Moments With Mr Kaye. The Tony Kaye Interview, by Earl Grey.

[Earl Grey]

I've been a Yesfan for many years.

At times it's been frustrating. YES has a revolving-door policy as to members. Beware, if your love for the band hangs on one particular player or another, as no one is safe in this earthy brew.

We've seen luminaries appear as if from the head of Zeus, only to disappear an album later.

We've seen all good people fall over the edge nearly as quickly as we've met them.

Such is YES.

Tony Kaye is the exception.

Kaye was there from the inception.

He was one of the original Fab Five.

Tony played the keys behind 'Yours Is No Disgrace', 'Starship Trooper'.

He was the brains behind the counterpoint of 'Perpetual Change'.

Tony left in 1971, and he returned a decade later, just in time to chart #1 on the Billboard charts with 'Owner Of A Lonely Heart':

Yes's biggest hit.

...Tony scoped-out and picked Steve Howe for the band by hand.

And Tony is the only keyboardist to have played with Banks, Howe, and Rabin.

TK embraces it.

AND: He has a story to tell.
~~~~~~~~


I had the distinct honor of hanging with TK this evening.

We began the first of a series of interviews, so as to document the rich brew of YES.

SO: Here goes. Part One of the TK Interviews.

Enjoy! eegee:yesbird:

[Earl Grey]

And it all began in a pub...

Earl: So Tony. You were there in 'Swinging London', ...Summer Of Love.

George Harrison went to San Fransisco, and he said it was like a gathering of bowery bums. London he said, on the other hand, had 'style'.

What's the first memory that comes to mind?

Tony Kaye: 'Jimi Hendrix'!

I first met him in Soho. We went to, ah... a sort of a breakfast/snack-bar place. And I remember, because I bought him breakfast. An 'English' Breakfast, eggs, bacon... I think he was pretty broke.
This was before he'd met-up with Chas Chandler...

Jimi had come straight-off the 'Chitlin' Circuit', and I don't know that he knew how to fit-in with a band at this point. But he WAS the MAN.

...Really the trio was the only way for Jimi to express himself, I mean: He WAS the show.
I remember going to his first show, and The Beatles were there, The Stones, all of these luminaries: Everybody who was anyone was in London at the time, ...Pete Townshend, ...it was packed to the rafters with every known famous musician in London at the time.

I met Jimi when he first arrived. He didn't have a place to stay, and quite frankly, I was wondering what he was going to do.

We, ...we were rehearsing in Soho, it was one of the many psychedelic bands I'd put together, I might have been playing with a band called 'Yellow Passion Loaf'.

(Laughter!)

...Actually we supported Pink Floyd quite regularly, so bad name, good band. HA!

Earl: No worse than 'Atomic Rooster'. :lmao:

Tony: No worse than Atomic Rooster! It was sort-of 'pretend' hippiedom. All of that stuff obviously happened in America first, then we translated it to London, I think we had a bit more style than America did at the time.

I remember being involved with a friend, selling kaftans, beads and bells, and it was fun, but we were probably more capitalist than you guys at that point. The hippy philosophy kind-of went over my head.

Earl: So were you a Mod, a Rocker, or a Mocker?

Tony: I was a 'Mod'. I had the Lambretta Scooter , I wasn't a 'Vespa dude', I had the Racoon tail flying off of my arial. Right out of Quadraphenia.

Earl: So where did you have your first 'real' gig?

Tony: It was a place called The Bag Of Nails. Then there was Blaises, where YES had their first gig.

We lived in a townhouse together. I lived upstairs with Jon and his wife, Chris lived in the basement. I remember the constant smell of chips between our two rooms. Peter lived there...

Earl: Didn't Robert Fripp live there as well?

Tony: Maybe. Ian Wallace was there: All of those great lyrics, for us AND Crimson. David Foster was the co-writer on the early YES stuff. We eventually wound-up in the band, BADGER. He lived there, and it was pretty much a commune.

Earl: I heard that Robert Fripp was being bantered back and forth as a possible lead guitarist for YES. Is that true, or a rumor?

Tony: No, no... Peter was The Guitarist of the band from the start. Robert Fripp was never a contender as far as I know...

Earl: Did Peter Banks come-up with the name 'YES'?

Tony: Yes he did! It was his idea... I remember him bringing it to the guys, ...'Most positive name of all', etcetera...

Peter Banks named YES YES. No question about that.

(To be cointinued!)

[gitsy]

More please more!

Sorry Earl if I sound greedy but I want more.

[neilius]

This is great! What a wonderful opportunity to have a pint with Mr Kaye!

More please Earlie!

[luvyesmusic]

Tony should be a knight. What a great guy and what a great interview ( so far), Earl. I WANT MORE!! :-)

[relayerjim]

Excellent interview Earl!
...looking forward to MORE :lmao:

[flep]

Wonderful Mr G

An early Christmas present for us all here.

Thank you!!!

[Malcolm Birkett]

Another great scoop for the Poet Laureate of Yesfans!

I am already enthralled!

Takes me back...waaay back.

The original the legend TK!!!

'Tony Kaye!'

'That's what I'm saying!!'

So fabulous, Earl, that you have managed to engage in this way with Tony!

This man has known the world and his dog in a plethora of musical genres.

Ask him about Engelbert Humperdink for example!!! (they both originate from Leicester you know!)

Seriously...riveting stuff so far...bring on the next instalment!!!

[Earl Grey]

Thanks you guys!

I've just begun here, the interview was a little over two hours long! ...I'm simply transcribing it from my digital recorder, so I'll kick-in a bit more of the interview today.

Earlie Gee:yesbird:

[Ajay]

Thanks so much for this. I am really enjoying reading it. I am really interested in his tales from the 60s.

[relayeire]

At times it's been frustrating. YES has a revolving-door policy as to members. Beware, if your love for the band hangs on one particular player or another, as no one is safe in this earthy brew.


they are the Saturday Night Live of rock bands, and not everyone likes every cast member... some prefer the early days, others the more recent stuff...

great info, Earl! I thought Fripp had been considered not as the first guitarist, but as the replacement for Banks... better to have Crimso and Yes with Steve Howe, to my mind...

looking forward to more...

[yesanneyes]

Thanks you guys!

I've just begun here, the interview was a little over two hours long! ...I'm simply transcribing it from my digital recorder, so I'll kick-in a bit more of the interview today.

Earlie Gee:yesbird:

Can't wait to read the rest. Thanks Earl!

[kirk]

Hey this is cool!
It's not only great info on the formative years of Yes,
but the Brit Hippie days...Brippies?!

So much creative energy.

K

[Bugeyes]

:D Thanks Earl!

And thanks to Mr. Kaye too. :D

[luckeydoug1]

Tony is my favorite of all the Yes keyboard players. Maybe it is partially because I got my start as a rock keyboard players in the late 60s on an organ, and then later 'graduated' to the synths. Even now when I have a chance to gig I still prefer the organ patches on my current keyboards and the rifs I can create. (Then again, maybe it is just because I love his style :D) I am very glad that Billy encourged him to be involved with the Circa: project.

[Earl Grey]

OK then... The interview continues!
~~~~~~~~~~~

Earl: So, wasn't Pink Floyd sort-of the house band at The Bag Of Nails?

Tony: No, no... It was kind-of a chi chi nightclub, my recollection is a little fuzzy, but it was the first place I got to hear Jimi play live. Sly and The Family Stone was to play there one night, and they cancelled-out at the last minute. That gig was our 'coming-out' gig, our first really big gig.
We all lived right around the corner, and our manager Roy Flynn who was the maitre-d of the Speakeasy, was also hooked-up with Blaises. So because of Roy we actually got that gig, which was really high profile. There were a lot of various celebrities there that night.

Everyone came out to see Sly, but they got YES instead.

We lived five minutes away from the club, so we packed all of our equipment up, it was all at the last minute, I don't think the cancellation ocurred till late. We were fortunate enough to have lived very 'locally', so we were there in a matter of minutes.

That night we were playing to the likes of Paul McCartney, and other various people of note, and we were playing this sort-of bizarre music of the time.
We played a lot of covers in the inimitable YES fashion: A lot of crazy Beatles songs.
We didn't have that much original material, so we worked-up these crazy arrangements for 'No Experience Necessary' by Richie Havens, Steve Stills' 'Everydays'... A lot of that went on the first album. IT was all in the arrangement, which became a standard for all of the YES music to come down the line, but that was really the start of it, taking these simple songs and creating very intricate arrangements.

Earl: The arrangement was the thing.

Tony: Yes, we'd extend the instrumental parts, and really stretch-out. It was sort-of a jazz philosophy going on there.

Earl: I always wondered why YES didn't record an entire album of cover-songs, I man, you guys were really good at that... I LOVED the version of Paul Simon's 'America', which, of course, you originally played on: There's that recording from the Gothenburg show.
Rick Wakeman kind-of nipped all of your parts there!

Tony: Yeah, but you know, Rick is a great guy, and an amazing player.

Earl: And funny as hell too! How did that go, playing on stage together during the Union tour?

Tony: Yeah, Rick is always a laugh a minute. And we've always been pretty close friends. And we absolutely had no problems putting all the keyboards together, he'd play what he was good at, and I'd play the things that I was good at, and there was never any problem delegating who was going to do this or that...

Earl: Those Union shows were some of the best that the band ever did...

Tony: It was cool. Most of it worked. And the combination of Bill and Alan really worked. And Steven and Rabin of course... was a little more problematic. (laughter)
But not that it spoiled everything. Generally, for everybody it was actually a very good experience.

Earl: I always wondered what Union would have sounded like if you guys had recorded it after the tour.

Tony: Yeah, but, well... You couldn't predict it. The tour came together because Clive Davis put the album together. And it all coincided, where Anderson Bruford Wakeman and Howe were recording way before we went into the studio. And Trevor had written and produced a bunch of songs that weren't really ready, certainly not as ready as their stuff.
And for whatever reason, Clive decided that their album needed spicing-up, or different songs, and frankly, he was a big fan of Trevor Rabin.

So just by sheer destiny, the two kind-of came together. The bands really had little to do with it.
We were signed to Atlantic, and our contract had just expired. And ABWH were on Clive's label, Arista. So, when that was put together, they put it to us to do a combined tour, and if my memory serves me right, there was sort-of an assumption that the tour wouldn't do very well.
But it did extremely well, on the road.
The album not so much, but the tour exceeded all expectations.

Earl: Rick always jokingly referred to it as 'Onion'!

Tony: Yeah, The Onion Tour. There's Rick's sense of humor again!

Earl: I think RIck quite enjoyed the tour, but not the album so much.

Tony: Well, what went on, as to the keyboard players and guitar players, a lot of people were brought in, for whatever reason.
But the upside of all that is that we met Billy Sherwood, and Jimmy Haun. Jimmy was a session player here, and he was brought in because he knew the producer, Jonathan Elias. They were all friends, and I think Michael Sherwood worked on it as well.

But Jimmy definitely played a lot of the guitars on the album...

Earl: Jimmy is such a fine player, he really should be a household name.

