I would love to own this
Only read the red text if you, like me, know what Yesoteric is about. I have added my comments and knowledge in red. Enjoy!
Tape 4 - BBC Sessions plus filler
The majority of volume 4 was given over to pre-Yes Album material recorded live at the BBC for radio broadcast. All of this BBC material was eventually released on the "Something's Coming" 2-CD set (at least that was the title in the U.S. - I believe it was called something else overseas). But here's the kicker - even though the Yesoteric versions have the occasional "tape flutter" and a few dropouts, they sound much better than the versions on the official album. They're clearer and louder and it's easier to make out the individual instruments. So even though I have the "Something's Coming" album, I still transferred this Yesoteric volume to CDR. Makes one wonder why the record company (or Peter Banks, who I believe put the album's together) couldn't have put a little more effort into tracking down better recordings.The BBC material was only enough to fill about half the tape (not all the songs from Something's Coming are included), so volume four was padded out with other rare recordings of early songs (although a couple of them were recorded in 1997) with bad sound quality.
Oddly, there seems to have been some substitution of material from the time the original compiler put the tape together and the time I got my copy. Someone replaced the BBC version of "America" with a performance of the same song from the "Keys to Ascension" tour, and a version of "Revealing Science of God" from the original Tales From Topographic Oceans tour with another "Keys" performance. According to the original Yesoteric notes that I found online, a couple of the BBC songs with Peter Banks are actually supposed to be from a German broadcast featuring Steve Howe. I guess whoever changed these things had their reasons, but I would have rather heard the original tape.
Note: All dates and shows listed for the BBC material come from the liner notes to "Something's Coming", after doing an A/B comparison to make sure they were the same performances.
Side 1Side 2
Jon Anderson (Yes?) Coke commercial 1:00 There seems to be much debate about this bit of history - whether it's really Yes performing the track, or Jon Anderson solo, or just some guy who sounds like Jon Anderson, and whether it's a real commercial or something that was staged (ala the Who's px"Sell Out" album). Some people insist that it was a real commercial, and that pop stars singing radio commercials was a common thing in the 60s in England. To me, it sounds like Jon Anderson, but there's no way to tell if anyone else was involved because the music doesn't sound anything like Yes (it's elevator music). The lyrics are pretty bizarre for a commercial. The sound quality of this recording is really, really bad, so it's hard to tell anything from it. From what I've read, Anderson denies any involvement. This remains a mystery. Yes Everydays, ver. 1 (BBC) 5:19 From a Jan 12th, 1969 Top Gear performance. As mentioned above, the sound quality is amazingly good for a multi-decade old radio broadcast. Better than the official release. Another version of this song pops up on side 2 of the tape. All the BBC tracks are previously released on "The BBC Sessions" Yes Sweetness (BBC) 4:20 From the same Top Gear show as the previous song. Sound quality is still good, but this song suffers from tape "wobbles" and dropouts. Yes Something's Coming (BBC) 7:47 That Top Gear performance continues with this cover song that was never officially released until the "Something's Coming" CDs. Same sound quality as the previous song, complete with wobbles and dropouts. Yes Sweet Dreams (BBC) 3:31 We now switch to the Jan 19th, 1970 Dave Lee Travis Show. Sound is still really good. Yes Looking Around (BBC) 3:43 This is from the Aug 4th, 1969 Dave Symonds Show. Still good sound. Yes America 11:53 Suddenly we switch to a version of "America" from a poor audience recording. The Yesoteric notes state that this was supposed to be another BBC song, but another source I found on the web named it as being from the "Keys to Ascension" tour, recorded in Philadelphia, October 25, 1997. It's obviously not part of the BBC material, so the Philly show is probably correct. Maybe the original notes were wrong and this was never from the BBC? I think this is from a BBC session with Banks in 1970.
