gmk@uicsl.UUCP (07/01/85)
["The strength of you seeing lies with you!"]
Random comments about the recent flood of articles on Yes:
1. "You'll see perpetual change"
One reason why Yes is my favorite band is that they
never fall into the trap of complacency (i.e. stagnation).
No matter how devoted their fans are to a particular style,
they have no qualms about abandoning it and experimenting with
something new. Even though no two of their albums conform to the
same style, however, they all bear the unmistakable mark of Yes
and maintain the high standards and integrity of the band.
In some cases, a new album will be criticized as being "too
commercial", and I admit that that has been my first impression on
more than one occasion. My faith in the band has always caused me
to reserve judgement until the complexity and subtlety of the music
has had ample opportunity to reveal itself (usually after several
listenings and a live performance.) It took me quite awhile to
appreciate "90125" and now it is one of favorite albums. I've
also recently rediscovered that bastard child "Drama" (the only
one *not* fathered by Jon Anderson) after ignoring it for 4 years.
It is extremely interesting rythmically and structurally and is
a logical transition from the twilight of the 70's ("Tormato") to
the austerity and subtlety of 80's ("90125"). ("Into the lens" is
a worthy successor to "Sound chaser".) Although the newer music
may seem superficially simpler and more commercial, it really just
requires more work from the listener to extract the gems.
2. "As you throw away misconceptions..."
Jon Anderson once claimed that "Going for the One" was about
the 1976 Olympics. I don't completely believe him since most of his
pre-1980 lyrics are not on such a mundane level. He was probably
using the Olympics as a metaphor for more cosmic messages.
3. "From the moment I reached out to hold, I felt a sound"
"Sound Chaser" is an unequivocally mystic hymn in the tradition
of "Close to the Edge" and "Tales from Topographic Oceans" and the
subsequent "Awaken". It is *not* an articulation of the
conflicts/motivations/influences that compose Yes's music.
I believe it was Rich Rosen who said that it sounded like
a collage of 3 or 4 distinct pieces of music. I couldn't disagree more.
To me it sounds like a brilliant, innovative, coherent expression
of its message.
4. "Distant drums"
I still like Alan White. Although he doesn't have the brilliance
or creativity of Bill Bruford, he has served Yes well over the years
and provided them with a solid rythmic foundation. Witness his
work on "Tales" (especially "The Ancient" and "Ritual"), "Sound Chaser",
"Into the Lens", etc.). Of course the drum solo on the live version
of "Perpetual Change" was reserved for the departing Bill Bruford,
a master of improvisation. But Bruford left the band at a rather
inopportune time (in the middle of the '72 tour) and White had
about 2 weeks between engagements to learn *all* of the material. In
view of the circumstances, I think he performs quite well on "Yessongs".
5. "What happened to this song we once knew so well"
The lyrics have definitely changed over the years. The worst
lyrics are obviously on "Drama", but even Anderson's lyrics have
mellowed from the cosmic mysticism of the "Edge"/"Tales" days to a
sometimes mushy romanticism (also seen in his solo work during his
3 yr. absence from the group). Again, although I prefer the profundity
of the earlier lyrics, I don't think the more mundane lyrics detract
from the music. Yes has always treated the vocals as another instrument.
The phonetics and rhythm of the lyrics have always been at least
as important as their content. Yes has experimented with numerous
vocal styles and forms for their lyrics (including their trademark
"paragraphs" and "litanies" and wordless vocals, e.g., "Ritual",
"Sound Chaser", "Leave It") all of which are interesting on a
musical level regardless of what the lyrics are saying.
6. "Leaving all the changes far from far behind..."
Rich pointed out that White had already joined the group
when "Close to the Edge" was released. Trivia fans should also note
that the group photo on the U.S. cover of "Time and a Word" includes
a rather uncomfortable-looking Steve Howe, who of course does not
play on the album. He also bears no likeness to the individual
photo of Peter Banks on the back.
