Wow! don't jon and trevor get along

[The Whale]

re: the late 80's and Big Generator
Trevor never quite understood the meaning of Yes music for me. Chris was living in a different world to me."

- Jon Anderson

I thought that jon and trevor got along? this sounds kinda snappy, any one know about this?

[Hacman]

re: the late 80's and Big Generator
Trevor never quite understood the meaning of Yes music for me. Chris was living in a different world to me."

- Jon Anderson

I thought that jon and trevor got along? this sounds kinda snappy, any one know about this?

Jon changed his tune after Talk. Trevor reached out and brought Jon into the writing process much earlier with that.

I wish Jon and Trevor would do a joint tour , their voices sounded great together.

[Ktrek]

Like any great organization you can only have one person in charge and I don't think Jon cared for Trevor's take control style.

Kevin

[yarstruly]

watch Yesyears and Trevor in particular is quite honest about it....

[ANTIOCH]

The best thing about Trevor Rabin's stint with YES is that he never had to 'prove himself' and because of this, he brought an energy and musical language to the band that they'd never really experienced. Like him or not, like the music or not; he elevated YES to #1 in Billboard sales with "Owner of a Lonely Heart" and as the saying goes :
"Musicality and Virtuosity - Impressive, a #1 hit - Priceless" !

[cinderella]

I don't see how any of them keep the peace. All those egos in one room.
It's amazing they all didn't kill each other.

As Trevor said during the Union tour - "I don't know how this is going to work out. We're getting roadies, but we might need referees."

[Jackaranda]

I thought Jon and Trevor did an amazing job of writing together on Talk. Definitely a joint effort, and a great one at that.

[steelyDan]

I thought Jon and Trevor did an amazing job of writing together on Talk. Definitely a joint effort, and a great one at that.
____________________
Jacaranda
Help me out tomorrow
Jacaranda
Don't want to be alone
Keep falling over
A spell that brings me sorrow
Give and take
I shouldn't be afraid.( Trevor & Jon)
_____________________

[Buglunch]

The best thing about Trevor Rabin's stint with YES is that he never had to 'prove himself' and because of this, he brought an energy and musical language to the band that they'd never really experienced. Like him or not, like the music or not; he elevated YES to #1 in Billboard sales with "Owner of a Lonely Heart" and as the saying goes :
"Musicality and Virtuosity - Impressive, a #1 hit - Priceless" !
Without that "all-important" AM hit would Yes be penniless and gone today?
I loved seeing all of them onstage 90125 tour Vancouver and the Trev albums but he sure skewed them offbase, even by 80s standards.
Who brought Horn's influence onboard? That's another Tevination that affected Yes greatly. Was it chris or producers or Rabin or who that 80sed Yes?

Don't forget how a great keyboardist with guitar can run a whole show alone.
Quite the weapon; the pop-saviour wound up a great changer and threat. Moving on was a natural for Trevor R.

[cinderella]

I thought Jon and Trevor did an amazing job of writing together on Talk. Definitely a joint effort, and a great one at that.

Yes but who actually knows how much fighting and bickering went on while they were doing it. I'm guessing quite a bit.

[The Whale]

I lifted the quote about Trevor never understanding yes music of of jons web page today so its not like jon would tell you he didn't mean it and to day he feels diffrent. If you go to Life - 80's - and check his quote about the big gen tour he says the quote. If I was trevor I wouldn't want to work with jon either. Jon also says " my idea of being in controll is to let every one have freedome. ???? uh that makes as much sense as the words to GFTO. with that said I absolutly love jon and his music and he can do things however he wants as long as he keeps doing it!

[Steve St Thomas]

Jon also says " my idea of being in controll is to let every one have freedome. ???? uh that makes as much sense as the words to GFTO.

LMAO!

I understand what he means, but unfortunately, he didn't put it into practice with the Rabin situation! He walked in on a situation that already existed, but he was totally invited to it (90125). Big Generator comes around, and he possibly has a ''crisis of convictions'', or a ''musical difference''. So rather than stay and work it out, he exercised his 'freedom' to go to another band, try and recapture the name, force another band to go on sabbatical, then help create a situation that A& R departments beady little eyes raised a glance to (UNION). To me, he exorcised the freedom to totally destroy a thing that gave him that freedom, which was the massive success Trevor Rabin brought to Yes. Rabin's influence on Anderson shows up all over what was ABWH 1 & 2 and his solo albums. To me, it all went to his head. If he was a Napoleon in the 1970's, I honestly don't want to know what he was like in the 80's. But if by the 90's it created UNION, um, Napoleon need to be rested on Elba a little sooner.