Yes Astral Traveler (BBC) 7:31 Now we go right back into the radio material, from the Mar 17, 1970 Sunday Show. Sound quality is good. According to the "official" Yesoteric notes, this is supposed to be from a German radio show, not the BBC, with Steve Howe on guitar, not Peter Banks. This must be another replacement, because this is clearly the same version that's on Something's Coming. I doubt Banks would have put a Howe performance on that album, considering that the two apparently hate each other (read Bank's liner notes in that album). It doesn't sound like Steve Howe to my ears, and the Yesoteric notes specifically point out how noticable Howe's style is when compared to Banks. So I guess this isn't the German recording.Tape 5 - Rare Live Tracks
Yes Everydays, ver. 2 (BBC) 6:14 Continues the Sunday Show performance that ended Side 1 with a second version of Everydays. Good sound. At the end of the song, the band segues directly into the next song. If this were the German performance listed in the orignial notes, it was supposed to end here. px"For Everyone" was supposed to be a demo, not a live track. Obviously, something was changed by somewhere along the line. Yes For Everyone (BBC) 4:40 Continues directly from the previous song. Nice recording of this song that went unreleased until the Something's Coming album, and which includes a section that would later be recycled into Starship Trooper. Clearly a live performance and not a demo. Yes It's Love 10:43 This is a cover song (originally by The Rascals) that Yes apparently played with some regularity in their early days. This performance is from New York City, Nov 24, 1971. Unfortunately this recording is just awful. Muffled, bass heavy and distant. It sounds like the taper had his recorder inside a coat pocket and was standing about a mile from the stage. Anderson introduces the song with some very salty language that is just shocking, coming from him. Squire does some rockin' bass soloing and Jon sings some scat (or that might be Squire as the Yesoteric notes claim). It's a shame this sounds so bad, as the performance is very interesting. Later released on The Word is Live. Yes The Revealing Science of God 22:22 More proof that someone tampered with this Yesoteric volume after the original compiler sent it out. The original notes stated that this was from Madison Square Garden, Dec 18, 1974. But another source I found on the web listed it as the same 1997 Philadelphia show as "America" on side one. The sound quality is about the same as "America", and before the song starts the crowd sings happy birthday to Jon, who was born on Oct 25th (according to one web site I found). So that pretty much confirms that this is the 10/25/97 Philadelphia performance. I'm thinking that someone was so jazzed up about the then-recent "Keys" performances that they decided to replace the more historic recordings with the latest versions. At any rate, this track is pretty clearly filler that was thrown in because there was half a tape side left over that had to be filled.
No idea about this. 1973 Bob Harris BBC Session?
The idea behind this volume was to document songs that the band played infrequently and which had never shown up on an official live album. Unfortunately, that means the tape comes mostly from bad audience recordings.Side 1Side 2
Yes The Remembering 22:16 Just about everything that can be wrong, sound-quality-wise, is wrong with this audience recording from Madison Square Garden in 1974 - it's muffled, it's boomy, the upper frequencies px"wobble" and there's a lot of hiss. It's listenable, but just barely. The date for this performance is in question - one site that I saw listed it as Feb 18, 1974, while the "official" Yesoteric notes posted to alt.music.yes list it as Dec 18, 1974. Not that it matters a whole heck of a lot. As long as this recording is, the song is still cut off a little bit before the end. Yes The Ancient 19:03 Probably from the same audience recording as the previous song. It has the same bad sound quality, and both the web sources list it as being from the same show, although they still disagree about the date. At the beginning of this recording, Jon Anderson explains the title and what the song is about. The keyboardist must be Rick Wakeman, because he sneaks a little something from "Six Wives of Henry VII" into the song around the 13 minute mark. That argues for the Feb 18, 1974 date because I think Moraz had replaced Rick as the keyboardist by December of that year. Yes Your Move and Mood For a Day 4:59 This fades in at the beginning, and clearly comes from a vinyl bootleg because of all the pops and clicks. It was recorded on the Relayer tour (Yale Bowl, Jun 21 1975) and is a unique arrangement of the acoustic part of I've Seen All Good People leading into a Steve Howe solo performance of Mood For a Day. Interesting, but nothing to write home about. Sound quality is better than the previous two tracks, but still not very good. Yes Long Distance Runaround -> keyboard solo 5:19 This is also from the same Yale Bowl bootleg as the previous track. It's Patrick Moraz who plays the solo, and it sounds like material he would later use on his Story of I album. The very beginning of Long Distance Runaround is cut off.Tape 6 - Tormato Era
Yes Soundchaser 11:59 Same band line-up as the end of side one, but we've moved to Boston, MA on Dec 11, 1974. This also sounds like it comes from a vinyl boot. It might have been sourced from a radio broadcast, because despite being a bit wobbly it is actually pretty listenable. It starts with a lengthy px"Firebird" intro, and ends with a full minute of applause before an obvious edit goes straight into... Yes To Be Over 9:38 From the same bootleg as Soundchaser so same date and location. Has the same sound quality, including "wobbly" high end and vinyl pops and clicks. Still pretty good for a boot. Yes Long Distance Runaround (acoustic) 2:38 This is from a bootleg called "The Story of Relayer". I know because I have a copy. The sound quality is pretty bad - muffled, boomy and hissy. The date and location are listed as Jun 17, 1976 at Jersey City, NJ. The performance is mostly just Jon strumming an acoustic guitar as he sings the song, with Howe adding some noodly solos. It goes into a Moraz keyboard solo, but then cuts off abruptly. This recording seems kind of pointless.