====================================================================
"All in all the journey takes you all the way"
Gary Koob
University of Illinois
...!pur-ee!uiucdcs!uicsg!gmk
====================================================================jer@peora.UUCP (J. Eric Roskos) (07/02/85)
Ah! At last a coherent criticism, as opposed to just "I don't like yes, they don't have any style." But inasmuch as you attacked one of my comments, althewhile attributing it to Rich Rosen (so much the worse), let me respond. > "Sound Chaser" is an unequivocally mystic hymn in the tradition > of "Close to the Edge" and "Tales from Topographic Oceans" and the > subsequent "Awaken". It is *not* an articulation of the > conflicts/motivations/influences that compose Yes's music. This statement bothers me because it seems almost an agnostic view of the song. If you had said "sound chaser is about dancing in the 40s" I would not have minded, but "unequivocally mystic hymn?" No. Well, then, let's just attack this song, because it's so short. Faster moment spent, spread tales of change within the sound. You discussed that yourself in your own article: the ever-changing nature of Yes's music; I think this sentence expresses a movement from Yes's attempts to create "great epics", as Howe described some of their earlier works, to the more contemplative pieces that came later. It might have even been a reference to Wakeman's flamboyant style being gone, but I don't know about that... Counting form through rhythm, electric freedom moves to counterbalance. Stars expound our conscience, All to know and see the look in your eyes. One of the characteristics of Yes's music has almost always been that its rhythmic and timbral properties are at least as important as the more traditional musical forms. But this is partly made possible by the great expressiveness avaliable in electronic music (which Anderson occasionally praised as a distinct form in some of his interviews); thus the "electric freedom" "counterbalance"s the purely rhythmic, timbral emphasis, so that it doesn't become mere banging drums or clanging cymbals (to make a biblical allusion). "Stars expound our conscience"... well, I guess that is rather self-referential, don't you? Sometimes there is this definite self-con- sciousness in a lot of Yes's later songs, a definite recognition that they have achieved some sort of "stardom". And Anderson was forever expounding on his sometimes rather strangely force-fitted into mystical religions, but basically acutely perceptive, views of the world. And I think they always felt that they were doing it for the audience; as Anderson says on his latest fan-relations pamphlet, (to paraphrase since I don't have it with me), "as is written in the koan, `what is the sound of one hand clapping,' so we have always felt that the audience was an essential part of our music." Passing time will reach as nature relays to set the scene. New encounters spark a true fruition. I don't entirely understand these lines; I think they again refer to Yes's ever-changing style, and the feeling that new musical forms expand one's consciousness in some sense. Guiding lines, we touch them; Our bodies balance out the waves, As we accelerate our days To the look in your eyes. Here is an essence of what makes Yes succeed where groups like King Crimson don't (in my opinion). Yes always kept in touch with the "guiding lines" of traditional musical forms. The solos in Sound Chaser exemplify this; as Rich pointed out, each solo draws heavily on some traditional (or contemporary but still founded in tradition) forms: the "Spanish" guitar of Howe's heavily synthesized guitar solo; the alleged Chick Corea influence; the "Cha-Cha". They expand and distort these, but never let them get way out of hand; an exhilirating experience for both the performer and listener (as Anderson explains in the Topographic album notes). From the moment I reached out to hold, I felt a sound; And what touches our soul slowly moves, As touch rebounds... And to know that tempo Will Continue Lost in trance of dances... As rhythm takes another turn... As is my wont, I only reach To look in your eyes. (Cha, cha, cha, cha-cha.) I think this is more or less a recapitulation of what came before; the first lines refer to the same music-from-birth notion that is expressed in Topographic Oceans: Cast out a spell, rendered for the light of day. Lost in light's array, I ventured to see, as the Sound began to play... (You note I assume that the "crowded through curtains" is a reference to being born, after which the newborn infant is "lost in light's array"; perhaps the "Talk to the sunlight" notion also refers to this, though I don't know much about newborn children...) Oh well... "and there you have it," as a great philosopher once put it... -- Shyy-Anzr: J. Eric Roskos UUCP: ..!{decvax,ucbvax,ihnp4}!vax135!petsd!peora!jer US Mail: MS 795; Perkin-Elmer SDC; 2486 Sand Lake Road, Orlando, FL 32809-7642
