Phoenix 2018 Show

[John Vehadija]

The best ARW audience shot video I think

[josuev80]

ARW was around in 2008? Was that before or after Anderson got sick?

[John Vehadija]

Sorry, I meant 2018

[luna65]

I would say it's one of the better ones, sure. But there's some really good audience-shot videos out there for more than a few of the performances. There's a few really good multi-cam ones, for example.

[John Vehadija]

Cool, mind directing me to it?

[PeterCologne]

I woud not mind either... :-) though the above posted show is already really not bad at all.

[luna65]

Ugh...you want me to *look* for things?! 😜

There is an ARW section at yessongs.nl so I'd suggest that. The Japanese shows tend to be well-filmed. I really liked the show in Rome from 2017 but I can't seem to find the one that's the whole thing.

[John Vehadija]

Ugh...you want me to *look* for things?! 😜

There is an ARW section at yessongs.nl so I'd suggest that. The Japanese shows tend to be well-filmed. I really liked the show in Rome from 2017 but I can't seem to find the one that's the whole thing.

Great, thanks

[Kenny]

Jon sounded better at the gigs that I attended in London.

His voice was stronger and he was able to sing higher but "The Meeting" was a bit of a struggle.

[PeterCologne]

Ugh...you want me to *look* for things?! 😜

There is an ARW section at yessongs.nl so I'd suggest that. The Japanese shows tend to be well-filmed. I really liked the show in Rome from 2017 but I can't seem to find the one that's the whole thing.

Thanks as well

[luna65]

His voice was stronger and he was able to sing higher but "The Meeting" was a bit of a struggle.

I think that's why they stopped playing it eventually, it just wasn't in his range anymore. I am glad I got to see him sing it at least once.

[HankCPA]

Sorry guys. I know this is incredibly late. But I just discovered this website. I'm sure you have discussed the subject multiple times, but I'm curious as to what happened between Jon Anderson and Squire, Howe and White? It seems to be a symptom of nearly every great band over time. My suspicion is it somehow involves money? Not sure how the finances work regarding writing credits, etc. But do only the actual authors of the music get paid for writing credit? If so, could it be the cause of jealousy between the others? In other words, if that is the case, then it seems natural that the writer of the music, i.e. Anderson, would have an incentive to create new music, while the others are dubious and not motivated?

[luna65]

There is a thread currently where this subject is being discussed...again.
https://www.yesfans.com/forum/main-f...or-classic-yes

There may be those who disagree with my summations but I'll state it the way I understand it (from two different credible sources who basically told the same story). There are two primarily elements as I see it: -a- Jon wanting a lion's share of the profits and to be in control because he wanted Jane as the manager. -b- The band didn't particularly like the ideas he presented them for potential new work and were not interested in pursuing them.

Plus I'd just like to state that Jon is not the only creative force in Yes and never has been. In many cases he's only as good as who he has worked with.

Not sure how the finances work regarding writing credits, etc. But do only the actual authors of the music get paid for writing credit? If so, could it be the cause of jealousy between the others? In other words, if that is the case, then it seems natural that the writer of the music, i.e. Anderson, would have an incentive to create new music, while the others are dubious and not motivated?

No one had reason to be jealous in that regard because if you actually look at the writing credits you will see that others are also credited. Jon is not the only "writer of the music" in Yes. He is the primary lyricist. As for the other thing, no - credits can be assigned to be people who had nothing to do with a song if the principle writer decides that they will. As example - and I know people are going to say it's not true - Trevor Rabin claims that Trevor Horn has a credit on OoaLH because he wanted to repay him, in a sense, for all the work he put into the album, not because he had anything to do with the writing. But the counter-argument is that TH performed the lion's share of the new arrangement. But that's a he-said he-said thing.