted by long time inspiring vocalist Sonia Kristina closed the cruise with the final set late Friday night.
Electric Asturias: Exceptional blend of jazz-fusion and prog forms hailing from Japan.
Stickmen: Masters of dissonance Tony Levin/Pat Mastelotto/Markus Reuter were fantastic as always.
Patrick Moraz: legendary keyboardist on his own at the piano…. Magnifique!
District 97: Highly talented band, brilliant set.
Neal Morse and Spock’s Beard were crowd favorites I ended up missing, but everyone I talked to who saw them, John Lodge, Bad Dreams, Alex Machacek, Frost, The Fringe, Dave Kerzner and Pain of Salvation loved those sets.
Back on dry land this week …vive le rock (y tambien, terra firma)!
Jon Downes, editor of Gonzo Weekly interviewed me last week about my new book, Rockin’ the City of Angels. Here is the transcript, also up at GonzoWeekly.com:
Tell us about the book
When I was a teenager (way back in the 1970s), I was lucky enough to be able to attend dozens of rock concerts staged in Los Angeles, (aka the City of Angels). Rock music was life to me, and probably due to 7 years of piano lessons I was in love with prog rock. My collection of records and concert tickets included Genesis, Yes, Jethro Tull, and Pink Floyd, along with what I felt were the highest quality rock bands like Zep, The Who, Queen, and Kansas. Music patronage became a lifelong passion for me. The concerts at that time were becoming amazing spectacles, with elaborate theatrical productions. As the lyrics were often as important as the music to me, the fact that many bands dramatized the themes of certain songs, or even whole concept albums made for artful theater.
I wrote this book as a “love letter” to rock musicians of the ‘70s— focused ultimately on the concerts and the films that captured them. I used only photos of the bands live in concert – no portraits. I wanted to show and tell the story of these concert performances from the standpoint of a fan, hoping a reader would relate to a guy who might have been a few seats down the row at these shows, who might have raved about what we just saw on the way home.
As an example of a chapter, one covers the Genesis tour The Lamb Lies Down on Broadway. There are fantastic shots by Armando Gallo, a Melody-Maker cover showing Gabriel’s grotesque Slipperman costume, pages from the concert program, a ticket stub from the date at the Los Angeles Shrine auditorium, and sample frames from the film. The written material illuminates the album and tour, the special effects, and the film of the production’s slide show, which many fans might not realize exists (it’s on the 71-75 box set). This was a blueprint for all 36 bands covered.
How long has it taken to research and write?
At one level its taken 45 years of “field research,” record collecting, and study. But from the time I started writing and finding the photos it all took 2.5 years. I spent a lot of this time tracking down a selection of iconic photographs from around the world, sometimes digging through archives at agencies, others directly with the photographers of that day. I was fortunate to meet several of those photojournalists including Neal Preston, Armando Gallo, Neil Zlozower, and Lisa Tanner, who opened their archives for me at their studios or homes. I could not believe how many amazing shots exist that have never been seen by fans, shots that captured our musical heroes in their prime.
Another thing that took a lot of time was combing through more than 100 rock films from the decade, all part of my private collection. You and I know that TV appearances, professionally filmed 35mm movies—even celluloid left in the can for years, sometimes decades after light hit the film—are finally getting home video or streaming media release. I remember going to see many of these films at the local cinema that featured Led Zeppelin, Yes, AC/DC, Alice Cooper, Paul McCartney and Wings, and so many others. Now, just about every major band of the rock world can be seen performing live in one format or another, thanks to Eagle Rock Entertainment, Warner Home Video, and others who are helping to keep their legacies alive. I’m still that guy, the one who collects the high quality digital transfers available on media, rather than streaming them. Having said that, many of these films are available on streaming services like YouTube.
Were there any gigs you didn’t go to which you wished you had seen?
Oh yeah! For each band I had to select what I think in retrospect was their finest hour –the best album and concert, and the best film covering that band, hopefully for that same tour. In the case for instance of Jethro Tull, I had not seen the Passion Play tour, but I knew through older friends and research that it would have been for me their best, and that is my favorite Tull record after all. Same with Genesis’ Lamb tour, though tribute band The Musical Box recreated it professionally just recently.