gmk@uicsl.UUCP (07/06/85)
["Balance the thoughts that release within you!"] > /* Written 2:44 pm Jul 2, 1985 by jer@peora.UUCP in uicsl:net.music */ > Ah! At last a coherent criticism, as opposed to just "I don't like yes, > they don't have any style." But inasmuch as you attacked one of my comments, > althewhile attributing it to Rich Rosen (so much the worse), let me respond. Sorry for misattributing the quote; I was working from memory since I didn't feel like saving and editing a dozen articles. >> "Sound Chaser" is an unequivocally mystic hymn in the tradition >> of "Close to the Edge" and "Tales from Topographic Oceans" and the >> subsequent "Awaken". It is *not* an articulation of the >> conflicts/motivations/influences that compose Yes's music. > >This statement bothers me because it seems almost an agnostic view of the >song. If you had said "sound chaser is about dancing in the 40s" I would >not have minded, but "unequivocally mystic hymn?" No. Perhaps "hymn" is the wrong word but my interpretation is certainly not agnostic. Anyone familiar with with the spiritual foundations of Yes's music would immediately catch the symbolism and allusions in "Sound Chaser", "Edge", "Tales", "Awaken", etc. These songs are essentially about experiences on the spiritual path of ECKANKAR. (If you're interested, look for books by Paul Twitchell in your library.) While lyrics mentioning "music" or "sound" might be taken quite literally by the uninitiated, they are in reality charged with symbolism. Virtually all references to "sound", "song", "music", "wave", "river" (how many Yessongs mention rivers?), etc., are allusions to the Audible Life Stream which carries the seeker back to God; hence sound *chaser*. (Also, "Listening for the sound that your ears can't hear", from a Richie Havens tune on "Time and a Word".) If you still doubt that "Sound Chaser" has a spiritual message, listen for Steve Howe chanting "aum" at the end. [ DISCLAIMER: I am no longer associated with ECKANKAR and do not speak for the organization. I am merely interpreting Yes's lyrics according to my knowledge of the Path. ] > [quote from "Sound Chaser"] > I think this is more or less a recapitulation of what came before; the > first lines refer to the same music-from-birth notion that is expressed in > Topographic Oceans: > > Cast out a spell, rendered for the light of day. > Lost in light's array, I ventured to see, > as the Sound began to play... > Care to reinterpret that in light of what I just said? I'm glad you can see common threads running through Anderson's lyrics. ======================================================================== "I hearing it -- I living it -- I believe in it -- I loving it!" Gary Koob University of Illinois ...!pur-ee!uiucdcs!uicsg!gmk ========================================================================
jer@peora.UUCP (J. Eric Roskos) (07/08/85)
Well, this is most disconcerting, to find someone suggesting that Yes's
music all refers to a heathen religion! Are you sure this is true? I mean,
Anderson always refers to eastern religions... what is this ECKANCAR anyway?
Are you sure that is what Anderson was referring to? Does ECKANCAR have to
do with whatever Eastern religion the Rig Vedas et. al. pertain to?
Regarding the word "sound," I feel a little doubtful. I think "sound"
in ref. to birth refers to music-as-sound. As for Anderson's use of the
word "sound," there is this other semi-comic meaning to it, I think; one
of those strange interpretations of mundane topics which pepper Anderson's
lyrics... Look at these uses of the word "sound", for example:
1) Countless variations of the memory, the state,
The mere emotion of getting round.
Crazy understandings of the way we tilt the light;
But it shines when we make the sound.
Don't live by mistakes; we can dance to your tune;
But in reaching out and touching your love,
Feel those countless understandings
Of the countless many reasons
There are to offer you my love.
2) "All, now" is all the sound is.
So, in love this way, together...
Once more together.
3) Long distance runaround.
Long time, waiting to feel the sound.
I still remember the dream, there;
I still remember the time you said goodbye.
Did we really tell lies?
Letting in the sunshine, did we really
Count to one hundred?
I think there are some other examples, but I have trouble remembering at the
moment.
I will not impose an interpretation on the above uses of "sound" for the
time being, in the hope that others will interpret it themselves.
By the way... all the punctuation above is mine, lest someone get offended
or wonder where it came from... you can take it all out and have genuine
album-cover lyrics again!
--
Shyy-Anzr: J. Eric Roskos
UUCP: ..!{decvax,ucbvax,ihnp4}!vax135!petsd!peora!jer
US Mail: MS 795; Perkin-Elmer SDC;
2486 Sand Lake Road, Orlando, FL 32809-7642
"Gurl zhfg hcjneq fgvyy, naq bajneq,
Jub jbhyq xrrc noernfg bs gehgu." -- WEY