There is a crisp version of this concert.
Yes Colours of the Rainbow 1:14 This is from Long Beach, CA Sep 26, 1977. The sound quality is pretty bad - very hissy, not much bass or treble and distant sounding. For those hoping for a great rare track, prepare to be disappointed - it's just Anderson singing about colors and occasionally playing a triangle. It goes straight into... Yes Turn of the Century 8:06 Same date, location and sound quality as the previous song. Segues directly from that song. I'm pretty sure this is an audience recording, and not a very good one at that. Yes Tour Song 1977 3:01 From the same bad audience recording, this is just the band noodling around and improvising while Jon makes up lyrics about how wonderful Long Beach is, and how wonderful getting high is. I guess you could get away with that sort of thing in the late 70s. The band starts playing And You And I at the end, but it's quickly cut off. Yes Awaken intro 4:50 Also from the same Long Beach audience recording. It's a shame the sound quality is so bad, because this is actually kind of neat. It's the band jamming along to some sort of tuned percussion instrument (presumably played by Anderson). Howe sneaks a Rite of Spring quote in on guitar. Just as the aimless jam resolves itself into the opening of "Awaken", the recording cuts off.
This volume collected together a bunch of demos and other rarities from the period before, during and after the recording of the Tormato album. Yes really seemed to be floundering here - they recorded a ton of material, some of it better than what ended up on Tormato, yet they couldn't put together a decent album.Side one (and the very beginning of side two) document what has come to be known as the "Digital Reels" sessions. These happened before the recording of Tormato, and some of the material created there did eventually get used, but a lot of it was dropped. Yes would eventually abandon these sessions without creating an album. The sound quality of these recordings is clearly demo-level rather than polished final products, and there's the usual Yesoteric problems with tape hiss, muffled sound, etc, but they actually aren't too bad.
Side two features live performances of Tormato material, and the beginning of the "Paris Sessions", which will be continued on the next tape. The Paris sessions came after the release of Tormato, while the band was trying to come up with material for their next album. Creativity was at a low ebb and friction was forming between the band members which would eventually cause Anderson and Wakeman to leave and the others to ask the Buggles to join the band for the Drama album (which ended up using some of the Paris material). The sound quality of the live tracks varies (but is never very good) while the Paris sessions on this tape are overly loud and somewhat distorted.
Side 1Side 2
Yes Picasso 4:01 This is the beginning of the px"Digital Reels" material. Sounds like an Anderson song that the rest of the band fleshed out a bit. Not bad, but not overly memorable. They screw up the beginning and have to start over. Sound is a bit slurry, wobbly and muffled, but listenable.