In a few examples, I did not get to see the band in the ‘70s but instead did catch them later. Only three bands out of 36 eluded me completely. I was never inclined to see AC/DC (although I did enjoy the great film, Let There Be Rock!), and Happy The Man never toured the west coast (and, there is no film!). The worst mistake was missing the mighty Led Zeppelin. In the case of the Zep ‘77 tour, I loved Presence, and that was the concert to see, but I was instead booked to see Pink Floyd’s Animals concert just weeks before and budgets kept me from seeing more than one show every couple months.
What was the best gig you ever saw?
All of that is in the Genesis family – I will never forget the Wind & Wuthering tour in 1977, and the first time I saw Peter Gabriel solo at the Roxy Theater the next year. But number one was Gabriel’s tour for his 4th album (also dubbed Security) which came early in the ‘80s – it’s a bit of a cheat as I cover that show in this “70s” book, but it’s really for me, the epilogue of the ‘70s decade. He absolutely stunned the audience and finally emerged on his own at the level of performance he had achieved while in his former band. Armando Gallo’s unbelievable shots give a very good idea of the drama. As there is literally no film of this seminal tour, we examine the So movie, particularly those songs he performed in the same way as that prior tour (like “Lay Your Hands On Me”).
Others in the top tier include Paul McCartney’s Wings Over America tour, Queen’s News of the World tour during which Freddie held the audience in complete awe, Kansas Point on Know Return featuring Steve Walsh giving the most physical performance I’ve ever seen, Dixie Dregs with their stunning virtuosity, Camel, ELO – so many incredible shows I will never forget. For the Floyd, while Animals was spectacular, I suffered a bit of “bad vibe” that night in the gi-hugic Anaheim Stadium, and it was eventually to be Roger Water’s restaging of the Wall this decade that became the ultimate live experience of that band’s music for me.
How did you go about the picture research?
This was the most difficult part of the book’s production, hands down. Thank God for Google, but even with all the search engines in the world, it was amazingly difficult to find some of the photographers and shots that eventually did appear in the book. One snap alone, of Camel in concert with the London Symphony Orchestra on the night they recorded The Snow Goose together, took 7 months to find and it was sitting in the vaults at The Daily Mail, having also been recently unearthed by a researcher at PROG magazine (RIP). I never found shots of Ambrosia and Happy The Man until I actually reached a member from the band themselves, who had boxes “in the attic” with old shots and memorabilia. A lot of the shots in the book came from slides I was allowed to borrow and scan at Dickermans in San Francisco.
What is your next project?
Well, this book was so expensive to produce that I have to sell all the copies I ordered during this year. Provided that happens, I will move to the next decade, sliding into the ‘80s with late ‘70s punk, then covering the era of New Wave music, including bands like Depeche Mode, The Cocteau Twins, Japan, Echo & The Bunnymen and so many others that were part of the second “British invasion!” I’m really looking forward to that as I’ve not seen any great ‘80s genre books that include what for me were the best bands of that decade with any kind of stunning photography.
Thank you to Jon Downes and his long time support of my work at GonzoWeekly.com
Rick Wakeman just released DVD and CD/DVD sets of the original series called Gastank, a unique show aired in the U.K. on channel 4 back in 1982-1983. It featured Wakeman interviewing a host of musical artists as diverse as Steve Hackett, Ian Paice, Andy Fairweather Low, John Entwistle, Eric Burdon, and Godley and Crème, then joining these musicians for a few live numbers with stalwart cohost Tony Ashton and friends. The show was beloved by fans of rock and prog music who had the chance to see some well established rock ‘n’ roll heroes, along with a few overlooked artists of the era, play bar blues, classic, progressive old and new songs live in an intimate setting. It’s available via Wakeman’s site and at Gonzo Multimedia here: http://www.gonzomultimedia.com/product_details/15960/Rick_Wakeman-Gastank_(DVD).html
Anyone interested Wakeman’s mid-period work, or any of the guests on this show are advised to pick up a copy of this rare set. Every segment is interesting and even of historical importance in some way, be it the interviews or live numbers. One of the best moments of the set is Wakeman and Ashton sharing a piano for a hilarious bit simply called “Keyboard Adlib.” That and Steve Hackett’s “Boogie” alone are well worth the price of the set! Sound good? Read on…
Background / Interview with Rick Wakeman
The year is 1982. Popular music has gone through several tumultuous years, an understatement for artists of the time. Classic and progressive rock musicians are at that moment reimaging themselves, their sound, and their stagecraft, in light of new influences, and the tremendous impact of music videos via the juggernaut called MTV. Punk has come and mostly gone, but continues to influence a host of bands, all plying slightly different musical territory, be it goth, ska, “new wave” dance or one of any number of increasingly eclectic musical styles.