Tony: Jimmy is a fantastic guitar player. He does it all. He can do all of the Howe stuff, all of the Rabin stuff, but he's a great guitarist in his own right as well.
The great thing about Jimmy is that, as you say, he has all of the chops. But he's his own man as a musician. He can back-off too, so his music can be very fluid and melodic. It's not all Eddie Van Halen, or even Steve: All the crazy guitar players, he can do all of that, but he has a sense of what a particular song requires, so it's not all over the top.

Earl: Well, back to YES. It seems like the band has always had a revolving door policy, there's been close to twenty different members in the band over the years. You can't really favor one musician over another, because they might not be on the next album!

Tony: I was going to say, except for Jon and Chris, but then the whole ABWH thing was pretty much a Squireless YES, and of course the current tour doesn't include Jon.

Earl: There was the Drama album too, where Trevor Horn was the singer.
I've learned over the years that I can't get too precious about one member or another... I was always a huge Steve Howe fan, and it took some time for me to wrap my head around the Trevor period. Of course, I love it all now.
Of course that was a great time for you, and how can I put this, it must have been a great affirmation for you, YES having their biggest hit when you came back, 'Owner Of A Lonely Heart' was YES's first hit to reach #1 on the charts wasn't it?

Tony: Yes, I believe it was. And backing-up, the history of people coming and going is obviously one of the things that happened to YES. And the timing of that was perfect, with the replacement of Trevor Horn.
Now I liked the album...

Earl: 'Drama'?

Tony: Drama. The album was fine, but carrying it off live wasn't the best thing YES ever did. I was in Miami recording with Badfinger, when that tour came to town. And coincidently I was living in a house in Key Biscaine, and was neighbors with Chris's wife.
And being in adjacent houses, we met-up before the tour came to town. And after the show, Chris came back to the house to hang-out, and I was there.

And, you know, the show wasn't quite the appropriate Yesshow. Chris and I talked about it for a while, way into the early morning, and Chris said, 'Would you fancy getting back together?'
And I said that that might be interesting, what exactly are you thinking of?

And Chris said, 'I don't know, but Id like to do something.

And of course they went home, and he and Alan started playing with Jimmy Page: the XYZ thing that didn't really get off the ground...
Right around that time, Trevor Rabin was in town, auditioning for Asia, either as the singer or the guitar player, but whatever it was conflicted with what Steve Howe was thinking, as to what Asia was about.

Earl: I couldn't imagine Steve Howe AND Trevor Rabin working in such close confines!

Tony: (laughter) Yeah, I think he was auditioning as a vocalist, but of course Trevor is primarily a guitar player, and I'm sure Steve didn't want Asia to have another guitarist in the group! So that didn't quite work-out.
Steve, of course, has done wonderful things throughout his career. And Trevor, well, what can you say about Trevor? He's multi-talented...

Earl: He kind-of does it all.

Tony: Yes, he does it all, like Billy.

Earl: Speaking of Billy, he told me I should ask you about Steve Howe, that you were instrumental in Steve joining YES.

Tony: Peter Banks, for whatever reason, quit the band. I'm not entirely sure why, it certainly wasn't something I wanted. I wasn't part of the decision to let him go.
But he left, and there was no other guitar player in mind. There wasn't someone else waiting in the wings.

I was doing my nightly haunt of the Speakeasy one night, and there was a band playing called Bodast, which was Steve's band. And they were rocking the joint. And I thought he was an excellent guitar player.
I approached him after the show, and suggested that he should join the band.

Earl: It was that easy?

Tony: It was that easy.

Earl: What song did you guys first play together?

Tony: God, I have no... recollection.

Earl: Did Steve just learn all of Peter's guitar parts, or...

Tony: No, we started right-off working on new material with Steve, which all wound-up becoming The YES Album. And I don't really remember us doing gigs at the time, where he had to reproduce anything that Peter was doing.
So we went out to this little country house, which became Steve's house, ...he still owns it to this day. And we worked-up all of those songs there.

(to be continued)

[Yes.2]

Holy moley Earl!

You might very well be my fav writer! Your style and manner is quite comforting.

[Earl Grey]

Holy moley Earl!

You might very well be my fav writer! Your style and manner is quite comforting.

Aw shucks! Thank You.

Well, I'm pretty much just transcribing this. Tony is an eloquent man, and he tells a great story!

...Anyhow, there's much more ahead!

Here's a shot of Tony in front of the pub where I did the interview, 'Buchanan Arms', in Burbank... Literally one city block from where I live!

[pedro skychaser]

great stuff mrGGGGG...........

[yes372]

Great job, Earl. This stuff is fantastic.
Still digging the new grandfather gig? Bet so. Should be a fun holiday at your house this year.
Cheers - Vic

[Silent_wings]

Wow great stuff Earl

[True Believer]

Awesome, Earl! This is sooooo cool!

More! More! More!

[Malcolm Birkett]

Earl!..I frickin' love you!

Hey, the original the legend...I frickin' love you too!!

This is off the frickin' Richter scale!

[YesHut]

Good read, thanks.

[yesyadda]

Earl you are my hero. :D

Copyright this stuff and get it published ASAP!

[Yes.2]

Aw shucks! Thank You.

Well, I'm pretty much just transcribing this. Tony is an eloquent man, and he tells a great story!

...Anyhow, there's much more ahead!

Here's a shot of Tony in front of the pub where I did the interview, 'Buchanan Arms', in Burbank... Literally one city block from where I live!

Is it just me or is he looking better than he has since he was a kid?

Wow! What a lady killer!!!:xolicon42:

[BrianD]

This is a great read Earl!!

[Steve Mahoney]

Well Earl , you have locked me in .
I really like the way this flows in your questions with Tony.
Tony saw HENDRIX!!!!!!!!!!!!!!!!!!

Incredible .

Thanks Earl.
Oh yeah , more please when you have time.

[BEE]

Thanks Earl....This is definitely "The Ultimate Tony Interview".
Good Job!

[luvyesmusic]

Wow, can this interview possibly get any better? Great stuff.

[Malcolm Birkett]

Is it just me or is he looking better than he has since he was a kid?

Wow! What a lady killer!!!:xolicon42:

Trust me! I was around and about in the day...and...

Tony Kaye is/was the biggest ladykiller on the planet!!

Actually, he still is...he has such presence, such style...jeez..I want to know who his tailor is....

BUT he has one of the most equally beautiful band girlfriends/wives on this Earth...Michi and Daniela...whoosh and whoosh and whoosh!!

They are both amazingly beautiful!! TRUST ME!!

[luna65]

Such an interesting read, thank you for sharing, Earl!

But as for this:

Earl: So, wasn't Pink Floyd sort-of the house band at The Bag Of Nails?


...it was the UFO. ;)

[JL]

I've been totally digging the Earl interview series!!!

Thanks Earl, and kudos!

[luckeydoug1]

Great interview... Thanks Earl!

[relayerjim]

Thank you Earl, Great interview!
...a few more of these interviews and you can publish a book

[Doktor Rokster]

Such an interesting read, thank you for sharing, Earl!

But as for this:


...it was the UFO. ;)

It was indeed: pronounced youfoe. I have a friend who spent a lot of time down there and saw Syd's version of The Floyd many times. He saw Hendrix there as well, so was probably down there with TK. I think The Bag O' Nails was more a late night drinking establishment than a music venue. Also, I don't mean to be picky, but I've always understood that after leaving The Animals, Chas Chandler travelled to America where he discovered Hendrix playing Hey Joe in a bar. Chandler offered to become his manager, paid for him to come to England and set him up with Redding and Mitchell. I stand ready to be corrected though.

[rememberer]

Wonderful stuff, EG! Can hardly wait for more of this.

[neilius]

Simply Wonderful, Earlie!

The Doctor recommends a daily dose of Kaye! can't wait to read more!

[bjlevine]

Well Earl , you have locked me in .
I really like the way this flows in your questions with Tony.
Tony saw HENDRIX!!!!!!!!!!!!!!!!!!

Incredible.
Which means he also saw The Syn open up for them.

[MikeYESfan]

Wake Up..Post more!!!!

[yesyadda]

Wake Up..Post more!!!!

Get some coffee down that lad- STAT!

[90125yes]

thanks earl - can't wait for the next part ....

[relayerjim]

Wake Up..Post more!!!!


:dog:

Yeah, what Mike said:lmao:

[Mellotron]

Excellent stuff, Earl.

I think TK may have misunderstood you on the Fripp question, though. It sounds like he thought you were asking if Fripp was considered as guitarist before Banks joined, but I suspect you were asking if Fripp was considered to replace Banks when he left, no?

IIRC, Fripp himself has said he was told later that Yes wanted him to come in and take over the band.

[frosted]

Earl,
Dont leave me hanging like this! I need more!

[Mrsteve]

Great stuff EG! Thank you for always sharing your access to all that is Yes. Can't wait to read more.

[Earl Grey]

Wake Up..Post more!!!!

OK! Awake again... Actually, I have 2 hours of the interview to transcribe in longhand, at work, then I have to type each bit up, send it to Tony (for his O-Kaye! ...mostly just details he wants to fix here and there), then I get to post... So be patient, I swear it will be worth it.

We haven't even touched the surface yet!