This has all been released as bonus tracks on "Tormato: Expanded and Remastered" and bootleg "Digital and Master Sessions"
Yes Amazing Grace, take 1 1:57 This is really a Squire solo piece, not a full band number. A finished version would later appear on the YesYears boxed set. On this take, Squire gets most of the way through the song but stops early. There's a bit of hiss, but otherwise this sounds pretty good. Yes Amazing Grace, take 2 2:37 On this take, Squire plays the whole song and it sounds a little more "finished", with a second bass line (or are those pedals?) providing backing for the first, but this still doesn't quite sound like the completely finished version that appeared on YesYears. Yes Money, take 1 3:17 This song was also finished up for inclusion on YesYears. This take is interesting because it doesn't include the Wakeman voice-over, so you can hear the song itself better. Sound quality is a lttle muffled and hissy, but not bad. Yes Money, take 2 3:57 On this take they had come up with the idea of having Wakeman give a humorous spoken-word monologue over top of the music, but it's still not the finished version that's on YesYears. Howe pratices the guitar riff while the rest of the band screws around for a while before they start playing the song. The volume level shifts a bit, and the bass is overly loud, but otherwise it sounds pretty good. Someone coughs right at the end. Yes On the Silent Wings of Freedom, early ver. 7:50 More studio chatter before the song begins. They had this song pretty well worked out, and it's obviously a winner, so it's no surprise that it was carried over onto Tormato. This version is a little different from the final album version, especially the ending which didn't sound like it was quite worked out yet. Sound quality is bassy and muffled but listenable. Yes Richard, take 1 4:15 This sounds like another Anderson song that the rest of the band attempted to flesh out. There seems to be some debate about the identity of the "Richard" that Jon is singing about. The prevailing theory is that it's Richard the Lion-hearted, but others think that it's just an imaginary Richard. This is listed as two takes, but it's hard to tell where the first take ends and the second one begins - they just seem to keep muddling through. Yes Richard, take 2 2:33 Another version of the same song. I don't know why this wasn't used on Tormato - it seems like it fits the "feel" of that album perfectly. On this take, the band stops suddenly in mid-song, and then we hear what sounds like a tape being fast-forwarded. Odd. Yes Days, take 1 1:21 The official Yesoteric notes list this as "Untitled", but it would eventually become the song "Days" on Anderson's Song of Seven solo album. This recording suffers more than most from "bleed through" - in the background you cann faintly hear an earlier copy of this song that was recorded over. Yes Days, take 2 1:33 Another stab at it. Anderson does both takes a capella, and they actually sound pretty good that way. On this one, he screws up the beginning and has to count it in again. He makes some odd "woo-woo" sounds near the end, like he hadn't quite worked out all the lyrics. Yes Some Are Born, take 1 5:07 Another Anderson song that ended up on Song of Seven. This version is a bit muffled but very listenable, and is interesting because the rest of the band adds a little upbeat, instrumental jam in the middle of the song. Yes Rail 14 7:38 I have no idea where the title "Rail 14" came from, but this is basically just a lengthy jam based around the keyboard part that became the beginning of "Arriving UFO" on Tormato. If you like hearing bands spontaneously jam, this is pretty neat except that the bass line is really repetitive. The recording sounds pretty good although it's a bit muffled and bass heavy, and it cuts off suddenly.Tape 7 - Paris leftovers & Drama Era
Yes Some are Born, take 2 5:07 This was probably moved to side 2 to fit all of Rail 14 on side one. It's another try at the Anderson song, with about the same sound quality but lower volume. This track ends the Digital Reels sesesion. Yes Future Times / Rejoice 7:27 Live in Chicago, Aug 9, 1979. I believe it's an audience recording, although it might be from a radio broadcast. Either way, the sound quality is pretty bad. It's really LOUD and harsh sounding, with lots of treble and not much bass. Yes Circus of Heaven 5:24 From the same Chicago recording as the previous song. Does anyone, anywhere in the world, really need another version of this song? Sound quality is harsh here too - hurts the ear. Yes Madrigal -> On the Silent Wings of Freedom 10:46 From an audience recording of the Wembley arena show in London, Oct 28, 1978. Listenable but not great sound quality. Madgrigal is played as a short intro and then the song goes straight into Silent Wings with no break. The recording is from vinyl (pops and clicks audible) and has wobbly high frequencies. Yes Tour Song 1979 2:16 Now it's back to the Chicago 1979 recording. I have no idea why the original compiler stuck the Madrigal track in the middle. Like the 1977 px"Tour Song" on a previous volume, this is basically just the band doing a semi-improvised little jam based on the city they were in. Yes Everybody Loves You 4:04 This starts off the Paris Sessions. The rest of the band might not have liked this song, but Jon thought it was good enough to put on his Song of Seven album. This recording is muffled and bassy, and the volume level starts out low but climbs to the point where the recording becomes distorted. Released on "The Paris Sessions" Yes Flower Girl 3:30 This song was quickly and wisely forgotten by all involved. The recording continues the loud, slightly distorted sound. What in the world is Anderson doing at the end of the song? Sounds like he's "singing in tongues". Edited version released on "In a Word 1969-" Yes Dancing Through the Light 3:15 An early version of what ended up being Run Through the Light on Drama. Same overdriven, loud, slightly distorted sound. Released as bonus track on Drama. Yes In the Tower 2:51 Another song that was never heard from again. It's a mostly (entirely?) instrumental piece that features lots of keyboards and sounds kind of morbid, like something played at a funeral. Still overloud and distorted. Sames as above.