Luckily TALK redeemed it. And then just spiraled again . . . . . OPEN YOUR EYES indeed.

[Steve St Thomas]

But I'm sure they get along! Honest! They probably are friends, or at least pleasant and civil to one another, and we're all just guessing on little evidence!

[Whitefish]

Jon and Trevor got along most of the time. I am sure Trevor was the power piercing play machine" that Jon referred to in "Second Attention" from the Anderson, Bruford Wakeman, Howe album.

Jon once said somewhere (I think Chris Welch's excellent book Close to the Edge the Story of Yes ) basically that he was not going to let Yes be what someone else wants it to be (meaning Trevor) ever again.

[Orbert]

Jon once said somewhere (I think Chris Welch's excellent book Close to the Edge the Story of Yes ) basically that he was not going to let Yes be what someone else wants it to be (meaning Trevor) ever again.
I think that's really it, more than the two of them not getting along. Jon Anderson, as far as Jon Anderson is concerned, was/is the leader of Yes. His voice, his vision. He got frustrated and left the band amidst much drama, but as far as the suits were concerned, Yes was not a band so much as a product, a commodity. When Trevor came along with the Cinema project, they made it the "new Yes", but Trevor of course presumed he would have full control of this band. And rightly so, as Drama had already proven that Jon Anderson was not required. But Jon was in, it was called Yes, and Jon has some very strong ideas about what Yes should be.

Conflicting visions. Conflicting egos, too, but I don't really think that was the problem, nor was it a simple matter of not getting along or not being able to compromise. It was just another example of how bands and management see the music/product differently. Notice how Jon has very little bad to say about Union, which everyone else seems to hate, because he got to call the shots on that one.

[Buglunch]

I am sure Trevor was the power piercing play machine" that Jon referred to in "Second Attention" from the Anderson, Bruford Wakeman, Howe album.


I took this as, just like the big generator to be AM radio and its spread and influence and money.
Jon is wary of pop products, shills and manipulation. He has a spiritual way and Trevor R. is more powerpop and BIGmovie oriented. More metallic. This sells steadily.
Yes were hurting for gigs and new songs and exposure and money and the saviour turned them into notYes, like using the army to get what you want and then........

[The Whale]

Drama had already proven that Jon Anderson was not required.


Drama kicks some major @$$ but that might be stretching it.

[Orbert]

Drama kicks some major @$$ but that might be stretching it.I meant that from the point of view of the suits, Jon was not "required" for the band to be called Yes. Bands change personnel all the time, including lead singers sometimes, and they still sell albums. That's all the suits care about.

And actually, that's not stretching it too much for me. I like Drama a lot. It's easily as much a Yes album to me as any other, maybe even moreso than things like Open Your Eyes. To me, Yes is not any particular lineup and does not require any particular individual, even if I do have my favorites. They've gone through a lot of changes over the years, but there is something about the music which continues to show up. It's the "attitude" or "aura" of the music. It's not always there; I have trouble finding it on some albums, and it's inconsistent on others. But it's probably what Steve is referring to when he speaks of the "Yessishness" in some Yes music, but not in others, regardless of what it says on the cover and who's playing it.

[RABARKS]

I wish Jon and Trevor would do a joint tour , their voices sounded great together.

Their voices do blend very well. The best example are the verses of Saving My Heart For You. It's what saves the song for me. (the chorus is terrible) :headset:

[Judge Judy]

I don't see how any of them keep the peace. All those egos in one room.
It's amazing they all didn't kill each other. [/I]

To me that's even more amazing than the fact that Keith Richards is still alive.

[Wild Westie]

To me that's even more amazing than the fact that Keith Richards is still alive.


:dog:

[gingerbaker]

Might have to do the way Jon was treated when he was invited back in the band to do 90125. Trevor was calling alot of the shots at that point

[rememberer]

Jon also says " my idea of being in controll is to let every one have freedome. ???? uh that makes as much sense as the words to GFTO.