Now for the next part of the interview!
~~~~~~~~~~~~~~~~~~~~~~~~

Tony: After I left YES the first time, I also left London...

Although I did have my own band with David Foster, 'Badger', and of course, Badger went on to supporting YES on the next tour.

...We had that Roger Dean cover for 'One Live Badger', so there was still that YES connection.

Rick had joined YES, and they came here to America, and their equipment was impounded at The Heathrow Airport; And I was in a rehearsal studio, rehearsing the band, when Chris and Jon asked if they could borrow our equipment, as they had to rehearse for their own gig.

So we loaned our equipment to YES, and Badger wound-up supporting YES. They were recording their show, so we wound-up recording our set too, which became 'One Live Badger'.

So there wasn't really any bad blood between anybody.

Now I don't know if I would have left YES if it hadn't been for Rick and all that, but I remember not being entirely happy with everything.

You know, it wasn't anything specific, but just in general, it wasn't happening for me.

When I left the band, I was already writing with David FOster, who had been the bass player in Jon's original band, The Warriors.

Earl: He co-wrote Time And A Word?

Tony: Correct. You see, within YES there were quite specific leaders, it was pretty much Jon and Chris calling the shots. And you know, it was nice being able to do my own thing, and having more control over what was going on. It wasn't very successful, but we were all friends, and it was a good experience.

Earl: So when you were all living in the same house, it must have been a bit like The Beatles in HELP...

Tony: It was very communal.

Earl: Was it an artistic refuge, or sheer madness?

Tony: It was sheer madness. With so many there...
Fortunately, there was this actress who owned the townhouse, and she put-up with all of that intense craziness. I mean, there were people living there who weren't even supposed to be living there... Climbing up the outside of the building to toss-down for the night.

But basically, it was Chris on the bottom, and Jon and myself on the top, and a lot of goings-on in between.

Earl: So I mentioned Robert Fripp earlier, and maybe that is just a rumor...

Tony: No, he could very well have been living there for a while, I don't know.

Earl: Because if Fripp had joined YES, it would have been a very different band.

Tony: Crimson was a fine band.

Earl: And they had a revolving-door policy as well.

Tony: Sure. The first time I heard The Crimson, they were playing at The Speakeasy, and they were a great band.
We all went to hear them one night, and there was a general consensus that they were definitely competition. But of course, there was a lot of competition.

Earl: Was there a feeling of community between bands, or was it all competition?

Tony: Oh, it was pretty much all competition. It was like a ball game in a way, and of course The Nice were doing one thing, Keith was just forging new frontiers for the Hammond...

Earl: Shoving swords between the keys... (laughter)

Tony: Well yes, he certainly took things to extremes.

Earl: You were certainly no slouch as to showmanship, rocking the Hammond back and forth, ending with a flourish.

...Then there was Rick's cape.

Tony: Well yes, Rick had his thing, the cape and his long blonde hair.

Earl: Back then, did you have an aversion to synthesizers?

Tony: I wouldn't play synthesizers, or mellotrons, at the time: Although I DID buy a Mini-Moog and a Mellotron to play in Badger.

I was obviously aware of the technology, ant the fact that it was one of the reasons they wanted Rick in the band. He was doing that.

I wasn't really a purist for The Hammond and the piano, but the technology of that stuff just wasn't very advanced yet. It sounded out of tune to me. Keeping the mini-moog in tune, well, I thought it sounded a little strange.
It's there on the Badger album, but 'live'? I think it only lasted for, maybe, three gigs.

I had the mini-moog stacked on top of the white mellotron, we were playing on a very high stage one night, and I literally kicked it all off of the stage!

It was just annoying to me, it wasn't in tune, it didn't sound right. I mean, if you are going to re-create the sound of an orchestra, it had better sound like an orchestra.

Of course, Rick had developed a more sophisticated version. Instead of tapes going around a magnetic head, he developed an 8-Track version, with 8-track tapes in it, which was a little more successful.

I just didn't care for the sound, until the 80's. Then we had the Rolands and Yamahas.

Once it became digital, it became a different thing.
Then I could get into it.

But the old technology, to me, what epitomised that sound was 'Nights In White Satin'. And, you know, it's not one of my favorite sounds.

Earl: So Tony, did you come from a musical family? How did you gravitate to keyboards?

Tony: Well, I learned piano from my Grandmother, who was a Classical pianist. She taught me, then I took lessons, and I became a classical pianist. I was going to go to The Royal School Of Music, but Rock and Roll got in the way.

Earl: How did you first become intrested in playing the Hammond B-3?

Tony: I listened to the great Hammond players, Jimmy Smith, Booker-T, and I loved the instrument from the early days, The Animals, The Dave Clark Five...

When the Vox Continental came out, I HAD to have one!

Of course, it wasn't a Hammond. The Vox was the cheap-version of A Hammond,
but it wasn't a piano.

In one of my first bands, 'The Federals', well, we were an Irish show-band. We played the hits of the day, quite a few people on-stage, and we normally incorporated a comedian-type guy who played the trumpet. We were pretty successful.

Earl: Sounds like Spike Mulligan to me!

Tony: Yeah, a little bit of that. So then songs like 'Telstar' came out, and I actually had one of those little one-octave organ-simulators.
And I'd play that: It became one more sound.

'Telstar' was about the only thing you could play on it!

Earl: What did your Grandmother think when you went from Bach to Telstar?

Tony: It was a gradual process. You know, I played in a traditional jazz band.
Then I played in my home town in a Big Band called The Danny Rogers Orchestra, which was an eighteen-piece orchestra.

We were playing Count Basie and Ellington.

Then I played in a traditional New Orleans Jazz band,
...so it wasn't such a shock by the time I got to Rock & Roll.

Earl: I also hear a lot of R & B in your playing.

Tony: Yes, when I was really young I played in a local band that was very much a Rhythm and Blues band.
I had a friend in London who taught me the elementary blues on piano, but the organ, now I just loved that sound.
It was mostly being used in jazz at the time. Booker-T was more on the 'funky' side.

My chief inspiration on a Rock and Roll level was The Graham Bond Organization.

I went to see Graham Bond playing with Jack Bruce and Ginger Baker, and it made quite the impression on me. THis was back in 1964/65.

Graham had the Hammond B3 with the leslie cranked-up, and I thought to myself, 'Now THIS is it!'
It was a revelation, an epiphany for me, on the B3.

Even though I was a big fan of Georgie Fame, and these guys who were playing more of a straight ahead jazz-thing, Graham with Jack Bruce and Ginger Baker were breaking new barriers on that level.

It had power, and it really rocked.

Earl: Ginger wound-up playing with Stevie Winwood, in Blind Faith, another Hammond guy...

Tony: Well, Stevie had that big hit with The Spencer Davis Group. Then there was Crash Hammond, and that was really it.
Nothing from America yet, well The Doors, but he had his own thing. But that was a Farfisa organ, not a B3.

The B3 just has that power to it.

Earl: Have you ever considered hauling a B3 on the road again?

Tony: You know, unless there was a lot of money, and a bunch of roadies, probably not.
I still have one though.

I used it on the first CIRCA: album.

But for the road I use a Roland VK8 Split-Hammond, crank-up the leslie, and it works.

It's not a B3, but it's close.
~~~~~~~~~~
(To be continued)

[Malcolm Birkett]

Fabulous again Poet Laureate! Thank you so much!!

My God this sooo takes me back...feeling very nostalgic reading this.

Ah, Graham Bond...the Graham Bond Organisation...

I remember when I was fortunate enough to speak to the original the legend TK last July before we headed for the Piper-Grey gig at Kulaks, I brought up Graham Bond in the conversation we were having about the old days and all the old bands I/we had seen. TK's eyes gleamed and he was just praising him to the hilt, certainly one of his inspirations.

I also mentioned seeing Pete Brown's Piblokto (of Cream lyrics fame)...like I said, this is a real nostalgia trip for me and I can't wait for the next instalment!

[BrianD]

This continues to be one fantastic interview Earl - keep it rolling mate!

[marklovesyes]

Totally digging this, Earl. Many thanks to you and Tony.

[Altres]

Earl, thanks for;

1. Doing the interview
2. Transcribing it
3. Being a total island of sense and decency in this f*cked up world.

Have a great Christmas and keep it coming,

Brian

[yesyadda]

We're talking Pulitzer here! :D

Very in-depth and professional. :thumbs:

[luvyesmusic]

Earl and Tony, you two are making me believe that there is a Santa Clause. Great questions. always wondered how he got to playing organ and I definitely recognized the real B3 sound on the Circa album. I'm assuming there are two David Fosters out there involved in music.

[kirk]

B.E., you should see if Keyboard mag would be interested
in publishing this.

Top drawer all the way bud!

K

[edarnold]

Fabulous interview! Insights aplenty on Yes history! Fantastic work! Thank you!

[JL]

Great stuff Earl!

If only all such interviews could be conducted by an informed, intelligent, passionate reporter!

[AmyK]

This is just awesome, Earl! You're actually providing firsthand Yes history from one of the greats! I've always admired Mr. Kaye, but was perplexed about his ins and outs with Yes. I'm pleased when he left the first time the reasons were truly artistic and not bad blood :)

[Mind Driver]

Great stuff, Earl. Keep it coming!

Hope you have a Merry Christmas, and give Lisa a hug from Rita and I....oh, and hugs for you too!

[Silent_wings]

Way Cool Kiddo!

[MikeYESfan]

More!!!!!

[90125yes]

thanks earl

[ToBeOver]

Some great info here, Earl! Another great interview, so far and I'm looking forward to you posting the rest of it! ;)


:keyboard:

[Vic W.]

Me too. :)

[Vic W.]

Hey, did you guys know that John Anderson's I.Q. is 126? I just saw it at the bottom of the page...

[yesyadda]

More!!!!!

Earl's off somewhere cutting a magazine deal. :D

[Earl Grey]

Earl's off somewhere cutting a magazine deal. :D

Ah, I'm actually just waiting for the illustrious Mr Kaye to give me the OK to post the next part of the interview (Tony is currently in rehearsal for CIRCA:'s upcoming tour, so I/we must be a little patient here!).

...But the next part of the interview may be the BEST part. Tony really opened-up to me concerning his involvement in YES during the early years, and I have some 'scoops' you've never heard before (Hell, I never heard this stuff before, and I thought I knew everything about the band!).

So, please be patient, it will be worth the wait, I promise!

Hugs and :hearts:
Earl:rightG:

[CybrKhatru]

Awesome Earl. Lookin' forward to it man!!

[relayeire]

bated breath here!

[edarnold]

Thanks Earl! Look into that magazine deal! Great stuff!
Happy New Year!

[desiderata]

Thanks so much, Earl, for sharing this with us--I don't think I've ever read anything where Tony sounds so relaxed, and it makes for great reading. It's one of those rare times when the person being interviewed REALLY has something to say and the interviewer REALLY knows what they're talking about! :appl[1]: :appl[1]: :appl[1]: I can't wait for the next installment!

[Sonny G]

Good Job Earl! This has been a good read so far, I like to see the rest.
Thanks Again
Sonny G

[allgoodyes]

Well done, Earl. Thank you.

[Kevin Still]

Thank you for a job well done.

[Malcolm Birkett]

Multitudinous gratitudonous....to you Poet Laureate... GREAT interview.

At long last...at long last...at long last...(frickin' three times Birkett again!)..the original the legend..."THAT'S WHAT I'M SAYING"

TK has been there, seen that, done that, been there again, bought all of the t-shirts throughout 45 years of pop/rock UK/USA music...a veritable hive of industry and incredible font of knowledge...

Hey Earl...he has such charisma too doesn't he?

We all celebrated his birthday in viva Las V last January...and ...oh what a night...and the incredibly delightful and divine and delicious Daniela was there too..!!

As I intimated earlier in the thread, I was so lucky enough to have been with him before your gig at Kulaks...OK..I don't like publishing this fact...as I think all the guys trust me to be discreet...BUT...there is so much rubbish talked about the original the legend...hey folks...er...the first three albums!!!!...which included The Yes Album...HELLO!!!...hey, he was then absolutely legendary for me..and then the Rabin years...

Anyway Poet Laureate...GREAT interview...and TK...if you are on here...thank you ever so much for the ride and the chat...I will never forget...

HEY!...you are such a bimbler!!

I will see you and Duchess D. soon, oh very soon!

[pianozach]

Earl and Tony, you two are making me believe that there is a Santa Clause. Great questions. always wondered how he got to playing organ and I definitely recognized the real B3 sound on the Circa album. I'm assuming there are two David Fosters out there involved in music.

Yes, there ARE two David Fosters, and I can never figure out which one is which.

Multitudinous gratitudonous....to you Poet Laureate... GREAT interview.

Ditto. Thank you Earl for hobnobbing among the stars. :beerchugr:

[kirk]

Yes, there ARE two David Fosters, and I can never figure out which one is which

Grand Piano? check. Josh Grobin in tow? check.
The rich one. ;)

K

[Mike Watkins]

Here's a shot of Tony in front of the pub where I did the interview, 'Buchanan Arms', in Burbank... Literally one city block from where I live!Looks like Tony still loves those leather jackets! It looks just like the one laying on the keyboard in The Yes Album cover.

Funny what images one remembers.....

Great interview Earl.

[Earl Grey]

Thanks so much, Earl, for sharing this with us--I don't think I've ever read anything where Tony sounds so relaxed, and it makes for great reading. It's one of those rare times when the person being interviewed REALLY has something to say and the interviewer REALLY knows what they're talking about! :appl[1]: :appl[1]: :appl[1]: I can't wait for the next installment!