This tape wraps up the last few tracks from the Paris Sessions, then continues after Anderson and Wakeman had left the band. Squire, White and Howe bang out demo material (recorded in Atlanta, according to the original Yesoteric notes), some of which would end up being used on Drama. That's followed by some live recordings from the Drama tour. Side two of the tape continues the live Drama tour recordings.Side 1Side 2
Yes Golden Age 6:05 This is another Paris sessions track, but doesn't sound as overdriven and distorted. It is still muffled and hissy though. Some vinyl pops and clicks are audible. Something about this song makes me think Anderson recycled part of it for one of his solo albums, but I can't put my finger on it. Bonus on Drama. Yes Tango 7:15 Sound quality remains the same (muffled, hissy). This sounds like a cross between the Drama material to come and parts of Rick Wakeman's "King Arthur" album. In a Word Yes Friend of a Friend 3:46 We finally come to the end of the Paris sessions with this forgettable little number. Sound quality is the same as the previous two tracks. Also on Drama. Yes Tempus Fugit (demo) 5:07 This kicks off the Drama demos. The sound quality is muffled and and bass-heavy with some hiss, but listenable. I'm pretty sure this is just Squire, White and Howe, before the Buggles joined the party. No vocals - this is just an instrumental run-through. The next tracks are on "Townhouse Sessions 1980" and are instrumental Howe, Squire, White. Yes Untitled Instrumental I (demo) 5:41 This wasn't used on the Drama album. It's slow paced, with the bass very out-front. The sound quality remains the same, although the hiss level seems to increase. Song No 4? Yes Does It Really Happen? (demo) 6:40 The hiss level goes back down a bit, but otherwise the sound quality remains the same. Another instrumental run-through, with Howe's guitar parts really standing out. Yes Does It Really Happen? (ending) 1:33 This is so separate from the main song that it almost sounds like a different track. Another Squire/White/Howe demo. Yes Does It Really Happen? (alternate ending) 1:33 Another version of the ending, slightly different from the previous one. Sound quality is pretty good for this. The original Yestoeric notes don't refer to all these alternate endings at all, so I wonder if the person who put my tapes together included them from another source? Or maybe the original notes just figured they were all part of the same song and just listed them all as just "Does It Really Happen?" Yes Untitled Instrumental II (demo) 7:58 Similar to the other untitled piece, but a little more plodding. Sound quality is the same as the previous tracks (apart from the alternate DIRH ending). Yes Run Through the Light (demo) 4:34 Another instrumental run-through, which ends the Drama demos portion of Yesoteric. Same sound quality as the other demos. Yes Does it Really Happen? (live) 7:11 This kicks off the live material from the Drama tour. The original Yesoteric notes list this song as being in the middle of side two, but my duplicator might have moved it here to fill out a longer tape. This was probably recorded in Toronto on Aug 29th, 1980. It's an audience recording, and the sound quality is just awful - really muffled and distant sounding, as if the taper had his recorder in an inside coat pocket and was standing at the back of the arena. After this song, my tape started into "We Can Fly", but it was quickly cut off by the end of the tape side.Tape 8 - The Cinema Sessions and Union Demos
Yes We Can Fly From Here (live) 7:20 One of the two infamous songs that the Drama line-up played live but never recorded (or at least never released) studio versions of. This is the full song, but the introduction is cut off (it was at the end of side one on my tape). This is from a performance at Madison Square Garden, Sep 6th, 1980. I'm pretty sure it was broadcast on the radio, but this is just an abysmal sounding recording for having come from an official broadcast. From what I've read, no good copies exist, leading some fans to think the band might have intentionally sabotaged the radio broadcast to thwart bootleggers. Odd idea. Yes Go Through This (live) 4:47 The other infamously unreleased Drama song. Comes from the same show (and source) as the previous track. The sound quality is muffled, bass-heavy, and wobbly, with vinyl pops and clicks. Why, oh why, can't better copies of these songs be found? Yes Machine Messiah (live) 11:45 From the same performance and source as the previous two tracks. Unfortunately I can't say px"same sound quality", because this song sounds even more muffled and bassy. Yes Into the Lens (live) 8:57 This is where "Does it Really Happen?" was listed on the tape case, but it had been moved to the end of side one for some reason - maybe the person who made my copy wanted to keep all