Well, there are always people ready to antagonize artistic freedom. ("One likes to believe in the freedom of music, but glittering prizes and endless compromises..."). It still seems kind of hard to figure out exactly what was going through the heads of music execs about this time ("Disco rules, let us bow and worship and grovel"?), but it might have gone something like, Yes comes out with 90125 and turns the whole idea on its ear that they've outlived their usefulness - the "dinosaur" becomes a sacred cash cow.

Then it's umpteen years until the follow-up, which could have a lot of nervous record execs biting their nails and all ready to crack the whip nine ways until Sunday for them to crank out another that's prefabricated to be exactly like it and rake some more bucks. You know, there'll be guys at a board meeting insisting they should write a song called "Owner Of A Lonely Goat" just because it's a "proven formula," and suddenly you're not even in charge of song titles anymore.

And Jon is always ready to take a stand against that whole crazy thing with a mighty "begone you ever-piercing power play machine, cutting our musical solidarity" which surely seems like more of a statement about the whole music industry than about, say, Trevor.

I think what they proved with 90125 goes beyond just what it says about what Yes is capable of, it probably said a lot about what all of the
"dinosaurs" were still capable of, and it and Trevor both may be that much more underrated because of it. It may not have been a bail-out just for Yes. But it could certainly create huge expectations about what's supposed to happen next, and limitations that can come with those expectations.

It's also probably easy for Trevor to come off as a bit of an antagonist to artistic freedom as well, in that he seemed to me like he might have been walking in with some complete ideas, and being complete didn't leave so much room for artistic freedom on the part of the band as a whole.

I think there were times when he probably should have acquiesced more of the lyric writing to Jon for example; some of my favorite stuff from that era is where they seem to be sharing the duties more equally, you get a lovely "best of both worlds" with that, and music that probably was never intended to be so extraordinary or timeless that has a very special enduring quality to it as opposed to so many people from that era who are now in the "Where are they now?" bin. More of my favorite Trevor era stuff is where it seems like he was working on ideas from the ground up with Chris rather than showing up with it all mapped out himself.

But imagine having someone walk up to you and tell you you're going to be more or less the savior of rock and prog-rock. I think that Trevor did amazingly well under those kind of circumstances, and maybe even the more of a pain in the *** it got to be, the less he felt like sharing the load sometimes.

Jon's beef might not be so much with Trevor as with the whole industry as far as that goes, but between the both I can see why he'd be kind of glad if it's over.

[Steve St Thomas]

Jon and Trevor got along most of the time. I am sure Trevor was the power piercing play machine" that Jon referred to in "Second Attention" from the Anderson, Bruford Wakeman, Howe album.

Jon once said somewhere (I think Chris Welch's excellent book Close to the Edge the Story of Yes ) basically that he was not going to let Yes be what someone else wants it to be (meaning Trevor) ever again.

Interesting.

No wonder some of Squire & Howe's best material seems to be going to their solo projects. :theband: :headset:

[new_sum_do_solve_ay]

Interesting.

No wonder some of Squire & Howe's best material seems to be going to their solo projects. :theband: :headset:

Exactly! And we recently had a poll about 'keeper of the flame.' Chris seems to be considered the 'keeper' though I adamantly voted for Jon. Where was Chris in all this? All I see from 90125 is the dynamics between Jon and Trevor. Someone tell me what Chris' 'keeping of the flame' was doing during this spell.

[Awaken1976]

I think that's part of the reason Trevor just gave up on Yes; the whole negativity about his tenure with them. He didn't ask for that crap. He was just doing the best job he could do and was trying to make it as fun as possible. If you can't enjoy making music for music's sake, then you need to get out of the biz and that's what he did. He found something he could enjoy doing (soundtracks) while making money; and I'm happy as heck for him too! It's too bad that so many "Yes Fans" trash Trevor so much for bringing something different to the table. Progressive rock is called progressive for a reason.

[Awaken1976]

Jon also says " my idea of being in controll is to let every one have freedome. ???? uh that makes as much sense as the words to GFTO.

ROTFL...... Nicely put. lol.....I think Jon just takes himself way too seriously. Not saying he's a bad guy and that I don't like his lyrics and music (most of it anyways) but, he sure is a pompous ass sometimes. And I'm not going to worship the guy like he's some kind of savior.