Thank you for the thank you!

Shucks, it was nothing really. Who wouldn't want to talk with Tony? It's a rock and roll dream come true, quite frankly.

Tony is always relaxed, I've never seen the man when he was less than magnanimous and kind.

I've noticed that Tony never has a bad thing to say about anyone.

He's just a good hearted guy, and it's easy to forget that you're talking with a rock legend while speaking with the man...

Every once in a while, I'd nearly have to pinch myself, to remind myself, 'Hey Earl, this is the guy who played on Starship Trooper, Perpetual Change, Owner Of A Lonely Heart, etc etc!

...so many amazing songs, it's the soundtrack that runs through my head so often, so often that it's probably encoded in my DNA by now...'

So, the pleasure truly is all mine, and to have the honor of sharing this with you, all of my dear-hearted friends: Well, it simply doesn't get better than this.

Hugs and love to you all,
and a Happy YesYear!

:hearts: Earl:beerchugr:

[Buglunch]

I saw a website of a guy working on Tony's B3, with video, don't have the URL anymore,oops. Always preferred my 1948 Northern
Hammond BC with the chorus slider.
=======================================
The famous David Foster is a Canuck from Victoria, just south of me and Badger's D.F. is a Brit- that's the easy way to remember.
=========================================
Kaye's a good source of info and I don't know much about him; this is a great interview!

[pedro skychaser]

I saw a website of a guy working on Tony's B3, with video, don't have the URL anymore,oops. Always preferred my 1948 Northern
Hammond BC with the chorus slider.
=======================================
!


heh bug-how's your birotron goin'???

======================(heh that's my thing fella!) :xolicon42:

__________________________________________________ ___

[kirk]

I saw a website of a guy working on Tony's B3, with video, don't have the URL anymore,oops. Always preferred my 1948 Northern
Hammond BC with the chorus slider.
=======================================
The famous David Foster is a Canuck from Victoria, just south of me and Badger's D.F. is a Brit- that's the easy way to remember.
=========================================
Kaye's a good source of info and I don't know much about him; this is a great interview!
I own a '53 M-3 in black laquer w/ the Selectone option,
a matching PS-20 tone cab., and bench.

The thing still weighs more than a coffin, but it delivers
that tonewheel sound.

K

[Buglunch]

heh bug-how's your birotron goin'???

======================(heh that's my thing fella!) :xolicon42:

__________________________________________________ ___

Git yer carcass over to Wakeychat next time it's live and I'll fill yez
in.

[relayeire]

Yes, there ARE two David Fosters, and I can never figure out which one is which.



David Foster #1 - English, member of The Warriors, co-writer of TAAW and Sweet Dreams

David Foster #2 - Canadian (I believe), creator of Muzak for St. Elmo's Fire, producer of highly commercial, late-Pete Cetera-led Chicago music...

Jon has worked with both...

[yarstruly]

Excellent interview...Mr.Earl!

[yarstruly]

-helllo every body !!!!!!!lol

[marklovesyes]

Just doing my regular check on this thread for more TK interview...

I'll be back later today.

[Sonoacustico]

Thanks for posting it Earl, it's just Fantastic! can't wait for next chapter :)
Cheers all the way from Chile and happy new year to everyone!

Claudio

[Kevin Still]

I saw a website of a guy working on Tony's B3, with video, don't have the URL anymore,oops. Always preferred my 1948 Northern
Hammond BC with the chorus slider.
=======================================
The famous David Foster is a Canuck from Victoria, just south of me and Badger's D.F. is a Brit- that's the easy way to remember.
=========================================
Kaye's a good source of info and I don't know much about him; this is a great interview!

I didn't see where anyone else posted the link in this thread so here you go. Enjoy!
This is a nice little hold-me-over until Earl is allowed to post the next part of the interview.

http://www.youtube.com/watch?v=gxL6-D69Fi8

[Kevin Still]

I own a '53 M-3 in black laquer w/ the Selectone option,
a matching PS-20 tone cab., and bench.

The thing still weighs more than a coffin, but it delivers
that tonewheel sound.

K

I have a 1950 C-2 with TrekII percussion and a direct box so I can run it straight into a Leslie emulator because I can't afford one right now.

[Earl Grey]

I didn't see where anyone else posted the link in this thread so here you go. Enjoy!
This is a nice little hold-me-over until Earl is allowed to post the next part of the interview.

http://www.youtube.com/watch?v=gxL6-D69Fi8

Cool! Thanks Kevin.

I spoke with Billy this am, and Tony has been immersing himself in the new material, and hasn't had time to do much else, but I've been assured that it's only a matter of time, and I'll have the rest of the interview up.

Sorry about the wait you guys!

Hugs,
Earl:yesbird:

[erik_1099]

I think we can wait....barely! But the previous parts have given us a lot to "chew" on, very interesting and insightful.

[Earl Grey]

Here's the next bit of the interview!

(A big Thank You to Tony, who took time from his busy rehearsal schedule to double-check everything!)