the MSG recordings together. This performance of "Into the Lens" is also sourced from that Madison Square Garden radio broadcast, and has the same muffled, bassy, wobbly, distant, crappy sound. Yes Tempus Fugit (live) 6:07 Also from the MSG radio broadcast, same sound quality. It also sounds like it might run a bit slow. This was the last song listed on my tape case, but the guy who made the tape for me threw in a couple more songs. Yes And You And I (live) 10:42 This wasn't officially part of Yesoteric - I think the guy who copied it for me used a longer tape and had some space to fill, so he threw in this track and the next one from his own collection. It sounds like Trevor Horn on vocals, so it must be the Drama tour. Source and location weren't listed. Might be from the same MSG broadcast, because the sound quality is very similar (i.e. awful). Yes Roundabout (live) 8:27 Another filler track. Still sounds like Horn singing, so must be the Drama tour. Sound quality is still bad, but in a different way from the previous tracks (really "boomy" and hard on the ear), so it's probably from a different show.
The first half of this tape belongs to the 90125 band. It starts with "live in the studio" recordings (i.e. someone had a tape recorder going in the rehearsal space) of the "Cinema" band. That's Chris Squire, Alan White, Tony Kaye and Trevor Rabin, before Jon Anderson re-joined and the band took up the Yes name again. Following the rehearsals, the rest of side one is padded out with some audience recordings from the 90125 and Big Generator tours.The second half of the tape contains demos recorded for the Union album (or for the second Anderson, Bruford, Wakeman & Howe album and the third YesWest album, depending on your point of view). Most of the demos sounded like they ran a little slow.
Side 1Side 2
Cinema warm up / tune up 4:12 All the Cinema session recordings are very low-volume, and when you crank them up to hear them you get a ton of hiss. The hiss here is particular bad, and seems to swell and recede as the tape plays. This part of the session is basically just the band screwing around, tuning up and getting ready to play. The following have been released on The Cinema Sessions. Cinema You Know Something I Don't Know 6:54 The recording continues without a break into the first song. I'm guessing this was one of Rabin's songs (he plays a version of it during a solo show captured on one of the later Yesoteric volumes). It's a very average AOR song, which is probably why the band never used it on any Yes albums. The sound is still very hissy but not quite as bad, and the volume level goes up a bit once they start playing, which actually causes a bit of distortion. Cinema Take It Easy 7:23 This is the song at the beginning of its long history. It would later get a minor tweak to the lyrics and be re-titled "Make It Easy", but still wouldn't make the 90125 album. Its main riff would frequently be used as an intro for Owner of a Lonely Heart, but the finished song didn't appear until the YesYears boxed set. The sound quality here is the same as the previous track - a bit muffled, very hissy and a bit distorted. Released on YesYears and 90125 afterwards. Cinema warm up/Take It Easy 1:56 The band must have taken a break after the last song, because there's an audible break in the tape, and when it resumes the sound quality has gotten a little better. Still hissy, but the instruments sound a little clearer and there's no distortion. This part of the tape is just the band warming up again and playing the Take/Make it Easy riff at a slower pace. Cinema Open the Door 4:55 This song sounds very un-Yes-like. A little way into it, a drum machine kicks in and is very loud, which causes the distortion to return. There's a gap in the recording where a couple seconds of music are missing about two and a half minutes into the song. At the end of the song there's another "break" where the band stopped recording for a while. Cinema Hearts riff 1:02 When the recording resumes, the band is just screwing around playing a couple riffs from the song Hearts, with the same sound quality as before, and then the Cinema sessions part of the tape ends. Yes Hearts (live) 7:55 The source and location of this recording are unknown. I guess this was included because there are no official live releases that include Hearts, but this recording isn't very good. It's mostly treble, and ranges from fairly muffled sounding to very muffled sounding. It also "crackles" a little, like a bad radio broadcast or possibly vinyl surface noise. Yes Big Generator (live) 5:49 According to the online Yesoteric notes, this song was recorded at the Hollywood Sportatium (what a name) in Hollywood FL in 1988. It sounds like an audience recording. It's also mostly in the treble range (could use a bass boost), but otherwise is pretty listenable.