[KPatrick]

ROTFL...... Nicely put. lol.....I think Jon just takes himself way too seriously. Not saying he's a bad guy and that I don't like his lyrics and music (most of it anyways) but, he sure is a pompous ass sometimes. And I'm not going to worship the guy like he's some kind of savior.

Not only that, but the statement, as a matter of fact, is complete BS, to hear most Yes members tell it. It kills me whenever people get all starry-eyed about Jon's spirituality, like he's above commerce or something. I'm not saying he's insincere, just that a guy with a mind as active as Jon's can be very cosmic while being very much into being a rock star and shifting units. But he's in charge, and he likes to be in charge.

I bet these guys all get along better than we think they do. And when the rubber met the road in 1989 during the second ABWH album, who did ABWH call for material? Trevor can't have been the only working musician in the world who could write for Jon. On the other hand, it took 2 years to make BIG GENERATOR, and 3 years passed between UNION and TALK, so it's clear that the creative process wasn't easy with Jon and Trevor. But I'm sure there's less animosity between Jon and Trevor. I think the frustration between them may have been more about the process of creation rather than the two of them as individuals.

[KPatrick]

Exactly! And we recently had a poll about 'keeper of the flame.' Chris seems to be considered the 'keeper' though I adamantly voted for Jon. Where was Chris in all this? All I see from 90125 is the dynamics between Jon and Trevor. Someone tell me what Chris' 'keeping of the flame' was doing during this spell.

You can piece together from various sources -- Chris' own admission in Welch's book is just the most open -- that Chris had a lot of outside interests in that time. Plus, he and Jon were pretty much done dealing with each other by the time BIG GEN came around, it seems.

[Buglunch]

There's a big difference betwen socializing now and then and constantly working together for decades in a tight band studio and live.
It's affected my own music and then.............there's WOMEN!

Eek.

[Store Hadji]

Trevor didn't quit on Yes.

He thought they were taking a long break after the trouble they'd had getting Talk finished, when he suddenly discovered Yes had reformed with Howe and Wakeman. It was news to him.

[MrPhil]

re: the late 80's and Big Generator
Trevor never quite understood the meaning of Yes music for me. Chris was living in a different world to me."

- Jon Anderson

I thought that jon and trevor got along? this sounds kinda snappy, any one know about this?
One can get along without fully understand eachother

[MrPhil]

Jon also says " my idea of being in controll is to let every one have freedome. ???? uh that makes as much sense as the words to GFTO.
Well either you understrand this, or you don't.
I don't think it can be explained. I undertsand it perfectly.

[MrPhil]

Just a few random thoughts...
I watched YesYears the other day, and apart from being a brilliant DVD on Yestory til 91, it was interresting to watch the interaction between people on the rehearsals for the Union tour.
You can clearly see Steve and Trevor having a great deal fun playing Heart of the Sunrise. No snobbism or anything. You can also see how much fun Trevor and Chris is having together. Big laughs and grins. And at one time they both are really into the groove with eachother, and you can clearly see Steve trying to get into that by trying to get eye contact and be apart of that feel right there and then, but they don't notice him... and if that was significant, then it would of course create a split between them in the long run. And this without any of them from the beggining being snobbish, or disliking any of the others.
Apart from that, you can notice that both Jon and Trevor has/had pretty big ideas of themselves, and that they also were aware of it. But being aware, and learn from it and change, are different things.
The only one in joyous bliss seemed to be Rick, who were all smiles to be able to play with all the others. Chris looked drunk. And didn't say that much clever thoughts. The funny thing is that he seems to be this great, great musician, and is referred to by the others as very smart and understanding and driving unit in the band, but always comes across to me in interviews as a little "...eeerrhh.... bla bla bla, ya know... huh huh".
Bill B was a real clown! Either you love his wits or you get real annoyed I guess. And Alan is humility personified.
Well, at least that was my initial impressions of that DVD. I recommend it.
And this was hastily becoming quite OT I guess.
Back to you.

[DW Duke]

re: the late 80's and Big Generator
Trevor never quite understood the meaning of Yes music for me. Chris was living in a different world to me."

- Jon Anderson

I thought that jon and trevor got along? this sounds kinda snappy, any one know about this?


That really doesn't sound abrupt to me. It just sounds like Jon is saying that he feels that Trever doesn't understand his perception of YES music.