Here Goes!:

~~~~~~~~~~~~~~~~~


Earl: So Tony, I wanted to ask you about some of those early Yessongs:

'Something's Coming' comes to mind. Who came-up with the arrangement of that one?

Tony: We all sat around in a rehearsal room, and threw it in. Jon was a great inspiration, he really had the

feel for what the early YES was to become, and he had his way on a lot of things, including writing the songs,

coming-up with the ideas to do tracks that had been written by other people, and doing our own arrangements.

We all sat around and worked on things democratically though, as to conception and putting arrangements

together as a band.

But: Jon was very much the inspiration for that. He did what he wanted to do usually, and what he wanted was

an orchestral infusion, into what was basically a Rock & Roll band.


Earl: What did you think about having an actual orchestra included on Time And A Word?


Tony: I wasn't for it. I thought it would be difficult to achieve, and then, how do you play it live?


Earl: I heard there was a headphone problem in the studio. That you guys actually had trouble hearing what

you were playing.


Tony: Haha! Well, there was always a headphone problem, things were pretty antiquated in those days.


Earl: I heard that Bill Bruford couldn't hear a thing.


Tony: Uh-Huh. And so he was just flailing away, yeah. And playing that stuff live was even worse: At The

Royal Festival Hall there was just no real practical way to mike an orchestra.

So, having an orchestra attempt to play live with a rock band, I don't think anyone had ever seen that till then.

I do remember suspended mikes over the orchestra, which was probably a nightmare. ...You couldn't hear

anything, and you couldn't hear the orchestra over the band.


Earl: You didn't happen to be at the Symphonic YES show at the Hollywood Bowl in 2001?

Tony: I wasn't at that one, no.

Earl: At one point during Gates Of Delirium, Jon lost his place: He had to wave the symphony to a stop, ...like

trying to stop a freight train!


Tony: Oh NO! Oh well, it's hard to do that stuff.


Earl: I always thought of YES as an orchestra unto themselves, so I never fully understood bringing in the

strings.


Tony: Well, with Time and a Word: Jon is a purist, and he wanted to play with an orchestra, and so we did.


Earl: When YES went on to play the Time And A Word songs live, without strings or anything, I liked the way

the songs sounded much more. It added an immediacy.

So, how about the song, 'Every Little Thing'. Were there other Beatles songs you played that didn't make it to

the albums?


Tony: No, I don't think so. It was another favorite of Jon's.


Earl: But you were all pretty avid Beatles fans?


Tony: Oh sure, Jon especially, Bill [Bruford] not as much.


Earl: The way you guys arranged things, and made them your own, I would have loved to have seen a full

album of YES covers. I mean, how often can one say that someone covered The Beatles, and it was better

than the original?


Tony: It was just the era, and a few songs that were thrown into the mix... Well, we were trying to find our

way as a band, and we didn't really have a lot of original songs yet that we could play. So that's where the

arrangements came in. But I don't think an album of cover-songs would ever have been considered, not if we

had sufficient material of our own.


Earl: On the early albums with both Peter, and then with Howe, it seems like there was a lot of interaction

between you and the guitarist.


Tony: We were a band where the keyboards were certainly prominent in the arrangement, so there always was

that dynamic interaction between the keyboards and the guitar.


Earl: You and Jimmy Haun are like that too, where you play in tandem.

Tony: Yeah, Well we have taken that to a whole other level with Jimmy, and even more so on the new album.

It's much more dynamic in that way, between the Hammond and the guitar.


Earl: I can't wait to hear it! So, being hypothetical here: IF there had been another album between The YES

Album and Fragile, where do you think you would have gone with the band?


Tony: That's an interesting concept, and one can only speculate. I just don't think it really could have

happened. I mean, obviously it didn't.

It was a strange phenomenon that happened, and one of the reasons why I pushed Steve to come and play with

us was because in Bodast, they were pretty much a straight ahead Rock & Roll band.

Subconsciously or not, I would have preferred Yes to have done something simpler, maybe in the direction that

The YES Album was in, but: I'm not going to use the words 'funky' or 'more rock-oriented', but after having

been to America for the first time, I was digging more American music thqn the semi-orchestral music we were

doing.

I was listening to a lot of American Rock & Roll, R & B... My favorite band at the time was The Band, Garth

Hudson and all... I just loved those keyboards!

Anyway, I was digging that Americana rock, with more of a bluesy edge to it. Not that YES would have done

exactly that, but something more rhythmic.

We had just come-off tour with playing with Alice Cooper, and some stuff with a heavy back-beat. I would

have preferred if YES had explored more groove-oriented music.

Now we did compare to that as to 'heaviness', but sometimes what we were doing sounded a little too 'twee' to

me. (Hums a snippet of 'All Good People').

Earl: But that's a Great rock song!

Tony: Well, sure. The bluesy piano part at the end. But YES was it's own thing, and I don't think that I could

have pushed it in another direction. And Steve, in fact, did a complete turn, and really dove into the

conceptualized vision of YES that Jon had.

Earl: The 'Epic' idea?

Tony: Yes, which I wasn't so into.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

(To be continued)

[True Believer]

Thanks Earl!

More please!

[Earl Grey]

Thanks Earl!

More please!

Thanks Anne!

I'm transcribing the last bit of the interview, and will try and have it up this week!

Hugs,
Earl:yesbird:

[marklovesyes]

I am loving this. Thanks, Earl!

[Malcolm Birkett]

More marvellous stuff Earl! Thanks mate!

Mmmm...I may be wrong here but I have a sneaking feeling that they also covered 'I'm Down', the Macca rocker.

Jon certainly did it with The Warriors - a belting version!!! - and I also thought they occasionally did it during the very early Yes days.

I never heard it at any of those early shows I saw but I didn't see them until late '69.

Hey, who am I to take issue with the original the legend TK?

[Steve Mahoney]

Thanks Earl

[gitsy]

Thanks again Earl, interesting reading.

[Sonny G]

Great job so far Earl!

[flep]

Great read Mr G!!!

[yarstruly]

More marvellous stuff Earl! Thanks mate!

Mmmm...I may be wrong here but I have a sneaking feeling that they also covered 'I'm Down', the Macca rocker.

Jon certainly did it with The Warriors - a belting version!!! - and I also thought they occasionally did it during the very early Yes days.

I never heard it at any of those early shows I saw but I didn't see them until late '69.

Hey, who am I to take issue with the original the legend TK?

I also know I have seen Eleanor Rigby listed in some early sets....

[yesyadda]

Hey Earl, can you give us a little background? Like how did you prepare for this interview? Surley you were working from notes. And how did you approach Tony with the idea.

Thanking you in advance, I remain sincerely yours....


:D

[Malcolm Birkett]

I also know I have seen Eleanor Rigby listed in some early sets....

Yeh...now that you mention it...I also seem to recollect reading that somewhere.

[Earl Grey]

Hey Earl, can you give us a little background? Like how did you prepare for this interview? Surley you were working from notes. And how did you approach Tony with the idea.

Thanking you in advance, I remain sincerely yours....


:D

Hey Gary!

I guess I've been preparing for this interview since I was 14 or so... In my mind anyway. I've always had a lot of questions that I honestly wanted to have the answers to, primarily about early YES, and how exactly they went the direction that they went in ('epics' were sort-of the kiss of death, as to radio-play: How did the band get past the credo you still hear to this day, 'If you want to have a hit, your song should be no longer than 3 minutes long').

I always felt it was a ballsy move for YES to move beyond that old musical adage, and allow the art to dictate the length of a song, 'form follows function'/etc.

So many of the questions I asked were along those lines. Primarily, it was the natural progression of my own burning questions which dictated where the interview itself went.

I did use notes, while trying to keep the conversation loose (I edited-out a good 80 percent of my own 'blather' from the interview!), there was a shape to where I wanted the interview to go. Candor and continuity.

Anyway Gary... I just wrote my questions out in an old molskein notepad, and asked them in an order that I hoped would 'go somewhere' while still remaining a conversation, not just a question/answer session!

I initially asked Tony if he would be into doing a 'sit-down' interview for me a couple of months ago, after the ASIA concert the bunch of us went to.

I had the sense from the start that he was going to be honest and forthcoming, candid and funny, eloquent and honest, as that's Tony's personality! He's just that way.

Again, the pleasure was all mine. I didn't have to research too much, as these were all questions I've carried around in my head for years.

Earlie-Gee!:yesbird:

[marklovesyes]

Hey Earl,
Not to be self-focussed here, but did you get to my question about a solo album?
-mly

[Earl Grey]

Hey Earl,
Not to be self-focussed here, but did you get to my question about a solo album?
-mly

I didn't forget you Mark! ...It's coming-up in the last bit of the interview, but I think I can assure you, you are going to be THRILLED with Tony's answer!

(...I'm transcribing the rest of the interview today, at work!).

Earl:yesbird:

[marklovesyes]

Earl,
I think I love you.
In a YesFan to YesFan sense, that is.
Yer the best,
-mly

[yesyadda]

Thanks for that "behind the scene" look, Earl. :D

[YesFanDon]

Thanks, Earl. This is such a great read! It is so much better than the commercial interviews that we all read - where the interviewer just doesn't know what to ask.

And, Malcom, you're right that Yes did cover I'm Down - although I'm pretty sure it was during the Moraz era.

[erik_1099]

There's a version on the Yesyears box set (early 90s) that is from a 76 gig. Pretty ripping version.

[xlink_nz]

Earl

Excellent interview :)

I would have been keen to hear of his involvement on the Talk album and there after. My understanding is [source Trevor Rabin] is that Tony did considerable work and input for this album and is uncredited as co producer. Also why he left Yes when Rabin did and what his plans were. I read that he wanted to be involved with Yes at the time in a management role...

[Kevin Still]

Thanks for all your work man!

[MikeYESfan]

Forget those musical questions..
How and Why did he always have a Beautiful girl with him..Now and Then?
Lets see that list....LOL

[Malcolm Birkett]

Forget those musical questions..
How and Why did he always have a Beautiful girl with him..Now and Then?
Lets see that list....LOL

You just made me laugh out loud Mikey!!

Yup...that's Cassano!!!

I think I alluded to TKs 'talent' in this particular sphere in one of my earlier posts in this thread.

[luvyesmusic]

Tony is just a "babe magnet". :-)

[kirk]

More marvellous stuff Earl! Thanks mate!

Mmmm...I may be wrong here but I have a sneaking feeling that they also covered 'I'm Down', the Macca rocker.

Jon certainly did it with The Warriors - a belting version!!! - and I also thought they occasionally did it during the very early Yes days.

I never heard it at any of those early shows I saw but I didn't see them until late '69.

Hey, who am I to take issue with the original the legend TK?

Malcolm-

I'm Down, as well as "Money", and a cover of the old
country tune "Abilene" are on the boxed set.

Good call!

K

[Malcolm Birkett]

Malcolm-

I'm Down, as well as "Money", and a cover of the old
country tune "Abilene" are on the boxed set.

Good call!

K

I think 'Abilene' was also the 'B' side of either 'Wondrous Stories' or 'Don't Kill The Whale' both of which were single releases in the UK.

[gitsy]

I have always had a soft spot for 'Abilene' didn't realise it was a cover.

[muff]

Thanks Earl for the great interview and also thanks to Tony for giving his time to share some of his memories from Yesteryear, :D

I remember Yes doing Eleanor Rigby in the early sets they played at Frank Freeman's in Kidderminster, March 69 being the first of several.

When I have been with Peter 'Banks' we have talked at length about some of his recollections of dragging Tony's Hammond up stairs at Kidderminster, how Peter and Tony lived near each other in LA, Tony played again with Peter on Flash album,

Let me also add, it was fabulous to meet Tony and Billy at the Piper Grey gig, while I was visiting in the summer

although late, let me wish you, Earl, Tony and everyone a very Happy New Year,

looking forward to hearing more of your wonderful interview, :appl[1]:

[relayeire]

I think 'Abilene' was also the 'B' side of either 'Wondrous Stories' or 'Don't Kill The Whale' both of which were single releases in the UK.

it was the b-side of DKTW... I have the picture-cover 7" of that from the UK...

I have always had a soft spot for 'Abilene' didn't realise it was a cover.

I thought I saw SH credited as the sole writer? hmm...



EG - this is really great stuff... can't thank you enough... very excited to read the final installment... you know, it's really nice to read an interview with a former and founding member of Yes that's not snide... cough Bruford cough

[Ajay]

I also know I have seen Eleanor Rigby listed in some early sets....

There are two bootleg recordings of Eleanor Rigby. Tony's extended hammond intro can be heard in this video: http://jp.youtube.com/watch?v=9HmRlNTZWFU

Really loving these interviews. Thank you so much!

[kirk]

it was the b-side of DKTW... I have the picture-cover 7" of that from the UK...



I thought I saw SH credited as the sole writer? hmm...



EG - this is really great stuff... can't thank you enough... very excited to read the final installment... you know, it's really nice to read an interview with a former and founding member of Yes that's not snide... cough Bruford cough

It's been a month of Sundays since I heard the tune,
but I'm assuming SH's Abilene is the same as George Hamilton IV's ?

http://www.youtube.com/watch?v=nuvZLJCGRG8

( Sorry about crapping your thread, Earlie. )

K

[Mind Driver]

It's funny how Eleanor Rigby was a cover that Yes did in their early years with TK. When I heard Rick Wakeman on a solo tour a few years back he played it, and told the audience that we would have to listen to it whether we liked it or not because it was one of his favorites.

Great job, Earl. This is extremely interesting.

[Earl Grey]

Well Kids! Here's the last part of this interview (Tony says he would like to do at least one more: :bowdown:)
So without any further ado...
~~~~~~~~~~~~~~~~~~~~~~~


Earl: We were speaking of 'epics', Rick Wakeman left YES the first time over the band's longest work, Tales From Topographic Oceans. He said that it was just 'too epic', and he missed just playing songs.

Tony: Possibly.

Earl: I was going to ask you if you would have enjoyed playing with the band during the 'Tales' period, but I guess you just answered my question.

Tony: Well, it was a little rambling. I did see it live.

Earl: Me too. My first Yesshow in fact.

Tony: I liked it. I think they went on to do great things, CTTE, Fragile...

Earl: What's your favorite YES album that you didn't play on?

Tony: Close To The Edge. It's probably still my favorite YES album. It's the one I'd listen to now.

Earl: Eddie Offord did kind-of cut and paste a lot with the master-tape.

Tony: Yeah, he wore-out the sissors on that one!

Earl: Did Eddie do much of that on The YES Album?

Tony: Yeah, yeah. That was the start of it. I remember masses of tape on the studio floor, loops of it everywhere.

Earl: There was some of that on Perpetual Change, who came-up with the fugal/counterpoint bit at the end of the song, right before the coda?

Tony: God, it's been some years. I'm not sure who came up with it.

Earl: So, changing gears a bit, there's the infamous story about the car-crash, where you broke your leg. I've heard a couple of different accounts of the story, would you mind talking about that a bit?

Tony: No, not at all. That epic night. We were doing a gig in the south of England, and in was a really rainy night.
We were about three hours out of London, in a fairly large American-looking car.

I was in the front, navigating for Chris, and the rest of the band were sleeping in the back.

We got onto a freeway that was supposed to be one-way, and failed to notice that the other side of the freeway had closed down, so it was just two lanes.

We were overtaking a large semi-truck, and we hit another car head-on.

Earl: Chris Welch mentioned in his book that Chris actually had nodded-off...

Tony: No, that happened on another occasion. But that night we had a combined crash of about 120 miles an hour.
It pushed the engine into the passenger compartment!

We were quite fortunate, the engine came in kind-of sideways, and it hit my leg, and I broke my foot.

We went to some sort of clinic in the middle of the night, and they casted it.
It was fractured, but not shattered...

And we took a taxi the rest of the way home to London.

The next morning I woke-up, and the foot was this big [gesticulates widely with hands]. A friend of mine came over the next morning, took me to a proper hospital, and that's the cast you see on my foot on The YES Album.

Earl: So tell me about the other accident.

Tony: Oh, we were in Germany, on the Autobahn, and Chris fell asleep...

I was in the front, navigating again. I was ALWAYS in the front! And Chris just fell asleep.
We veered off the Autobahn and hit a ditch, which was filled with water.

We were going very fast, a hundred-and-something...

And when we hit the water, according to the police, the spray from the left side of the car actually went over the barrier to the other side of the Autobahn.

Amazingly, everyone was OK.

The police came again, and apparently had told the head of the hospital that there were five girls in a car who stranded in a ditch!

Earl: Your 'long hair' and stage clothes?!