This is the gig the infamous 88 audience shot video,
Yes Holy Lamb (live) 4:02 This one also comes from that Hollywood Sportatium show. It has similar sound quality, but might be a bit more muffled. Jon gives a lengthy spoken-word intro to the song, but it unfortunately fades out and back in.Tape 9 - The ABWH II / Dialog Demos
Yes I Would Have Waited Forever (demo) 5:09 This song starts the section of demos that ended up as songs on the Union album. The demos have listenable sound quality - they're a bit muffled and hissy and low volume, but not too bad. This particular demo has a nasty blank spot a couple minutes in that lasts for around half a second. The song itself is fairly similar to the album version, with a little more Howe guitar noodling at the end.
This has been released on "In a Word 1969-"
Yes Dangerous (dance mix) 4:59 Until I heard the Yesoteric series with its plethora of dance remixes of songs from 90125, Big Generator and Union, I had no idea that someone was determined to make Yes into a dance band. But apparently that was the case. This one is just way over the top, with weird overdubbed vocals and some woman moaning sexually in the background. What the heck were they thinking?
Union demos. Very interesting and rare. Never heard it before The rest of this tape is also from that.
Yes Holding On (demo) 2:10 This one isn't very different from the album version, and continues the muffled and hissy sound quality. The song cuts off abruptly about half-way through. Yes Dangerous (demo) 5:44 Sound quality is still muffled and hissy. This version sounds much closer to the album version than the dance remix did. Yes Take the Water to the Mountain (demo) 6:04 Sound quality remains the same. This is a really nice version of the song, with guitar solo and bridge section in the middle. Another surprise of the Yesoteric series was how many different versions this song went though, and all of them were better than what ended up on Union. No wonder the band disowned that album. Yes Lift Me Up (demo) 6:58 The sound is still muffled, but maybe not as hissy as the previous songs. To make up for the lack of hiss, the song gets distorted a bit during the loudest parts. Yes The More We Live - Let Go 4:46 Sound quality is about the same as Lift Me Up. Similar to the album version. Yes Say Goodbye (demo) 5:41 The beginning and ending of this song are both cut off. This was a Billy Sherwood song, or at least he plays on it. The original Yesoteric compiler said he thought this was "one of the best songs" to come out of the Union era, but I don't agree with that at all. There's a reason they didn't put it on the album.