In the face of these events, Wakeman and Tony Ashton, established a new television show called GasTank. Produced by Paul Knight with associate Ralph Tobert, Directed by Gerry Mill and recorded in a pub setting with stage and small studio audience, the show aired in the U.K. on channel 4 in 1982-1983.
As an example, GasTank #1 kicks off with a couple of pieces by Ashton and Wakeman, then features friends Rick Parfitt from Status Quo, a reggae band The Cimarons, then legends Alvin Lee and Eric Burdon. Ashton brings a sense of humor, honky tonk bar-band blues piano and gritty vocals to his featured songs – his bits are often tongue-in-cheek and always enjoyable. Wakeman is, well, the man and musician we’ve come to know over so many years in the business – funny, disarming even, and as always brilliant on the keys. The house band includes long time Wakeman drummer Tony Fernandez with Chas Cronk and Jerome Rimson on bass. The rest of the crew play their parts whether an original tune from their catalog, or a suitable cover, such as when Eric Burdon introduces a long time Elvis Presley favorite. It’s intimate and thoroughly enjoyable for any fan or interested viewer.
Three cameramen, Richard Dellow, Andy Watt, and Mike Hand Bowman capture the action primarily from positions just in front of the small stage, or on it, affording us an upfront view of fingers, frets, and performances. The sound by Mike Erander and enduring quality of the footage itself is exceptional.
GasTank has long been unavailable on home video in any format. The box set from Gonzo Multimedia puts that right. It includes every episode of the series, presented over 2 DVDs (and in the larger set 3CDs as well) along with an interviews book and other goodies.
But there is a bit more to the story of GasTank, and for that we talked to the man himself, Rick Wakeman to learn more.
Rick, how did the concept for Gas Tank come about?
My dear friend Tony Ashton came up with it. The whole idea of the program, of playing live with people was his brainchild. He came up with the name as well, which I thought was a great name – back then “gas” was a hip expression. He was wonderful to play with – all Tony wanted to do was play piano, which worked well cause I played synths. He was a great boogie-woogie rock player – bands like Ashton, Gardener and Dyke and all the other groups he worked with are evidence to that. He was so, so good. It was sad when he died. One of the nice things is when I watch the programs – it’s the memories of seeing Tony play and all the good times that we had that I cherish. We did have amazing amounts of fun.
What to you are some of the standout moments from the interviews or performances from the show, from your perspective?
There were quite a few standout performances. Phil Lynott was a great friend who came on and you’ll see when you watch it, he introduced a new member of Thin Lizzy, one that became a very important part of the band. John Entwistle’s solo appearance will remain with me forever. I asked him to come on – he was a great friend. I said “I want you to do a long solo – imagine an extended “My Generation” type of solo.” He said okay. So we wrote this piece for him and he did it in rehearsal. It was a good solo – a bit subdued, but I thought it would be really nice. Then his roadie took me aside and said ‘be prepared for tonight – that was just playing around.’ The solo he did for the taping was just jaw dropping – he absolutely knew how to take it to that next level. We had some good fun things on there. Suzy Quatro, Maggie Bell – lots of other performances. There were fun things as well – odd comments made, John Entwistle made one comment and his ex-wife sued him!
We had a great house band – we had a lot of fun with the house band – all great friends and camaraderie. Alvin Lee was on as a guest and he was fantastic. He loved it so much, he asked to come down and play in the house band. We had that with a few of the guest musicians – not just playing and leaving but most staying all day and watching the other people that came in. We had it set up like a club, and it was a great idea and it would still stand up today.