Tony: Correct. We were the '5 girls' they were speaking of! (Laughter)

Earl: (...Sings the chorus of the CREAM song) 'Those were the days, yes they were, those were the days...'
~~~~~~~~~~~~~~

Earl: So, a few scattershot questions, there's a rumor that Peter Banks played a guitar-bit on the song 'A Venture' that actually made it to The YES Album. Is there any truth to that?

Tony: No. That's all Steve Howe there.

Earl: You mentioned your favorite YES album was Close To The Edge, what's your favorite YES album that you were part-of?

Tony: Probably 'Big Generator'.

Earl: On 'Rhythm Of Love', there's that wonderful intro. It changed from studio track to remix, and was something entirely different again live. How did that come about? Who's idea was that?

Tony: Well, it was Trevor and I there. Because of the way the rehearsals went down, Trevor and I recorded the album at his house before we went to Europe together, so that was just the two of us, kind-of like the way we recorded TALK.

So in the writing process, I had more of an input in the initial writing, and in the way the song itself started.

There were a couple of different ideas, where we opened the Big Generator tour with 'Rhythm Of Love'.
So we put that weird extended sampled horn-section thing together, to play as Jon was walking onstage.

Earl: Like a little Fanfare?

Tony: Yes.

Earl: Did YES have a hand in all of the remixes of the song?

Tony: Not me. I don't think anyone who was actually in the band had much of a hand in the remixes.

Earl: That last question was from a member of Yesfans.com, and here's another one: Would you ever consider rejoining YES?

Tony: Haha! Well, considering what went down a few years ago in a certain court of law, which we probably shouldn't go into...

Certain people weren't very happy about my trying to recover royalties that were owed to me.

Feathers were ruffled, and I doubt if it will, well...

It wont happen.

Earl: People have gotten over that stuff in the past. You really think it's unreconcilable?

Tony: It happens in a lot of bands. It happened in my favorite band, 'The Band'.

They went through it.

It's not just finances, but credit should be given where credit is due; And when people move-in, and target to get the greater share, it's just unfair.

Earl: I spoke with Patrick Moraz once, and he mentioned how he'd written a large chunk of the 'Going For The One' album.

He mentioned 'Awaken' in particular...

...That he'd written the ascending chords that became the 'Workings Of Man' section of the song, and had never been credited, that he had rehearsal tapes and everything to prove that he had written it, but that he had never received any sort of credit for it.

Tony: Awaken, it kind-of sounds like Patrick too. He's a good guy.

Earl: A sweetheart of a guy.

Tony: A sweetheart of a guy, very very talented, and an extremely gracious person.

Earl: Well, hell. The Beatles went through all of that stuff, so I guess no-one's immune.

I have another question from Yesfans.com. Will we ever get a Tony Kaye solo album?

Tony: There is one in the works, and has been for some time. It's an orchestrated work.

I started writing it the day after 9/11 happened, and went into the studio and started writing a piece that actually musically follows what happened that entire day.

Earl: A piano concerto?

Tony: Kind-of like that, yeah. But it has 'Floyd-ey' YES-like moments as well.
Band moments.

I recorded it in my own way, in the studio, and not entirely to my own satisfaction, although, I think with the new technology and my new-found mastery in Digital-Performer, it's becoming easier.

I keep reviewing and re-doing things, and it's getting closer to what I hear in my head.

I think it's very different to do an orchestral album without an orchestra; Because of the purity of what it is.

I'm a big fan of Trevor, and what he's achieving now. But you see, he has the money to do it right, to get that purity of sound. And I think, unless you can reach that level...

Rock and roll is really simple to produce, comparatively speaking.

Earl: There are chamber orchestras out there, you can overdub a chamber orchestra a couple of times, and get a similar effect.

Tony: Sure. It can be done. But to be totally authentic, I think to have a one-hundred piece orchestra is the way to go.

But it's really a work in progress, and of course the subject matter is rather difficult, you know, because of the intensity and the gravity of what it was; To actually reach the level I know it needs to reach.

Earl: Where would you place the album, stylistically?

Tony: Some of it is more melodic, it has Floydian rock and roll moments which kick-up the symphonic parts.

But as we speak, the old studio I had wasn't really up to the task.

But I've really re-vamped that, and it's truly coming together now.

Earl: Pro-Tools and all that kind-of leveled the playing field for people. Hell, even I have a little home studio. I don't know how to use it yet, but I have it!

Tony: Well yes, it's simple once you get the hang of it, and people are doing great things.

Earl: On the other hand, now any little wank with three chords has a record.

Tony: Everyone has a chance to put-out a record now, and if you have the talent to do it, and you know how to achieve what you want, if it's authentic and it's what you want to do, then it's right there.

As to my solo project, I actually go between liking it and sort-of not liking it, which is why I keep going back to re-vamp it.

It IS pretty dark and intense subject matter.

I like playing inspirational music, but I also like to play with a song; With the lyrics, which this doesn't have.
It's purely instrumental.

It's not finished, not quite yet, but it's getting there.

Earl: Are you using classical form in the composition, 'Sonata-Allegro' stuff, or is it free-form in structure?

Tony: Some of it is pretty complex, and some of it is quite simple. It balances-out.

Earl: Is there a name for the work?

Tony: The working title is 'End Of Innocence'.

Earl: Where does all of this fit-in with your involvement with CIRCA:?

Tony: Well, Billy brought me out of retirement, in a way. Before CIRCA: I wasn't really interested in writing again, or going back on the road.

So I owe a lot to Billy, including my taking-up of the solo project again.

Billy originally brought me in for the Pink Floyd tribute recordings he was doing.

Now Billy and I always got-on well together, remaining friends from the TALK tour, onward.

On TALK we actually worked together quite a bit, where he was playing all kinds of things: guitar, keyboards.

We worked on that together, from the beginning, from before the tour. And we've remained friends.

Some time after all of that, Billy called me up and said, 'You gotta come out here and play on my 'Floyd' project.

And so we did 'Dark Side' and 'The Wall', which we both loved.

After that, Billy said, 'Maybe we should put some YES music together, and that's where CIRCA: began.

Now we had some songs that Billy had written with Trevor two of which went on the CIRCA: album.

The original concept was to bring-in people who had played in YES, just as he had brought people in to play on the Floyd covers.

So we went to Steve Howe, Rick Wakeman, and of course Trevor Rabin, but none of that worked-out.

Earl: But CIRCA: certainly worked out!

Tony: Yes it did. We wrote the album, and Alan came in, and he wanted to do it, but then, of course, he had to leave...

Earl: Of course, you have the DVD with Alan on it. And I was the guy in the audience who shouted 'Tony Kaye!' after you played a particularly fine solo. Damn, I thought I might have ruined the DVD with that...

Tony: ...And Billy goes to the microphone and says, 'That's what I'm talking about'.
It all worked-out pretty well actually.

Earl: Well, it was a heart-felt shout-out.

Tony: It sounded like it! (Laughter).

Earl: Well Tony, I think this is the end of this interview. It's been my distinct pleasure.

Tony: We'll go back further. I'm sure there's much more we can talk about, we merely scratched the surface here, and not even a lot of that.

Earl: Oh Captain My Captain.

Tony: My pleasure.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

*FINIS*

[PhaseDance]

An enjoyable read. Thanks, Earl and Tony!

[pedro skychaser]

groovy+++++++++++++with MORE TO COME ______________________-

[Malcolm Birkett]

My heartfelt thanks for this oh Poet Laureate of Yesfans!

Absolutely fantastic read.

Yup, he sure is the original the legend.

Now make sure you take him up on that offer of his to provide you with a sequel!!

[CybrKhatru]

Nice going brother!!! Great to read Tony's reminiscences of days gone by, and to hear about what other music he's writing.

TK is a very gracious guy, very friendly, and very down-to-earth. I suspect you don't find a lot of that out there in the music world.

O Captain My Captain...nice work!!

[BrianD]

Brilliant Earl!

Seems to me K2 is all set up for a gig - get out there and feed us with more from where this came.

[Earl Grey]

POSTSCRIPT

Oh what the hell, I thought I should add a postscript of some-sort, but I mean, ...that was a frikken' interview with Tony Kaye!

But let me ramble-on here a bit anyway...

Whenever the conversation was nearing a particular point of relevance, Tony would bring-out a little cigarette-roller, pour a tiny pyramid of American Spirit into a rectangle of rolling-paper, and roll a perfect cigarette. He would finish the question with a roll and a flourish, and we'd head outside for a smoke.

And while out on the porch of Buchannan Arms, Tony brought-up favorite bands ('The Band' above most things. Levon Helm plays concerts in a barn: Which is something like a manger!).

Tony really loves The Band.

The man has an ear, and an artist's soul.

We jabbered 'politics' (with a small 'p': It never got too heavy...).

Tony is a Libertarian.

He mentioned how the British government had had their hands in everything while he lived in the UK, and spoke of how badly that sort of ideology had worked for him.

Tony is passionate about his views, and surely knew that my own political hefts are a little different from his own. But the man makes sense:

'Too much of ANYTHING is a bad idea.'

That phrase could be an unspoken credo for Mr K.

He's a man of artistry, but he also likes symmetry.

...Exhaling a puff of American Spirit, Tony spoke of Americana, and the eclectic bands that had inspired him, sparking and impelling him through his youth to the now of things.

Tony doesn't want to smoke any funny stuff.

But he insists on buying at least half of the beers you consume with him.

He's a guy you would want to have a beer with: Honest to the default. And he doesn't need to run for office, but probably could.

And hell, I'd vote for him. He's an idea-guy. And THAT my friends, is a breath of fresh air.

Sometimes it's good to meet your heroes.

Earl Grey:yesbird:
2009

[Malcolm Birkett]

POSTSCRIPT

Oh what the hell, I thought I should add a postscript of some-sort, but I mean, ...that was a frikken' interview with Tony Kaye!

But let me ramble-on here a bit anyway...

Whenever the conversation was nearing a particular point of relevance, Tony would bring-out a little cigarette-roller, pour a tiny pyramid of American Spirit into a rectangle of rolling-paper, and roll a perfect cigarette. He would finish the question with a roll and a flourish, and we'd head outside for a smoke.

And while out on the porch of Buchannan Arms, Tony brought-up favorite bands ('The Band' above most things. Levon Helm plays concerts in a barn: Which is something like a manger!).

Tony really loves The Band.

The man has an ear, and an artist's soul.

We jabbered 'politics' (with a small 'p': It never got too heavy...).

Tony is a Libertarian.

He mentioned how the British government had had their hands in everything while he lived in the UK, and spoke of how badly that sort of ideology had worked.

Tony is passionate about his views, and surely knew that my own political hefts are a little different from his own. But the man makes sense:

'Too much of ANYTHING is a bad idea.'

That phrase could be an unspoken credo for Mr K.

He's a man of artistry, but he also likes symmetry.

...Exhaling a puff of American Spirit, Tony spoke of Americana, and eclectic bands that had inspired him, sparked and impelled him through his youth to the now of things.

Tony doesn't want to smoke any funny stuff.

But he insists on buying at least half of the beers you consume with him.

He's a guy you would want to have a beer with: Honest to the default. And he doesn't need to run for office, but probably could.

Sometimes it's good to meet your heroes.

Earl Grey:yesbird:
2009

Touche sir!!

[True Believer]

Awesome interview, Earl!

[Earl Grey]

Awesome interview, Earl!

Thank YOU Anne!

Love you much.

Hugs and Hauns!

Yer' true-blue Mate Earlie:yesbird:

[Mind Driver]

Very nice work, Earlie. You have to get this published somewhere. Its too good not to!

[Earl Grey]

Hey Jimmy!

Thank You.

Hugs,
Earl

[gitsy]

Thanks again Earl, very good interview

[Earl Grey]

You're very welcome gitsy!

My pleasure.
~~~~~~~~~

OK folks. ...I'm willing to interview the Dallas Cowboy Cheerleaders next...

It's a tough job, but somebody has to do it. ;)

:dog:

[flep]

Enjoyed every bit of this Earl.

Any chance of you meeting up with Jon???????

