View Full Version : Olivers latest newsletter, Yesfans is in it.

12-09-2011, 11:36 AM
A couple folks from the site made it into the newsletter...


King Friday EP released
Some of you may remember a news post about Oliver's involvement with a new band called King Friday earlier in the year.
Oliver was unable to commit to the full album but has played on a number of tracks for the forthcoming album. In the meantime, a 5 track EP has been released via iTunes which has 2 of the tracks featuring Oliver.
Please click here to go to the store to see more details. We hope you like them! (http://itunes.apple.com/us/album/let-the-song-begin-ep/id486623889)
To find out more about King Friday, please visit the band website (http://kingfridaymusic.com/about_us).
YES - In The Present - Live From Lyon
The increasingly inappropriately named (In The Present!) live album is now widely available from all major outlets (hopefully).
This live album documents Oliver's period in the band really well. The setlist is a mixture of Yes classics and material which hadn't been performed and documented on a live album before.
The album was recorded in 2009 at the Lyon show in France on the European tour. A documentary was also filmed and is included in the double CD/DVD package. The album is also available as a triple vinyl release.
A lot of the the reviews have been really nice so far with many people singling out Oliver's performance which is very gratifying and we think it is a nice momento of Oliver's period with Yes.
For more information about the recording and Oliver's involvement please see Oliver's response to some questions about the album below in Novembers Q&A's
Joe Internaut. Why wasn't "In The Movies" on the Coming to Town DVD/CD? It's the only Mother's Ruin song not on it and one of our favorites from the original album.
I'm really glad that you like 'In the Movies', it is also one of my favourites.
'In the Movies' was a track which we played live in the OWB set on many occasions, I have a rough bootleg recording of it somewhere!
However, as the show in Poland had to be no longer than 1 hour and 15 minutes it became really difficult to decide which tracks to do.
I know I had to include a few Jabberwocky and Hound tracks as the albums sold well in Europe but I wanted to play as much of Mother's Ruin as I could so as to have a recorded version with Paul singing.
Because of the arrangements on 'In the Movies' I decided to leave it out as I always wanted to do it live with a string section at some point. Also I didn't want to play the whole of Mother's Ruin on the DVD.
I also had the difficult choice of choosing an instrumental to play - either 'The Enchanter' (from 3 Ages) or 'Three Broken Threads' (from Hound). I went with the track from Hound in the end but hopefully these other tracks will appear one day on a DVD!
************* Joe Internaut. Oliver, How do you approach composing music as opposed to writing a song? What are the differences and what are some similarities? Is there any difference at all?
It really depends on how I'm starting out and which way the melodies are pulling me. For example - commissioned work is very defined about what is required and so melody and sounds are at the forefront when I start writing.
However, sometimes I just sit with a guitar or at a piano and start singing and it seems obvious that it is going to be a song.
On a very few occasions, an instrumental I've written has become a song.
'At Home in the Mire' (from Hound) is a perfect example. It was meant to be an instrumental track but during the Hound writing sessions I also wrote 'Three Broken Threads' and it didn't seem right to have two fast paced instrumental tracks that close to each other and so I sat down in the studio and started to sketch out some words for it. Once I had the line 'Come Inside...come and see my home....this is truly where I belong..." the imagery took over and it was relatively easy to change it from an instrumental to a song.
But, more often than not, I will write a song and find that I've written an instrumental idea which seem to fit together and then the whole larger song/instrumental style feels appropriate - 'Wall of Water' for example.
Not sure if this makes perfect sense but it does in my head!
************* Re: Live In Lyon CD. On the Yesfans forum there were lots of questions about the live mix for the new Yes Live from Lyon album which Oliver played on and whether parts were overdubbed..for example.
"...very true about not being able to know unless you were there, Andersonic. The only thing that makes me think there aren't overdubs is the fact that so many of the trademark Benoit strains and wobbles seem intact. You'd think they'd correct every missed pitch if they were cleaning it up in the studio.:"
I sent the following reply to the forum...
"From what I can recall there were no overdubs on the live album.
I worked with Karl Groom on the mix for about 3 weeks in 2010. With any live recording there are going to be sections which don't sound perfect and occasionally things do go wrong. Someone might hit a wrong note or a cable might come loose. A snare skin or guitar skin can break for example.
I do remember when Karl and I were working on the album, I spent ages going through all the areas which I felt could need attention.
After checking the parts together, Karl and I decided to leave a lot of things in which weren't technically perfect but showed the band accurately and retained the feel of the show, otherwise what's the point, you may as well listen to the studio album!
If there were any sections that really weren't acceptable and had to be repaired, rather than get people to replay parts, we went through other live show recordings from the tour and utilised a part from that show in order to ensure the live feel was kept throughout.
There was talk of the whole show possibly being made into a DVD at the time from the two shows that were recorded (Rouen & Lyon).
I seem to remember the Rouen show was not as good a show as Lyon and therefore it would have made syncing the music from one show to footage from two shows a bit of a logistical nightmare! But as this was a possibility - we had to keep the music mix as close to the actual show as possible."
Kevin G. Kern - Well, I loved the music and spirit of your Dad's "Family Album"....musical portraits of your family of course . It seems since that was awhile ago, there would be enough new "material" for a collaboration between you! O.k. a question..just wondering how much formal musical education you may have had, and informal as to observing and listening....thanks!
Daniel Hanson - I'm also interested in the answer to Kevin's question (as one who used to spend about 4 hours a day in the practice rooms at a music school).