Give us one or two humorous anecdotes about the proceedings, something that went wrong or was surprising or even shocking?
Rick Parfitt came in and it was the first time he had ever performed solo. And I remember him saying to me “I’m nervous, I never get nervous!” He helped overcome his nerves before we did the interview, by getting completely rat-faced; mind you I was as well. I sat with him doing the interview and I saw the lights were on but no one was in, and he could see in me there wasn’t anyone in either! I asked him a question (mumbles) “how did it feel to do your first solo” and he just grinned – and you can’t see this part because the footage was lost, but he came off the stool and he stumbled by me and landed on the floor (whack). The producers voice came down from upstairs and he said, “probably best to do this interview tomorrow!”
We used to do the interviews after the recordings, we would record in the morning then we would have a liquid lunch then we would do the interviews in the afternoon. They organized a green room, which was heavily stocked with alcohol – better than most pubs and bars. After the incident with Parfitt the green room was only opened after the interviews had been done!
More of this interview can be found inside the set’s booklet, including artists of today who would be on Rick’s wish list if there show were to be revived… and a recollection by dearly departed talent Tony Ashton
Not included, however, is Rick’s perfect pitch for the DVD/CD Box Set:
I can truly recommend that you buy this wonderful collection. The reason I can say this is, I’d buy it myself! It contains so much history, so much fantastic playing, interviews that will never be heard again from a lot of people whom sadly are no longer with us. There’s some music that was never recorded anywhere else. It’s part of our heritage and history and if you’re old enough to remember it, it will bring back great memories. If you weren’t even born at the time, I’m sure you will like a lot of the music, and will like going back and learning how so much of it came about. The GasTank collection, there will never be anything else quite like it, I can guarantee that!
In a year that saw the sad loss of so many musical artists, entertainers and sports heroes, there was concurrently much to celebrate, as go on we must. For this patron, there were more than two-dozen amazing classic, progressive, or goth/new wave rock concerts by legendary artists, along with some fantastic shows from more recent bands that carry the torch of rock in all of its forms.
These are a holy trinity of artists that together comprise most of the core members of Yes. First up, Mr. Wakeman absolutely nailed his one-time performance of the King Arthur album redux at the O2 earlier this year, with orchestra, choir and narration. Then, the Steve Howe / Geoff Downes led version of Yes arrived to faithfully play renditions of half the double album Tales From Topographic Oceans paired with Drama, which sounded fantastic live. But the capper was seeing ARW who played Howe and Rabin era Yes music with a fever that brings a new appreciation to the work. It was a heartwarming, wonderful experience to see Jon Anderson so happy, and sounding as good as any night I’ve witnessed in over 20 years. This topped the year off in style.
In the Genesis camp, while we wait for Phil, Mike and Tony to put something together, we always have Steve Hackett and Peter Gabriel as working musicians – the former working often, the latter not so much! Hackett has been absolutely on fire, both during his Genesis Revisited performances, and with his solo work. The night we saw him here in San Francisco at the Warfield was by far, and I am not padding here, the best show I’ve seen from him since Wind & Wuthering. His renditions of classic songs from the Genesis catalog, along with his first four albums, and newer work from Wolflight, have never been bested. He is my true prog hero. Gabriel went out with Sting this year, in a fun and pleasant show – different for him – I think both better on their own, but it was nice to see the camaraderie. Chills when Sting teased us with the first few bars of “Dancing With the Moonlit Knight.” Chills.
The Cure on this year’s tour played crowd-pleasing set lists that changed each night, with a core of consistent selections from their most popular mid period work. The band played several tracks off Kiss Me, Kiss Me, Kiss Me (1987), Disintegration (1989), which included career highlights “Lullaby,” “Fascination Street” and “Pictures of You,” about which my daughter says “If you wanted to play one song to someone who did not know The Cure’s music, this would be it – so sad but beautiful.” Truer words. The other featured album was Wish (1992) from which the band pulled off a most unexpected pleasure, set closer “End.” Leader Robert Smith’s uncanny way of putting words to music, making the sum of the two something more than its parts, awakening dread, a cry for help, and ultimately survival, even transcendence is unparalleled. And, fortunately for us, he is a survivor and, as seen this year in concert, he continues to thrive, in apparently good health and surprisingly strong voice.