[Earl Grey]

Enjoyed every bit of this Earl.

Any chance of you meeting up with Jon???????

I would LOVE to meet up with Jon.

If anyone knows his number, or his contact person...

;)

Earlie-Gee:yesbird:

[RickyG]

And while out on the porch of Buchannan Arms, Tony brought-up favorite bands ('The Band' above most things. Levon Helm plays concerts in a barn: Which is something like a manger!).

Tony really loves The Band.



I've been in Levon's barn.... those shows are expensive and sold out way in advance, something like 6 months or a year in advance I heard once. He gets all kinds of people to play with him... you never know what "stars" are going to be there.

Has Tony ever played in one of them, or attended?

[tommc]

Thanks Earl. An incredibly enjoyable read! :appl[1]: :appl[1]:

[MikeYESfan]

POSTSCRIPT

Oh what the hell, I thought I should add a postscript of some-sort, but I mean, ...that was a frikken' interview with Tony Kaye!

But let me ramble-on here a bit anyway...

Whenever the conversation was nearing a particular point of relevance, Tony would bring-out a little cigarette-roller, pour a tiny pyramid of American Spirit into a rectangle of rolling-paper, and roll a perfect cigarette. He would finish the question with a roll and a flourish, and we'd head outside for a smoke.

And while out on the porch of Buchannan Arms, Tony brought-up favorite bands ('The Band' above most things. Levon Helm plays concerts in a barn: Which is something like a manger!).

Tony really loves The Band.

The man has an ear, and an artist's soul.

We jabbered 'politics' (with a small 'p': It never got too heavy...).

Tony is a Libertarian.

He mentioned how the British government had had their hands in everything while he lived in the UK, and spoke of how badly that sort of ideology had worked for him.

Tony is passionate about his views, and surely knew that my own political hefts are a little different from his own. But the man makes sense:

'Too much of ANYTHING is a bad idea.'

That phrase could be an unspoken credo for Mr K.

He's a man of artistry, but he also likes symmetry.

...Exhaling a puff of American Spirit, Tony spoke of Americana, and the eclectic bands that had inspired him, sparking and impelling him through his youth to the now of things.

Tony doesn't want to smoke any funny stuff.

But he insists on buying at least half of the beers you consume with him.

He's a guy you would want to have a beer with: Honest to the default. And he doesn't need to run for office, but probably could.

And hell, I'd vote for him. He's an idea-guy. And THAT my friends, is a breath of fresh air.

Sometimes it's good to meet your heroes.

Earl Grey:yesbird:
2009

Wow that was Great Earl..I want more!

Tony is a GREAT Guy...
He is a REAL Star in the history of Rock Music.
I'm so glad the way things are playing out with Tony back in front of YES and Circa: fans. He is getting credit well deserved...finally!

and howe lucky is Matt..he going to learn a few things, on and Off Stage... LOL ..I'll bet...;)

YES

[marklovesyes]

Awesome, Earl! Many, many thanks to you. And thank you VERY MUCH for asking my suggested question "Will we ever get a Tony Kaye solo album?" You were right - I was THRILLED with the answer!!

[relayeire]

awesome stuff... and I have to say after reading this, I am glad the guys lived past the Yes album! no sleeping on the freaking Autobahn!!! looking forward to more stories and music from Mr. Kaye...

[Sunrise68]

Incredible interview - thank you so much Earl for making this happen. Easily the most insightful interview of Mr. Kaye that I have read.

It was interesting to read that Tony's favourite Yes album he worked on is Big Generator - I guess most yesfans would have assumed it was The Yes Album.

Especially interesting in that it seems that in other interviews Tony says precious little about his 2nd time in Yes. I always assumed it was because he is a gentleman and won't say anything if he doesn't have anything nice to say. The conventional understanding was that he was mainly a touring keyboardist in the Rabin era - His comments about his work on Big Generator suggest that isn't true.

In any case thanks again for this wonderful interview with my favourite yesman!

John P

[Melissa]

Earl, thanks for doing the interview and for posting it. I just read it - was waiting for the whole thing to be posted.

It's a wonderful interview and the thought you put into it is evident. You're such a talent, my friend!

[kirk]

Very enjoyable read B.E.
Oh, and if you need a hand sorting your home rig,
you know the door's always open...although it might
require some of that "funny stuff" LOL!

P e a c e

K

[luvyesmusic]

Thank you, Earl. Thank you, Tony.:-)

[Yes.2]

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[Earl Grey]

Thanks So much you guys!

Again, the pleasure was all mine.

Hugs and :hearts:
Earlie-Gee!:yesbird:

[Sonny G]

Again, very good job. Wonderful Stories.

[Yes.2]

This thread is energizing. Kudos master Earl.

[Kevin Still]

Thank you Earl!

[smatt]

Wow, Earl! You been bugging me to read this for sometime....... Amazing job my friend :appl[1]: The few times I've sat with TK and chatted with him, you've captured him perfectly.... He's such a good guy and has this air about him, where he makes you wait for his next bit, because you know it's going to be said in a way that not only provides you with a bit of information he wants to pass, or statement, but with that punchline feeling and wry smile :beerchugr:

Tony's a true talent, he was there at the begging of it all, part of the lifeblood of Progressive Rock... He's been through not only the wash , but the dryer....And of course... then off to the ironing board :headset:


Great man, great interview!

GREAT JOB EARL!

And Thank-You Tony for your musical contributions to my happiness over the past years and of course in the coming years with CIRCA!


:smurf:

[Malcolm Birkett]

Wow, Earl! You been bugging me to read this for sometime....... Amazing job my friend :appl[1]: The few times I've sat with TK and chatted with him, you've captured him perfectly.... He's such a good guy and has this air about him, where he makes you wait for his next bit, because you know it's going to be said in a way that not only provides you with a bit of information he wants to pass, or statement, but with that punchline feeling and wry smile :beerchugr:

Tony's a true talent, he was there at the begging of it all, part of the lifeblood of Progressive Rock... He's been through not only the wash , but the dryer....And of course... then off to the ironing board :headset:


Great man, great interview!

GREAT JOB EARL!

And Thank-You Tony for your musical contributions to my happiness over the past years and of course in the coming years with CIRCA!


:smurf:

Great to see you back around here Smatt!

Always love your posts...you obviously did some part-time work in a launderette!

Hope to see you soon down Anaheim way!

[smatt]

Great to see you back around here Smatt!

Always love your posts...you obviously did some part-time work in a launderette!

Hope to see you soon down Anaheim way!


Malcolm...... Of course I'll be seeing you! I can't wait..... To gather, to sing, to dance, to drink.....It shall be an awesome time!:appl[1]:

[Symbol]

I too waited until it was all online to read this.

Another fine interview, Earl!! Well done, Congrats.


And.....


looking forward to your next one!

[Albedo]

Thanks Earl, it was a great read!

[Vic W.]

Thanks again for posting this, Earl.

Tony: We'll go back further. I'm sure there's much more we can talk about, we merely scratched the surface here, and not even a lot of that.

I guess Tony wants to talk more about the early years of the band. I hope you do that. At some point relatively recently I discovered that the first couple of Yes albums are way better than I gave them credit for, for years. Now I rank them higher than anything done after Going for the One.

It would be interesting exploring what the original musical philosophy of the band was. They recorded some covers which transformed the songs into instrumental extravaganzas in a way that covers usually don't do. I'd be interested in hearing, in particular, if that was something Jon had a hand in, or believed in, or whatever. I always thought it was interesting that the apparent leader of a band that was so instrumentally oriented was the singer who played no instrument.

[ToBeOver]

Thanks for posting the rest of the interview, Earl! Very informative and quite enlightening. I think that throughout the years, people have unjustly underrated Tony's contribution to Yes as a keyboardist and all you have to do is see him live to realize that he has the chops it takes to get the job done and done well, I may add.

Thanks again, Earlie! ;)



:keyboard:

[VentureRG]

I've been pretty scarce around here and just got to read this fine interview with TK. Thanks EG. Always great to hear about the early days.

[RobAdams]

Great and informative interview EG!! Highly enjoyable.

[erik_1099]

Earl roolz.

[Earl Grey]

Ah shucks...

Thanks you guys!

Hey, I just asked questions, Mr Kaye was simply being the illustrious Mr Kaye!

It was an easy interview to do.

A productive artistic life lived in the right epoch, a soul blessed with such a level of talent both sublime and inimitable, well it lends itself to a great interview...

I guess I could've done the old SNL Chris Farley, "Hey, You're Paul McCartney... You played with The Beatles?!" interview...

:ele:

It was easier than pie (I've attempted to make a pie before, it's tough! And just forget me trying to calculate 'pi').

Tony is a sweetheart of a guy, he's thought-full and eloquent.

And he also happens to be one of the greatest Hammond players alive.

An easy interview to do.

Hugs Love & :hearts:,
URLie:yesbird:

[erik_1099]

You could have also done the Colbert approach with Paul McCartney -- "Beatles? Never heard of them. Did they have any hits?"

[JB86]

Wow, I loved your interview! You asked a question about that crazy Rhythm of Love intro they did live on the BG tour...I've been wanting to know about that for years man.

Thank you so much. Now go find Trevor Rabin. :P

[Sharp on Attack]

Earl, if you get to do one more interview, how about asking questions concerning lesser known projects ? The Badger albums (especially the 2nd one with Jackie Lomax which is so good though not yessy at all) and the Detective albums.

[bondegezou]

I'm Down, as well as "Money", and a cover of the old country tune "Abilene" are on the boxed set.

"Money" and "Abilene" are both original pieces, not covers.

The early Yes did, though, also cover "I'm Only Sleeping".

Henry

[YESMAN90125]

Very Well done interesting , informative and covered most bases I would be interested in personally
Thank you for posting this and doing it Earl
A++

[Earl Grey]

Earl, if you get to do one more interview, how about asking questions concerning lesser known projects ? The Badger albums (especially the 2nd one with Jackie Lomax which is so good though not yessy at all) and the Detective albums.

Absolutely~

I'm meeting with Tony again this week, to begin the next chapter in our round of interviews.

Any questions you folks might like me to ask Tony, either let me know in this thread, or send me a PM...

URLieGee:yesbird:

[yesyadda]

Yay!

[Earl Grey]

Yay!

Double YAY! :)

Now, any ideas are welcome here, as to what you'd like to hear about.

I'm going to certainly ask Tony about the new AKA project. I'd love to talk more about Badger, Badfinger, ...playing and recording with Bowie, the 'TALK' album... Updates on any future CIRCA: projects...

...And then what? ;)

eegee:yesbird:

[bleakhouse]

The first interview was so great, I think you ask the right questions,
but an update of his first solo CD would be fantastic.

[Earl Grey]

The first interview was so great, I think you ask the right questions,
but an update of his first solo CD would be fantastic.

Absolutely. I really want to see Tony finish that project. It's probably the most important project of all to me right now.

...I'm listening to 'One Live Badger'. I LOVE that album!

So, I think I'm going to start a 'Questions For Tony Kaye' thread, so it's a bit more high profile than this one, and people kick into it.

All the best,
URLieGee:yesbird:

[bondegezou]

Any questions you folks might like me to ask Tony, either let me know in this thread, or send me a PM...

Your last interview was great, so I'm very much looking forward to the next one!