Thanks for the questions Kevin (& Daniel). I really liked the family album and it was created by Dad at a time of relative stability for the Wakemans (which is quite unusual!). A collaboration on a new one would be fun but as Dad now has lots of children and grandchildren along with lots of pets it might have to be a treble CD release...
As to the formal training question, I had initial classical training as a young child from about the age of 5/6 then stopped in my early teens (when I started to study guitar). I then started playing keyboards in lots of different bands from the age of about 16 and developed my love of playing on stage.
Whilst at college (studying Graphic Design) I used to spend my luchtime and free periods practacing in a small piano room. I just used to play to myself coming up with ideas and melodies.
Following college (and whilst performing on the Devon music circuit) I felt I needed to go back and relearn my technique from a classical teacher. I studied classical piano and theory from a great teacher called Rev Cockram. I was working in a bank at the time and used my spare money from my paycheck to have lessons with him. He was a lovely man and I really enjoyed my lessons with him which continued until my mid/late 20's.
I always maintained that I learnt my technical skills from my lessons with him but my experiences from working with various bands from an early age (generally with musicians who were all much older than me) taught me just as much about music as my classical lessons did. Both I felt were equally important to me. Oliver.
************* Steve Kessler - Any plans to work with your Dad on the upcoming "Journey to the Centre of the Earth" show much like Adam did with the "The Six Wives of Henry VIII" shows at Hamption Palace? Or perhaps both you and Adam playing with your Dad?? Best wishes nonetheless !!
At the moment there are no plans for that to happen. I haven't ever been involved in any of Dad's solo shows. The only times we've played together was at a couple of the Xmas shows that Dad does occasionally and once at the launch of my 'Mother's Ruin' album.
I did go and enjoy watching the 6 Wives show though, it was a lot of fun! I'll hopefully get an invite to see Journey too! Oliver.
************* Scott Arnold - If you ever have time, I'm sure your fans would love to see a picture of your current rig onstage. (Sort of like what Rick has posted.) While I know it varies depending on what you are doing, I'd really be interested in knowing what you were playing with Yes.
I've seen the boards in your pics of Yes, but can't make them all out. The M3 and Moog LP of course, and I thought I saw an old Yamaha EX7 (one of my favorites despite its laborious editing) in a video of you onstage, but I've never seen it anywhere else. (Downes' all Roland set up really inhibited the sound on stage--but then, he never has had your finesse anyway.)
I will try and source a picture showing my rig but for the record the keys I used in my Yes rig was as follows...
Korg M3 (88 note), Moog Little Phatty, Korg T1 (88 note), Korg CX-3, Roland XP30, Korg Triton Pro, Yamaha P-150 (88 note), Korg R3, Ultimate stands and an Allen & Heath mixing desk.
Occasionally when the Little Phatty was playing up badly (which it did from time to time because of a dodgy motherboard which I had to have fixed) I would put a Korg 01W as a 'place holder'! There wasn't a Yamaha EX7 up there although there was a big Yamaha P-150 piano which I loved (still do!).
For the eagle eyed amongst you who may have seen more than one show might have seen a second Moog Little Phatty. I did have two for a while, a Stage I and a Stage II. Unfortunately on the South American tour it got stolen which made the last few shows rather difficult as I had to programme and find various replacement sounds.
The keyboard which was replacing the moog was sometimes a keyboard which was needed used for something else and so that keyboard part would then have to be moved to a different keyboard and so on...All in all it made the last few shows rather fraught and complicated but it was satisfying when no-one noticed the problems! Oliver.
************* Elena Aliboni - Do you have any "routine" rehearsals pieces to play before a concert, as "warming up", apart from the soundcheck things? Do you have a "practice keyboard" in your dressing room?:) Or do you prefer not to play anything at all? Thank you always for all your replies, Oliver! x
I don't tend to have a set routine for performing before a show. I tend to soundcheck if it is possible (sometimes traveling between venues makes this impossible). When I do get to soundcheck I tend to just experiment and have fun. Often lots of musical ideas come to me at this time, the solo I did on Benoit's Mystery album came from ideas at a soundcheck for example. I also find that during a soundcheck it gives me a great excuse to really experiment with the keyboards and find out more about them, I learnt a great deal about my Moog this way.
If I was to choose a piece that I play more often to practice it would probably be Pachelbel's Canon in 'D' as it's a great way to warm up the fingers - although Benoit would always shout at me 'You're playing it too fast...!" from the side of the stage. Therefore, each time he was near I would play it a bit faster to wind him up...
As to playing before a show or having a practice keyboard in a dressing room - it depends on where we are playing. If there is one there I can't help but have a little play. I remember on the 2009 tour there was one venue in Germany where there was a lovely Grand Piano which I played a great deal during the day!
I always have a small USB keyboard on tour so I can always have access to check something when my rig is not nearby or on route. For example if something hasn't gone quite right at a show or there is some confusion about a part it gives me a chance to double check stuff - I also have a little piano app on my iphone for those moments when a keyboard isn't to hand! Oliver.



May I wish you all a very Merry Christmas and a Happy New Year.

Thanks again for the support shown to me this year and for all the emails, questions and forum posts you have taken the time to send.

I hope you all have a wonderful festive season and here's to 2012 which will hopefully be a great year full of new music and performances!

All the best.

December 2012

12-09-2011, 12:05 PM
That he is. Having spent time with him for several hours in person. He is ONE OF THE BEST young guys you will ever meet if you get the chance.

12-09-2011, 06:57 PM
Oliver rocks ( in 2011) and I'm sure he will rock in December 2012 as well. ;-) Come back and tour the U.S. again, Oliver!

12-10-2011, 02:14 PM
It's easy to make the newsletter, just ask a question or two on FB... He's still accepting questions for next month's blog posting... I've already posted another question... and Elena, that was a great question!