Watch for The Cure in my next book, should this sell out!
Witnessing Gilmour rock and roll at the Hollywood Bowl was absolutely perfectly awesome (in the 70s we would have said, “bitchin!”) The lighting and sound was fantastic, the film projections, which were programmed to the contours of the stage’s bowl shaped awning, were amazing. And we had close up seats and the pleasure of attending with great company, photojournalist Armando Gallo and his wife Cheryl, which will forever be a special memory. On this night, Gilmour seemed on fire, grinding out his brand of searing guitar solos gracefully, matching his alternately gravelly and silky smooth voice. He absolutely owned the stage, and the moment, blowing away this crowd of Angelinos, young and old alike.
This band performed at San Francisco’s Outside Lands, August 5th, 2016 to an anxiously awaiting crowd, once again taking their place a the top of the electro-funk pantheon, delivering an explosive concert consisting of 14 tracks that were also played at their “farewell” concert five years ago at Madison Square Gardens, chronicled in the exceptional film Shut Up and Play the Hits (2011) and the live album Live at Madison Square Gardens. The music as presented was incredibly tight, each musician playing his or her part with aplomb. Their songs progress, contrapuntal lines are drawn, the beat is intensified, bass, guitar or treated electronics are added, until the drone or melody comes clear and captivating, and Murphy adds vocals, working his rich baritone, ultimately building into ecstatic abandon. This is the main recipe for the band, and it’s done wonders for space rock, afro funk, new wave and alt/indie bands past and present. See this band in 2017 if you possibly can.
Seeing ELO last September 10, 2016, on the second of three sold-out nights at the Hollywood Bowl was like stepping back in time, as Lynne, band, and orchestra faithfully replicated every note of the original ELO compositions, along with a few newer tracks from Lynne’s most recent album. At around 80 minutes, incredibly, nearly every track on the set list was originally a hit or at least massively popular FM radio staple for ELO, including “Evil Woman,” “All Over the World,” “Livin’ Thing,” “Telephone Line,” “Turn to Stone” and on through seventeen songs, ending inevitably with “Roll Over Beethoven,” which as one would expect, highlighted the immense contribution of the Hollywood Bowl orchestra let by conductor Thomas Wilkins while fireworks lit the night sky.
Coldplay brought their A Head Full Of Dreams Tour to our 49ers (Levi’s) stadium in Santa Clara, south of San Francisco this year, and they will be back in 2017. It was an amazing night of lights, confetti, stagecraft, and music, courtesy of Chris Martin and band. Followers of Coldplay take no issue with their often-sentimental lyrics and gut-wrenching delivery by heartthrob Martin. I’ve read some number of critics who are dismissive of this band and their music exclaiming, “There’s no crying in a rock concert!”. Fair enough, Coldplay’s songs veer towards “adult contemporary,” with few gritty guitar licks, in favor of acoustic guitar and piano. This is, after all the man who very publicly decided to undergo a “conscience uncoupling” with ex-wife Gwyneth Paltrow, then penned a song called “Fun” featuring the lyrical refrain “Didn’t we have fun” to honor what they had together. Very adult…and, excellent!
We saw Adele this year, yes we did! It was truly amazing – what a talent. Her voice was in perfect shape. The songs she close spanned her catalog sounding as good as or better than the original studio versions. Adele generally stood in place, whether main or b stage, swaying or turning a bit while her image was projected on front and rear stage screens to get everyone in the audience a great view. What was unexpected for this uninitiated punter is just how personable and funny Adele is. She greeted fans warmly, even pulling one couple on stage for selfies. She told stories from different points in her career, often in a self-deprecating way that was very endearing. There was a lot of this between song chatter, but it never wore thin, particularly since so many of her tracks are melancholic, a fact Adele herself pointed out, admitting that a lot of her songs are depressing. Yet there were enough upbeat songs in the playlist, and between those and the banter, there was a celebratory air in the room.