Questions... so many questions...

I'd like to hear about his experience working with David Bowie on the infamous, drug-fueled Station to Station tour.

There's the period around 90125: first he joins Cinema. What was that early band like? Does he remember a plan to have Trevor Horn sing lead vocals? Then there was the whole Tony leaving, Eddie Jobson joining, Tony coming back thing. What happened there? Why did he leave -- a falling-out with Horn has been rumoured? What role did arguments over the Yes name have? And he had Badfinger plans around the same time too.

Tony didn't have many writing credits on 90125, but he did on Big Generator. I've long been interested in the genesis of that album.

Then Jon left... and then Trevor Rabin left for a period. That's a somewhat murky period. There were sessions with Squire/White/Kaye + Billy Sherwood + Bruce Gowdy apparently: any more on those? Was that a serious proposition? What was it like in that period, running through to Union?

And Badger... One Live Badger is a fantastic album; some of Tony's best playing. And then the second Badger is very different in style, Tony's playing takes a back seat. What was that all about?

Oh... and the beginnings of Yes. Very nerdy question this, but when he joined Yes, was Peter Banks already there, or did he join at the same time as Peter, or before Peter?

Henry

[CybrKhatru]

Earl... maybe you could ask him about Detective.... Tony was a part of this band in the mid-to-late 70s...they were on Zep's label (Swan Song).


Last time I went to Amoeba they were playing a Detective album...good stuff!

[Earl Grey]

Your last interview was great, so I'm very much looking forward to the next one!

Questions... so many questions...

I'd like to hear about his experience working with David Bowie on the infamous, drug-fueled Station to Station tour.

There's the period around 90125: first he joins Cinema. What was that early band like? Does he remember a plan to have Trevor Horn sing lead vocals? Then there was the whole Tony leaving, Eddie Jobson joining, Tony coming back thing. What happened there? Why did he leave -- a falling-out with Horn has been rumoured? What role did arguments over the Yes name have? And he had Badfinger plans around the same time too.

Tony didn't have many writing credits on 90125, but he did on Big Generator. I've long been interested in the genesis of that album.

Then Jon left... and then Trevor Rabin left for a period. That's a somewhat murky period. There were sessions with Squire/White/Kaye + Billy Sherwood + Bruce Gowdy apparently: any more on those? Was that a serious proposition? What was it like in that period, running through to Union?

And Badger... One Live Badger is a fantastic album; some of Tony's best playing. And then the second Badger is very different in style, Tony's playing takes a back seat. What was that all about?

Oh... and the beginnings of Yes. Very nerdy question this, but when he joined Yes, was Peter Banks already there, or did he join at the same time as Peter, or before Peter?

Henry

Thank you Henry. That's quite a complement!

I/We all love and appreciate everything you've done for YES and us fans over the years. I'm a big fan of 'yours' as well!

All wonderful questions, I'll ask Tony all of 'em. Thank you.

(PS: Tony told me that the songs and arrangements for 'One Live Badger' were the product of two weeks of rehearsals, that the entire project was very "immediate". Interesting huh?!).

Best to you,
Earl:yesbird:

[TheMiz]

Your last interview was great, so I'm very much looking forward to the next one!

Questions... so many questions...

I'd like to hear about his experience working with David Bowie on the infamous, drug-fueled Station to Station tour.

There's the period around 90125: first he joins Cinema. What was that early band like? Does he remember a plan to have Trevor Horn sing lead vocals? Then there was the whole Tony leaving, Eddie Jobson joining, Tony coming back thing. What happened there? Why did he leave -- a falling-out with Horn has been rumoured? What role did arguments over the Yes name have? And he had Badfinger plans around the same time too.

Tony didn't have many writing credits on 90125, but he did on Big Generator. I've long been interested in the genesis of that album.

Then Jon left... and then Trevor Rabin left for a period. That's a somewhat murky period. There were sessions with Squire/White/Kaye + Billy Sherwood + Bruce Gowdy apparently: any more on those? Was that a serious proposition? What was it like in that period, running through to Union?

And Badger... One Live Badger is a fantastic album; some of Tony's best playing. And then the second Badger is very different in style, Tony's playing takes a back seat. What was that all about?

Oh... and the beginnings of Yes. Very nerdy question this, but when he joined Yes, was Peter Banks already there, or did he join at the same time as Peter, or before Peter?

Henry

Pete was the last member to join YES .

[Earl Grey]

Pete was the last member to join YES .

Thanks Miz! I wasn't aware of that.

Tony told me as we were getting into our cars, "You know Earl, I didn't want to get rid of Peter. I thought he fit the band beautifully. That certainly wasn't MY decision. We've always been friends."

Just for the record there.

~~~~~~~~~~~~~~~~~~~~

Just a teaser here. Some of the best from the interview wasn't the interview, but Tony talking about the past, between tapings, outside the pub.

Some things are ok to mention, others probably not. But here's a few things Tony mentioned that I think are ok to put out there:

Tony used to follow The Rolling Stones, back before they had recorded. He mentioned how they did all blues covers, and yet how amazing they were, what a sense of authenticity there was about the band... That he wished he could have played with The Stones at least for one tour.

Back in the mid seventies, Tony hung out with John Bonham at the Hollywood Hyatt for two months. It was a bit of a lost weekend!

Tony mentioned how David Bowie had a 'Library Wrangler' on tour, who's job was to make sure that his 100 book library was set-up in every hotel room he stayed in. Smart man that Bowie.

Tony and I both lauded Keith Emerson as one of the greatest sages of the Hammond who ever walked the earth. Tony LOVES Emerson's work.

We spoke of Hollywood, early to mid seventies, of places like 'Granny Takes A Trip' and other establishments that are, alas, gone with the years...

Tony says he plays a damned good game of Tennis.

Unfortunately I don't have transcripts of all of this, as we were just jabbering outside the pub! But that was the gist of the off-tape stuff, always enlightening...

Amazing days.

URLieGee:yesbird:

I'll create a new thread for the next part of the interview: Moments With Mr Kaye (Part II).

...Pretty original huh?

:ele:

eegee:yesbird:

[pedro skychaser]

..how about a youtube to camera video---you do have a channell..and tony is very video-genic ????!!! hahahhahahhahahaa

c'mon_____________________________________________ ___________

[Earl Grey]

..how about a youtube to camera video---you do have a channell..and tony is very video-genic ????!!! hahahhahahhahahaa

c'mon_____________________________________________ ___________

Pedro, we need YOU to film it brutha!

Maybe, but with my primitive equipment, it certainly wont be Kubrik.

But sure, I'll ask Tony if he's into it. Maybe next interview (There will be at least one more).

I like to WRITE though! :crybby: :lmao:

Hugs Mate!
Earl:rightG:

[Earl Grey]

Wow, I loved your interview! You asked a question about that crazy Rhythm of Love intro they did live on the BG tour...I've been wanting to know about that for years man.

Thank you so much. Now go find Trevor Rabin. :P

(Sorry it took so long to answer this JB86): I would LOVE to interview Trevor Rabin.

One never knows, I've interviewed Squire... a little bit ("Scotty, he's writing things down!!!" "It's OK Chris, he's on your side!" HyuckHyuck!).

Who knows, maybe I'll have enough material by the end of the day to put this stuff all together and call it a book. We'll see.

I have talked with Peter Banks's manager about doing an interview, but I'd have to do it over the phone, which isn't my favorite thing (Maybe 'Skype' would be the happy medium there, although then I couldn't keep the drinks coming as I can while interviewing someone in person).

But Rabin: YES. I would LOVE that. Who knows. I'll see what I can do.

Hugs!
Earl:yesbird:

[JL]

I have talked with Peter Banks's manager about doing an interview, but I'd have to do it over the phone, which isn't my favorite thing (Maybe 'Skype' would be the happy medium there, although then I couldn't keep the drinks coming as I can while interviewing someone in person).

This would be excellent!!! I would definitely have some questions regarding Flash and the recording of Two Sides.

[Jackaranda]

I talked to him about Bonham...I'd read it in Rolling Stone when 90125 was big, when they did a write up on Yes, Tony talked about those days with Bonham, so I had to ask about it...he couldn't believe i knew, he'd forgot about the RS article.

[bleakhouse]

Earl, an interview with Peter Banks would also be fantastic. Like Tony he is a great player. Love his solo work and those great Flash albums.

[Whitefish]

I talked to him about Bonham...I'd read it in Rolling Stone when 90125 was big, when they did a write up on Yes, Tony talked about those days with Bonham, so I had to ask about it...he couldn't believe i knew, he'd forgot about the RS article.


What days?

[CybrKhatru]

What days?

I'm guessing it was the Detective days... Detective were signed to Swan Song...

I guess we'll find out when Earl prints the interview! :D

[Jackaranda]

What days?

In 1974, when he lived with Bonham for a few months in L.A....as Earl said, it was kinda Tony's "lost weekend"...

[Earl Grey]

Earl, an interview with Peter Banks would also be fantastic. Like Tony he is a great player. Love his solo work and those great Flash albums.

I agree. A Banks interview is a must. I can think of few other people I'd rather interview as to YES.

And the Flash albums rock.

eegee:yesbird:

[YesCarolinita]

When are you starting Part II thread?
I love reading whatever you write about Earl.
The anticipation of this next interview is overwhelming.
Woooo Hooooo

[90125yes]

When are you starting Part II thread?
I love reading whatever you write about Earl.
The anticipation of this next interview is overwhelming.
Woooo Hooooo


---

agreed

:beerchugr:

[Earl Grey]

I have most of it transcribed now (by hand, on paper: Now I have to type the thing up!). Then I have to send it to Tony, to make sure I got everything right. And then I'll post it.

It's a LONG interview. I have all of the TALK stuff done: A lot of 'scoops' in there. I'll do my damndest to get it up on site this week, OK kids?

Hugs!
Earl:yesbird:

[JL]

I have most of it transcribed now (by hand, on paper: Now I have to type the thing up!). Then I have to send it to Tony, to make sure I got everything right. And then I'll post it.

It's a LONG interview. I have all of the TALK stuff done: A lot of 'scoops' in there. I'll do my damndest to get it up on site this week, OK kids?

Hugs!
Earl:yesbird:

I really appreciate that you are doing this Earl. Cool to get some of the record set straight, particularly re: Tony's contribution to Talk.

[90125yes]

I really appreciate that you are doing this Earl. Cool to get some of the record set straight, particularly re: Tony's contribution to Talk.

---

agreed

wel done earl -

yesfans version of NFTE

:beerchugr:

[Sharp on Attack]

I can't wait anymore! When do you think we'll be able to read it, Earl?

[edarnold]

I have most of it transcribed now (by hand, on paper: Now I have to type the thing up!). Then I have to send it to Tony, to make sure I got everything right. And then I'll post it.

It's a LONG interview. I have all of the TALK stuff done: A lot of 'scoops' in there. I'll do my damndest to get it up on site this week, OK kids?

Hugs!
Earl:yesbird:

YES!

[M-Class Planet]

Just Read this amazing interview. and just wanna add my thanks EG.

Hey Earl, do you have like a list if yes people you want to interview? you could make a list and when when you interview them tick it off. Infact that sounds like a great idea for a TV show!!!

"you know those people who look like Yes fans...well I'm one of them. My name is...