Before the record company talked Anderson, Bruford, Wakeman and Howe into merging with Squire, Rabin, White and Kaye to form the "super Yes" of Union, the plan was for ABWH to record a second album to be tentatively titled "Dialog". Some of that material eventually got used on Union, but some of it never got past the demo stage. Somehow those demos got out into the hands of fans, and were eventually collected on volume 9 of Yesoteric.Side 1Side 2
ABWH II Instrumental intro 1:48 This is mostly just a little keyboard solo piece to introduce the px"album". There's also a little percussion (mostly gong) in the background. The sound quality is pretty good, although the high frequencies "wobble" a bit and the louder parts are just slightly distorted. . Released on Jon Anderson's "Watching the Flags Fly". ABWH II Hold You in My Arms 7:43 The sound quality is a little muffled but very listenable. Anderson runs through a lot of lyrics here, reminiscent of that one track on Song of Seven where he just goes and goes. ABWH II Watching the Flags That Fly 6:12 Sound quality remains a little muffled but decent. This is actually a nice little song - I find myself humming/singing it for a while after listening to it. They probably should have used this on Union. ABWH II Make Believe 4:57 Still a little muffled and bass-heavy. This is a fairly crappy dance song that sounds suspiciously like "The Macarena". ABWH II Is It Love 6:04 Sounds about the same as the previous tracks. I can't remember anything about this song. ABWH II Untitled instrumental I 2:32 Still a little muffled, and somewhat low volume. This is another mostly keyboards song with a bit of percussion. I'm guessing these instrumental pieces were Wakeman's contribution. ABWH II Untitled with vocals 5:41 Same sound quality, but with drums that are a little distorted. The lyrics sound really "loose", like Jon had just started coming up with them. Half the time they sound like a made-up language. ABWH II Take the Water to the Mountain 4:46 Another demo of the song that would end up on Union, this is a different version from the demo on tape 8. It's not quite as good, but still better than the version on the album. ABWH II To the Stars 4:08 Still a bit muffled, plus it has a long gap (around six seconds of silence) about half a minute into it. I'm not sure if that was intentional or not. The music is much closer to an avant-jazz sound than Yes usually went.
ABWH II Santa Barbara 5:35 There's an annoying high-pitched whine through the first half-minute or so, and the whole song is muffled. It starts out as a kind of sappy Anderson ballad and turns into more of a rocker later on, but is never very good. The ending goes on for a long time, seeming like it's about to fade out several times before it finally does. ABWH II Touch Me Heaven 3:35 A little muffled and hissy, and low volume. Oddly, the volume level climbs to almost painfully loud right before the song fades out for good. I can't remember anything else about this one, so the song must not be too memorable. ABWH II Axis of Love 4:42 Continues with the slightly muffled and hissy sound, and volume level fluctuations (quite at first then loud). There's a nasty second-long gap about a minute from the end. Another forgettable song - I can see why the ABWH II album never came together. ABWH II Untitled Instrumental II 2:39 Another mostly Wakeman piece, lots of keyboards. The sound quality is still hissy and very bass-heavy. ABWH II After the Storm 4:10 This song is very mellow, but nice. The high frequencies are a little wobbly, and the overall sound is muffled. ABWH II Prelude 0:21 This short instrumental piece acts as a intro to the next song, which was probably going to be the big finale to the ABWH II album... ABWH II Tall Buildings 5:35 This one is a little muffled but fairly loud and upbeat. They use a drum machine that sounds a lot like the rhythm from that A-ha song that was popular in the 80s. Anderson belts out the lyrics, which are a surprisingly scathing look at big business in the 1980s. This could have been a fairly good song, I think. Steve Howe God with a Southern Accent 4:11 I don't know if the last three songs on the tape were meant for the ABWH II album or not, but they're pretty clearly solo works by Steve Howe (unfortunately including his vocals). They're louder than the rest of the music on the tape, but still muffled. This first one was later issued as px"Southern Accent" on Howe's solo album "Quantum Guitar". - No idea about the Howe stuff. Steve Howe Without a Doubt 3:53 This one's a little bass-heavy. Sounds OK though. I don't know if this song ever came out officially. Steve Howe Big Love 4:35 This track was eventually officially released on volume three of Howe's "Homebrew" series, which might have been inspired by the Yesoteric series.
The impression I get is that this guy was a collector of rare Yes bootlegs in the 90s where VERY FEW people did that. He recorded a compilation of the rare stuff to make it more current.
I would love to own this
I believe I own this; got it from my friend Lee Gately in 1996 or so.
Cargo of diamonds as you are: nothing more valuable, nothing more tough.
She's an equal opportunity offender, a societal wildcard. You can't control her, only hope to contain her, even then she refuses to be possessed. If she were a coin, you would spend her, unwillingly. If she were an animal, you'd free her to the wilderness.
HI Tasia my fav YF girl
Cargo of diamonds as you are: nothing more valuable, nothing more tough.
She's an equal opportunity offender, a societal wildcard. You can't control her, only hope to contain her, even then she refuses to be possessed. If she were a coin, you would spend her, unwillingly. If she were an animal, you'd free her to the wilderness.