We caught the most recent, maybe last tour, of the Who, one which comes at the heels of the seminal band’s 50th anniversary, and wherein they ”play the hits.” The Who, after a delay a several months, made it to the Oakland Arena here in the San Francisco Bay Area last week on May 19, 2016. The delay was due to health issues with singer Roger Daltrey, which involve his voice, limiting his ability to sing on consecutive nights, causing quite a logistical challenge during the tour. The show was fabulous. Daltry is still in fantastic shape, a real inspiration for clean living and fitness! Townsend still hits his vocal marks and his guitar technique is immaculate. Though he understandably does not leap into the air as in times past, he still executes his windmill-arm attack on the frets mightily. And he has attitude to spare. We were lucky recipients!
Of the many rock groups in the 70s that strove to stage a theatrical performance, Alice Cooper stands among those that invested significant time and energy in the pursuit. “We were trying to create something that hadn’t been done. And what hadn’t been done is nobody took the lyrics and brought them to life…. you use the stage as a canvas. It’s all vaudeville and burlesque” according to Cooper. The man brought his crack band, stage props, dancers and costumes to San Francisco this year. While much of the stagecraft has been presented consistently throughout the years, the show is amazingly well rehearsed yet still fresh — a sonic and visual success. Musically, this was a straight-on hard-rocking show, highlighting the chops of the band’s three guitarists, most notably L.A. resident Nita Strauss, whose searing solos and flowing blonde hair punctuated many of the most metal-laden tracks. Cooper sustained his own still-intact gravelly vocals from start to finish, enthralling the crowd as the well-fashioned master of macabre ceremonies. The set list was peppered with some deep cuts and many hits like “I’m Eighteen,” “School’s Out” and “No More Mr. Nice Guy,” along with encore “Elected” during which Cooper made a fairly good case for his election to U.S. President, as a third-party candidate fronting the “Wild Party.” If only he had actually run and won!
Bad Company is one of the most important rock bands of the 1970s. They topped a hard rock core with silky smooth yet gritty production values, hooks galore, and pedigree in each musician. They are a band I had to, regrettably leave out of my upcoming book Rockin’ the City of Angels. The omission is due in large part to a few issues – most importantly that the book is a celebration of the outstanding concerts of the ‘70s including classic rock and prog bands, and I did not get to see them in concert until recently. This show, which included opener Joe Walsh, was absolutely amazing. Importantly Paul Rodgers has kept himself and his voice in perfect shape, and the band is as tight as ever, pinned down by Simon Kirke’s “rock steady” percussion. Catch this band while you can!
Roger Hodgson performed again this year in the states to audiences of adoring fans. Our show down at Coachella was a heart rending, spiritual journey through a bit of Hodgson’s fine solo work, topping a generous helping of the songs he wrote for the band Supertramp. Hodgson was in fine voice, still able to hit all those soaring high notes, and also waxing philosophical between the hits and deep cuts, which included four from my favorite, Crisis? What Crisis? He spoke plainly and warmly about the meaning of these songs, to him and to others, sometimes reading notes he’s received from fans or sharing his thoughts about how music can bring back memories, and heal troubled spirits. Truer words.
Styx is a Chicago based rock band that released nearly a dozen records from the start of their most enduring lineup in 1972, through 1983’s Kilroy Was Here. Three multi-talented singer-songwriters Dennis DeYoung (vocals, keyboards, accordion), Tommy Shaw (vocals, guitars), and James Young (vocals, guitars, keyboards), backed by brothers John Panozzo (drums) and Chuck Panozzo (basses) penned a dramatic blend of rock and pop that placed them in league with stateside brethren Kansas and Journey. This author caught the group on tour supporting the Pieces of Eight album on January 27 1978 at the Long Beach arena. It was an exciting, powerful presentation, featuring a tight performance that showcased the soaring vocal prowess and instrumental credentials of each principal musician. As of the time of this writing Shaw and Young represent Styx on annual tours while DeYoung tends to his solo career. We saw the Shaw/Young band this year and several times this decade and every time they were absolutely fantastic!