[marklovesyes]

Jon and Trevor got along most of the time. I am sure Trevor was the power piercing play machine" that Jon referred to in "Second Attention" from the Anderson, Bruford Wakeman, Howe album.
Jon explained that this referenced the Los Angeles music scene in an interview about 10 years ago. I think it was Rockline.


Jon once said somewhere (I think Chris Welch's excellent book Close to the Edge the Story of Yes ) basically that he was not going to let Yes be what someone else wants it to be (meaning Trevor) ever again.
Trevor Rabin may have been referenced in part here, but I do believe Jon is is talking about record companies and managers mostly with that statement. For example, Phil Carson would only sign YES to another deal (with Victory Music at the time) if it were the 90125 line-up shortly after the Union Tour. Wakeman was going to be on board, but Howe and Bruford were not to be. "Talk" came out of that (sans Wakeman in the end), which was a great album, and Jon has stated many times that he loves it. Just an example, though, of how the industry can dictate what you do.
Jon could also be referring to Chris who has always seemed to be more keen on getting YES into mainstream musical ideas. See this interview:

http://www.kajagoogoo.com/ChrisNickInterview.shtml

It's toward the end.

[marklovesyes]

Also- just because Jon and Trevor disagreed as to approach does not mean they could not at all work togther. I have not always agreed with people I have been in groups with or worked with in other capacities, but I was still able to work with them and we produced some good work/results.

[Scooty]

I think Talk went along way to prove that Jon and Trevie R could work together in a positive way..

[Store Hadji]

Didn't Jon publically quit Yes after the Talk tour, stating "I'm never working with that band again?"

Or was that after Big Generator?

[Scooty]

I dont think Jon EVER said he would never work with Yes again..

It was always: "I quit, for now." Kinda thing. Talk didnt drive him over the edge...frigin Big Generator did..and one can hardly blame him...

[smatt]

Also- just because Jon and Trevor disagreed as to approach does not mean they could not at all work togther. I have not always agreed with people I have been in groups with or worked with in other capacities, but I was still able to work with them and we produced some good work/results.



Jeeez, the band dynamic between these guys has been rough from the time of Fragile..... At least publicly Alan is the only one that hasn't bashed on anybody else. But like you said Mark, jsut becasue there's disagreements, doesn't mena they hate each other or can't work together. And just because they hate each other doesn't mean they work together and create great music. It's all about wha they want to put up with and compromise on.......



But who knows if there's any gas left in the tank..... There certainly isn't any left in Trev's tank for this ride......

"And the blue sedan didn't get much further..........."

[Store Hadji]

"Here is my Soul - I eat at Chez Nous."

That's a good topic for a thread - worst Rabin lyrics!

[Scooty]

"Here is my Soul - I eat at Chez Nous."

That's a good topic for a thread - worst Rabin lyrics!


:lmao: :lmao: :lmao:

Just when I thought I forgot....here you go!

[Store Hadji]

"Savin' muh heart fer U,
Ya do whatcha wanna do,
There's a place in muh heart fer U,
This time ah'm watchin' U,
Till the blood in my veins run dry, [bad grammar alert]
Ah'll be there 2 testify
There's a place in muh heart -
Fer U."

I can just picture ol' E singing this one.

[YESYOUANDI]

Without that "all-important" AM hit would Yes be penniless and gone today?
I loved seeing all of them onstage 90125 tour Vancouver and the Trev albums but he sure skewed them offbase, even by 80s standards.
Who brought Horn's influence onboard? That's another Tevination that affected Yes greatly. Was it chris or producers or Rabin or who that 80sed Yes?

Don't forget how a great keyboardist with guitar can run a whole show alone.
Quite the weapon; the pop-saviour wound up a great changer and threat. Moving on was a natural for Trevor R.

ABWH------

This was the REAL return of YES.

When the REAL YES fans came back. (in big numbers).

Keep YES rabin free.

Cheers fans.

[frosted]

Trevor didn't quit on Yes.

He thought they were taking a long break after the trouble they'd had getting Talk finished, when he suddenly discovered Yes had reformed with Howe and Wakeman. It was news to him.




Nope. Rabin quit Yes. Furthermore Jon has asked twice asked for Rabin to come back.

[luckeydoug1]

[QUOTE=the whale]re: the late 80's and Big Generator
Trevor never quite understood the meaning of Yes music for me. Chris was living in a different world to me."