The band Ambrosia was founded in southern California in the early 1970s. Today they would be best known for their most popular albums Life Beyond L.A., and One Eighty each including a mega-hit single, respectively “How Much I Feel” and “You’re The Only Woman (You & I).” These hits highlighted the group’s more melodic tendencies. However, their first two albums, and much of their unjustly overlooked fifth and final release Road Island would be best filed under the progressive rock heading. Ambrosia was back on tour this year, and we caught their exceptional show in Pleasanton, California on Saturday January 23rd. Last year we caught cofounder David Pack who also continues to perform solo shows amongst many other pursuits in the music business. These musicians remain at the top of their game, and it’s been amazing to see them perform again.
Special mention goes to Ian Anderson’s multi-media concert about the original Jethro Tull – very innovative use of filmed sequences which help with the vocals and storyline – and, I finally got to meet Ian, one of my musical heroes! Jethro Tull of course features in my book as well, focusing on their 1973 epic, A Passion Play!
Other shows this year that were similarly fantastic included Bryan Ferry, Radiohead, The Specials, X, Ra Ra Riot, American Football, Beach House, St. Germain, Album Leaf and Steven Wilson, who made a final victory lap in support of Hand.Cannot.Erase. All in all a big year for live music!
Like many fans who read this, I’ve had a lifelong passion for all things Yes, every incarnation of the band, the solo records, the shows… everything. I’ve even braved cruise liners to see a version of the group twice now on the annual Cruise to the Edge voyage, something I thought I would never do. I’ve found something to appreciate in every era of Yes music, whether early on in the ’70s, through the more commercially appealing ‘80s, and beyond. Every lineup featured musical genius; from guitarists Peter Banks, Steve Howe, and Trevor Rabin, lead vocalists Jon Anderson to Trevor Horn, from Tony Kaye, to Rick Wakeman, Patrick Moraz, back to Rick Wakeman, you know the drill. Yes’s music and message at its best challenges the mind, engages the heart, and sometimes even inspires a bit of boogie. All of that was true last Sunday December 4th on last night of ARW’s 2016 US tour at the Masonic Auditorium, San Francisco.
ARW is absolutely the best combination of Yes alum I’ve seen in the last few years. Jon Anderson is certainly the definitive Yes vocalist, Rick Wakeman the classically trained gem of Britain, and Trevor Rabin the searing guitar player who led the band through the tumultuous 1980s. These musicians are able to traverse the history of Yes music, performing each song with reverence to the original yet with space for improvisation. It was a wonder and privilege to see them together on stage again.
Though ARW intend to record, the band, which included veteran prog bassist Lee Pomeroy and drummer Louis Molino III is not performing new material at this time, which means this first tour is a journey back through the Yes catalog. Spoiler alert for UK fans: the set list selections went all the way back to 1971’s The Yes Album (“Perpetual Change,” “All Good People”), Fragile (‘Heart of the Sunrise,” “Long Distance Runaround/The Fish,” and encore “Roundabout”), Close to the Edge (“And You and I”), and Going for the One (for the stunning set highlight “Awaken”). Rabin-era tracks such as “Cinema,” “Hold On,” “Rhythm of Love,” Union track “Life Me Up,” a tight version of crowd pleaser “Changes” and closer “Owner of a Lonely Heart” buoyed the set. At some shows, though not ours, the beautiful Anderson/Wakeman track “The Meeting” from the AWBH album was also performed. The more mystical, spiritual Yes songs from the ‘70s and the relatively more urban sound of the Rabin-era work from the ‘80s were perfectly blended for maximum enjoyment, even more so in this setting than on the 1991 Union tour.
The entire band truly seemed to be happy on stage together, to be greeting audiences and once again playing this legendary music. Before the tour, Wakeman professed excitement at being able to work with Rabin again and it shows in the live setting, as he was prone to broad smiles and laughs whenever Rabin crossed the stage to be nearby, and when the keyboardist donned the portable “keytar” for some dueling solos. Wakeman brought almost a dozen different keyboards, as is his want, to perfectly recreate the sounds of Yes, including an approximation of the real church organ used to record “Awaken.” Anderson was in amazing voice, as good as I’ve heard in the last 20 years; his face alight with the joy of performance and the chance to share his meaningful lyrics with open heart once again. Rabin was similarly upbeat and enthusiastic. Despite recovering from a cold, he gave it all on stage, his fluid rapid-fire riffs generating bouts of applause, his vocals adding to the whole. Lee Pomeroy is a singularly talented bass player, as he crosses pop and prog genres, playing on and off again as he does with many prog legends, including Wakeman’s solo band, Steve Hackett’s Genesis Revisited, Gentle Giant’s Three Friends, and Jeff Lynne’s ELO among others. Pomeroy brought honor to Squire’s bass leads, particularly on “The Fish,” using multi-track capture/repeat gear to approximate the effect of the studio masterwork. Molino’s drum solo, and steady work on skins grounded and punctuated these complex songs.
The staging was simple but effective, with silk backdrops that reflected dazzling colored lights, and though on both nights I attended there was a bit of trouble getting the sound mix just right, everything coming out of the speakers was ear candy for hungry audiophiles. Patrons in the U.K., Europe and Japan, don’t miss this one when it comes your way!
(and I got my new book #RockinTheCityOfAngels signed 🙂
My first book, Rockin’ the City of Angels, is off the presses and at the warehouse. It will be shipping starting Tuesday, December 27!
Yesterday I was asked why I wrote the book…it’s worth a moment of reflection:
When I was a teenager (way way back in the 1970s), I was lucky to be able to attend dozens of rock concerts staged in Los Angeles, the City of Angels. Rock music had become increasingly relevant to my life, and I was drawn to complex works and the challenging, sometimes fantastical elements of the genre known as “progressive rock.” My collection of records and collection of concert cite stubs grew to include prog-rock bands like Genesis, Yes, Jethro Tull, King Crimson, Emerson, Lake & Palmer, and Pink Floyd, along with some of the more creative harder rocking contemporaries like Led Zeppelin, Fleetwood Mac, and Queen, as well as bands from North America like Kansas, Styx, and Heart. My youthful fascination grew into a lifelong passion for music in general, and for progressive or classical rock music in particular. My enthusiasm was stoked by seeing these bands live in concert, where increasingly elaborate theatrical productions dramatized the themes of many of these concept albums. These concerts were almost religion to my growing list of fellow concertgoers.
I wrote this book as homage to rock music of the ‘70s—in concert and on film. It tells the story of three-dozen key concert performances from this era; illuminating the genius of the best progressive and classical rock acts whose concerts I attended. I spent two years tracking down a selection of iconic photographs from those unforgettable events, taking me to agency basements, file drawers brimming with slides, to band member and photographers homes, to collections both organized, and out of control! In the process, I’ve been fortunate to meet many of the talented photojournalists of the era, including Neal Preston, Armando Gallo, Jorgen Angel, Neil Zlozower, Lisa Tanner, Jim Summaria, and many others. Many thanks go out to these artists, who captured these consummate rock musicians in their prime, frozen in time in arresting images.
In addition, I’ve combed through more than 100 rock films from the decade, all part of my private collection. TV appearances, professionally filmed 35mm movies—even celluloid left in the can for years, sometimes decades after light hit the film—are finally getting
home video or streaming media release. I remember going to see many of these films that featured Led Zeppelin, Yes, AC/DC, Alice Cooper, Paul McCartney and Wings at the local cinema, flicking lighters and hollering at the screen. Now, just about every major band of the era can be seen performing live in one format or another, thanks to the dedicated teams at Eagle Rock Entertainment, Warner Home Video, and others who are helping to keep their legacies alive and to introduce the power and majesty of this adventurous music to new generations.
Although some of these bands are still touring, their time is waning, and soon these films will be the only way to recapture their extraordinary live performances. I believe these films are important documents of rock music performance in our life times. Those of us who were there found more than just good times at these concerts. Those shows brought us together to share profound, even life-changing experiences that bonded us forever.
That’s what led me to write this book, and work for months on end with my designer Tilman Reitzle to render these photos and my recollections into a stunning tome. Check it out…. as we would have said… it’s bitchin’