- Jon AndersonQUOTE]

Hmmmm, everytime I look around, there is Jon performing Owner of a Lonely Heart that Trevor rewrote to suit Jon. I see it in concert videos and even hear it in Jon's "Time and A Word/Owner of a Lonely Heart" piece from An Evening of Yes Music. Trevor must have understood at least part of the meaning of Yes music.

I still consider the best Yes music to be that created by YesWest, a band that should have remained Cinema!

[Store Hadji]

Yay Cinema!

Where did Rabin say he had quit Yes? I'm sure I heard it the other way around. Or maybe that was after Big Generator! Ha! The band's history is a little too convoluted for my pea brain to decipher.

[Store Hadji]

Oh, you mean Cinema with our without Jon?

[Awaken1976]

I dont think Jon EVER said he would never work with Yes again..

It was always: "I quit, for now." Kinda thing. Talk didnt drive him over the edge...frigin Big Generator did..and one can hardly blame him...

HEY! No dissing Big G!

[kirklott]

The best thing about Trevor Rabin's stint with YES is that he never had to 'prove himself' and because of this, he brought an energy and musical language to the band that they'd never really experienced. Like him or not, like the music or not; he elevated YES to #1 in Billboard sales with "Owner of a Lonely Heart" and as the saying goes :
"Musicality and Virtuosity - Impressive, a #1 hit - Priceless" !

Tsk tsk tsk. This is the greatest untruth about Yes. The fact is Trevor HORN is responsible for the #1 hit. All you need to do is listen to Rabin's original demo, and it will become clear that Horn took a non-descript riff and turned it into a worldwide hit.

As further proof, Rabin had only one #1. Horn had many...

[Senor Mono]

they need to get Horn in the studio again!

Drama still sounds so fresh.

These guys have all taken turns being grumpy. thats why the music has so much intensity. Otherwise it would be flat. Nothing wrong with fiery studio activity :)

Sure beats a lack thereof!

[Vic W.]

The best thing about Trevor Rabin's stint with YES is that he never had to 'prove himself' and because of this, he brought an energy and musical language to the band that they'd never really experienced. Like him or not, like the music or not; he elevated YES to #1 in Billboard sales with "Owner of a Lonely Heart" and as the saying goes :
"Musicality and Virtuosity - Impressive, a #1 hit - Priceless" !

That's a saying?

[relayeire]

I think Trevor was partially the inspiration for the line "I am out of thee with a vengeance," though Jon is commenting on the music biz in general.

[YesCarolinita]

The best thing about Trevor Rabin's stint with YES is that he never had to 'prove himself' and because of this, he brought an energy and musical language to the band that they'd never really experienced. Like him or not, like the music or not; he elevated YES to #1 in Billboard sales with "Owner of a Lonely Heart" and as the saying goes :
"Musicality and Virtuosity - Impressive, a #1 hit - Priceless" !


Do you think YES really cared about being on main stream radio with a '#1 hit?' I never took having a #1 record (especially "Owner of a Lonely Heart") as being the most important aspect of the band YES musically. Maybe I a wrong. I am sure the band enjoyed the acknowledgement, because the younger people learned of this great band, but I don't think a #1 record was or is a priority. Lets face it, in 40 years if this was true they may not still be together because it only happened two other times and that was years ago.

[Lifeseeker66]

Do you think YES really cared about being on main stream radio with a '#1 hit?' I never took having a #1 record (especially "Owner of a Lonely Heart") as being the most important aspect of the band YES musically. Maybe I a wrong. I am sure the band enjoyed the acknowledgement, because the younger people learned of this great band, but I don't think a #1 record was or is a priority. Lets face it, in 40 years if this was true they may not still be together because it only happened two other times and that was years ago.

While obtaining a #1 hit was never the priority of Yes, I do think the reason for OOALH's success was the drastically changing sound of the 80's. All of a sudden, the formula that worked through much of the late 60's and 70's was no longer going to reach the masses for whatever reason. In order to survive, the dinosaurs of the 70's had to change their sound in order to remain contemporary. While I'm not a big fan of TR musically, he did propel this band through the 80's and mid-90's whenever they needed a contemporary sounding song, and he is a big reason behind their 40-year survival.

[GLee2112]

they need to get Horn in the studio again!

Drama still sounds so fresh.



i agree with this 100%. i love the sound and feel of Drama. Chris and Steve dominate that record. i also always felt that the young Hugh Padgham had a lot to do with the quality sound of Drama. he obviously went on to have a nice career after that.

[GLee2112]

Do you think YES really cared about being on main stream radio with a '#1 hit?'

i'd bet anything that Chris sure did! i don't know about all the guys but my gut tells me that Chris has been trying to get another #1 ever since.

[Vic W.]

While obtaining a #1 hit was never the priority of Yes, I do think the reason for OOALH's success was the drastically changing sound of the 80's. All of a sudden, the formula that worked through much of the late 60's and 70's was no longer going to reach the masses for whatever reason. In order to survive, the dinosaurs of the 70's had to change their sound in order to remain contemporary. While I'm not a big fan of TR musically, he did propel this band through the 80's and mid-90's whenever they needed a contemporary sounding song, and he is a big reason behind their 40-year survival.

The formula that worked in the 60's and 70's for Yes did not reach "the masses", either. Yes was never a pop band and that was okay by me.

[Vic Anderson]

wait for jon and trevor next year :)

[cinderella]

Do you think YES really cared about being on main stream radio with a '#1 hit?' I never took having a #1 record (especially "Owner of a Lonely Heart") as being the most important aspect of the band YES musically.

I think they were thrilled. I have video tapes of Yes on MTV back in the 80's and Jon and Chris both seemed tickled to have a #1 song. It came up many times in interviews. They loved the attention and exposure they were getting.

[YesCarolinita]

While obtaining a #1 hit was never the priority of Yes, I do think the reason for OOALH's success was the drastically changing sound of the 80's. All of a sudden, the formula that worked through much of the late 60's and 70's was no longer going to reach the masses for whatever reason. In order to survive, the dinosaurs of the 70's had to change their sound in order to remain contemporary. While I'm not a big fan of TR musically, he did propel this band through the 80's and mid-90's whenever they needed a contemporary sounding song, and he is a big reason behind their 40-year survival.

I did not post my comment because I thought TR had issues with JA. I just don't believe that at the time OOALH was RECORDED, this was YES's focus-having a #1 Billboard Hit Record or Album. And as Cinderella pointed out (big thanks for the info-I didn't know this), the band was thrilled because of all the attention the #1 hit played before them as a band. Your right too-the formula did work out for them completely and then some. I never have thought about the monitary aspect of Yes. I have always believed Yes performed together because of the music and what it means to them, not for monitary reasons. Thanks David-your a good communicator.

[Scooty]

I think they were thrilled. I have video tapes of Yes on MTV back in the 80's and Jon and Chris both seemed tickled to have a #1 song. It came up many times in interviews. They loved the attention and exposure they were getting.

We agree here Cinderelly...

They were so very tickled pink that this happened for them.

I remember Jon saying that for the first time ever he noticed women coming to Yesshows and how much of a thrill that was for them as a band...

[CybrKhatru]

Considering for a moment that OOLAH doesn't really sound like anything else on 90125....

I remember reading an interview with Trevor Horn when 90125 hit the charts. He said something like, "It was imperative, coming after a ton of s**t, that Yes have a hit single. I would have killed to get that."

He apparently worked like crazy on Owner. And it paid off. To me Owner doesn't even sound like anything else from the 80s, let alone Yes.

[Scooty]

Considering for a moment that OOLAH doesn't really sound like anything else on 90125....

I remember reading an interview with Trevor Horn when 90125 hit the charts. He said something like, "It was imperative, coming after a ton of s**t, that Yes have a hit single. I would have killed to get that."

He apparently worked like crazy on Owner. And it paid off. To me Owner doesn't even sound like anything else from the 80s, let alone Yes.

Watching the Classic Artists Doc...Trevor H. new..without a shadow of a doubt that they had a number one on their hands with that one.

[BrianD]

We tend to forget that opinions change as time goes on as do relationships. Yes is a hotbed of this - it is one big dysfunctional family. From what I can tell, in the main Jon & Trevor get on fine but Big Generator was a huge downer for them as they struggled with each other for control. On 90125 Jon was a late comer and just added his bits, Union in a funny way brought them back together and on Talk they collaborated. They seem to remain friendly.

As for their views on various songs and being top of the charts - I'd be shocked if any of them didn't get a thrill with Owner going #1 - but Jon has later commented on how he didn't like the trappings that went with that.

[Lifeseeker66]

As for their views on various songs and being top of the charts - I'd be shocked if any of them didn't get a thrill with Owner going #1 - but Jon has later commented on how he didn't like the trappings that went with that.

Exactly! I never said they weren't tickled over the success of OOALH. However, this wasn't their main goal either. Jon has always been cautious of "feeding that pop machine".

[kirklott]

I believe Rabin's BIG ego was the problem, the GENERATOR of much friction.

[Sonny G]

To me that's even more amazing than the fact that Keith Richards is still alive.

Honestly I think Keith Richards had been dead for years, it's just no has had the heart to tell him.

[Imperatrix]

Could Jon have been demanding the lion's share of revenue, thereby pissing off Trevor?

I can see that as a possibility.

If that is the case, it's very interesting how it all turned out for each.

[smatt]

I believe Rabin's BIG ego was the problem, the GENERATOR of much friction.


Ha ha , there's plenty of EGO to go around that Yes egg..... :dog:


Exactly! I never said they weren't tickled over the success of OOALH. However, this wasn't their main goal either. Jon has always been cautious of "feeding that pop machine".


You're kidding right??????????? Jon NEVER had a problem with the pop machine feeding him.... :Wow:

[Imperatrix]

Leggo my ego!

[smatt]

Leggo my ego!


:lol:

Yep.... Those Yes guys are all bunch of various breakfast food types..... There's ham, bacon, waffles... And let's not forget the grape nuts :smurf:

[Imperatrix]

:lol:

Yep.... Those Yes guys are all bunch of various breakfast food types..... There's ham, bacon, waffles... And let's not forget the grape nuts :smurf:

:lmao:

I still maintain the best thing I have ever seen vis-a-vis Yes was watching Steve Howe at a hotel breakfast buffet, trying to figure out just what the fcuk to eat. :lol:

[Borris]

re: the late 80's and Big Generator
Trevor never quite understood the meaning of Yes music for me. Chris was living in a different world to me."

- Jon Anderson

I thought that jon and trevor got along? this sounds kinda snappy, any one know about this?

I really don't think this has much to do with getting along as to musical direction. Rabin himself didn't see a continuity between the music he made with Yes and previous Yes music, it was different. Rabin would more or less agree with Jon's statement. Jon had been the team leader and his vision had steered Yes in a spiritual creative direction. Rabin wanted to make good music, but it was much more straight forward, song based and radio friendly. I think because everyone in Yes cared and struggled and contributed they made something really special. Everyone pushed for their ideas and was expected to do so. Bruford has talked of how Jon pushed him to write music. Rabin was more likely to present completed songs to the band and I suspect that irritated Jon.

Everyone in Yes wanted the band to be successful, and i think one of the tragedies of Yes has been that when they did make some really good late albums The Ladder and Magnification they didn't sell very well. Jon wanted Yes to be big and make lots of money, but he wanted the spirituality and creativity as well.

[Borris]

Jon also says " my idea of being in controll is to let every one have freedome. ???? uh that makes as much sense as the words to GFTO. with that said I absolutly love jon and his music and he can do things however he wants as long as he keeps doing it!

I think there is some sense in Jon's quote. To expand a bit on what i said in my previous post. During the YesWest period Rabin was the musical leader and he came up with completed songs particularly on 90125 and presented them to the band who may have tweaked them a bit. This can be a relatively painless process and it tends to be how a lot of bands work. Early Yes was different, Jon was the Captain, but he expected everyone to bring ideas to the table. Things were worked out in bits. Close to the Edge was composed in the studio with only the vaguest idea of where they were going. It was hammered out collectively and it was a pretty painful process as they fought for their ideas, but at the end there was one astonishing piece of music. None of them could have composed this alone. I think this pretty rare where 5 people compose a work collectively, probably because it can be so fraught.

It might be one of the reasons why Yes music is so amazing in that it harnesses the creativity of 5 people.

[JB86]

I'm sad to see the Rabin bashers are still out in force. I was at a tribute band yesterday with some classic Yesfans and whenever I dared mention the word "Trevor" eyes got rolled. It's a shame that he is such a pariah still, despite being as much a part of Yes' history as Howe or Wakeman.

We are all Yesfans and it's a shame so much division has been caused by one man joining a band that was never meant to have been Yes in the first place.