One of the interesting aspects of Lee Pomeroy's recent interview with the fine gents of the Yes Music Podcast was a further reveal of one of those tantalizing hints of future performances mentioned in the article appearing in the April issue of PROG.
To wit: There's every chance Rabin will have at least two opportunities to work live with orchestras in next year or so. Although nothing is yet confirmed, these possibilities clearly excite him.
One is noted as - in Trevor's words - concentrating on his own work, and I then wondered if it was going to be one of those "Maestro of the Movies" type concerts at the Hollywood Bowl and it certainly does sound that way, according to Lee. He stated that Trevor mentioned to him he would be "conducting his own music at the Hollywood Bowl with the L.A. Philharmonic" although Lee seemed to be under the impression this event had already occurred.
Over the years numerous film composers have had the opportunity to appear with the famed LA Phil to perform their scoring work and if this may or will be happening in the future for Trevor then that is exciting news indeed and recognition which is long overdue.
Lee's interview can be heard here:
https://yesmusicpodcast.com/the-red-planet-lee-pomeroy-talks-about-his-part-in-rick-wakemans-new-album-436/
Showing posts with label the best bassist for the job. Show all posts
Showing posts with label the best bassist for the job. Show all posts
Saturday, June 20, 2020
Friday, May 1, 2020
Spot the Poms, part eight
Granted, this edition of Spot the Poms is not going to be difficult because it features an entire video of the world's cheeriest bass player. I appreciate Rick putting a spotlight on the ERE as regards the making of The Red Planet because it means today we've got this! Here we see Lee in his home studio (as nice as it is to spot the ARW poster, to be honest I'm more chuffed about the Headspace one from their 2012 Anonymous Visions tour) on a variety of basses (I think you can even see his Chapman Stick on the left just in frame) demonstrating some of the parts he played for the album, which has been rescheduled for release next month.
Wednesday, February 5, 2020
The ERE is back!
For those of us who desire to keep track of Rick's activities, the latest edition of Grumpy Old Rick's Ramblings contained some very good news indeed.
So it appears this album will be titled The Red Planet and is, akin to his 2003 album Out There, another paean to the wonders of outer space. I am so excited! It will be great to hear Lee playing prog again...and who knows, he might even be ready to release his own project, which former Headspace drummer Richard Brook mentioned on Instagram back in 2018.
Speaking of the 'Gram, Lee now has an official account, huzzah!
https://www.instagram.com/leepomeroy1/
In related news Rick will be appearing with a version of the English Rock Ensemble (hopefully the above-mentioned combo) at the HRH Prog IX festival on March 28th at the O2 Shepherds Bush Empire in London and 29th at the O2 Academy in Sheffield. There is also a performance scheduled for May 23rd in Switzerland, which might also be a festival date of some kind?
I’ll start with an update as regards the new album.
As mentioned before, it is a keyboard heavy (now there’s a surprise), prog rock instrumental album. There are 8 tracks in total and the album length is around 56 minutes.
As well as having Erik Jordan in charge of the recording, I also have on board the services of three exceptional musicians in Lee Pomeroy on bass, Dave Colquhoun on guitars and Ash Soan on drums.
The basic tracks are already recorded and that includes contributions from the musicians named above and I am thrilled with the results so far. I still have a lot to add to each track and that will be done throughout this month before Erik starts his task of mixing it all so it ends up sounding like it should!
There are great plans afoot for a very special playback session and other surprises too. It’s been great fun getting back to prog and I think the period away from recording such an album has contributed greatly to making The Red Planet sound extremely fresh.
So it appears this album will be titled The Red Planet and is, akin to his 2003 album Out There, another paean to the wonders of outer space. I am so excited! It will be great to hear Lee playing prog again...and who knows, he might even be ready to release his own project, which former Headspace drummer Richard Brook mentioned on Instagram back in 2018.
Speaking of the 'Gram, Lee now has an official account, huzzah!
https://www.instagram.com/leepomeroy1/
In related news Rick will be appearing with a version of the English Rock Ensemble (hopefully the above-mentioned combo) at the HRH Prog IX festival on March 28th at the O2 Shepherds Bush Empire in London and 29th at the O2 Academy in Sheffield. There is also a performance scheduled for May 23rd in Switzerland, which might also be a festival date of some kind?
Thursday, April 4, 2019
Spot the Poms, part seven
In just about a week Take That will be embarking upon their 2019 Greatest Hits Live UK tour, and last week saw the lads and their band performing for the Teenage Cancer Trust concert series at London's Royal Albert Hall - it's nice to see Lee holding down the low end once more as he is always counted upon to do.
Embed from Getty Images
Embed from Getty Images
Tuesday, October 23, 2018
Live At The Apollo review
Caveat lector: I have opinions. Not all of them are positive as regards this release.
Also many thanks to my colleague Graham for technical support.
The release of Live At The Apollo is finally here and by and large it has been positively reviewed both in the press and by fans. I agree that it's a great thing to own which will provide much enjoyment. But I also think there are some problems with it and so I plan to discuss both sides in my review.
It's truly superfluous for me to state that this is my opinion - my blog my opinion, doncha know - and I can certainly understand why many fans don't have any issues with the release. But I do want to make it clear that in a review I am going to provide my critical opinion and you can choose to agree with me or not. But don't come at me for having an opinion either way, thanks. I tend to think these days in the fandom realm people get confused regarding the uses of criticism; and even as I may be largely positive about many things I approach it all from a perspective of discernment.
I also wanted to note that I'm not including a lot of screencaps in my review because I'm planning at least two other entries devoted to that sort of thing, just in case you were wondering.
The Good Stuff
I had three reasons, primarily, for desiring this release:
-1- As an avid collector of YesWest live recordings I wanted yet another audio/video release featuring Trevor. I know there are plenty of other people out there with this same desire.
-2- I have attended ARW shows, but could never afford to sit close to the stage. A professionally-filmed show would allow me that perspective.
-3- Not that I'd say I'm the only one but...I wanted a professional-quality version of "Long Distance Runaround/The Fish" primarily for Lee Pomeroy's solo.
So I got two out of three of those desires, and like the song says: that ain't bad.
I really do enjoy this release; I know there are some in fandom who believe I am protesting unduly or am willing to trash the whole thing because item number three was not granted to me (or anyone else who might have wanted it). That is simply not true. As someone who attended multiple shows (even though it was not as many as I wish I could have seen) there is much replay value to this release for me and I've already watched/listened more than a few times just to reach the point where I can write this review from an informed perspective.
The 2016 setlist, once it was solidified, was a good one in my estimation and I'm just fine with the song selection as represented in this document. It is wonderful to have a professional-quality recording of this setlist as played by an ensemble who had finally reached a point of performance cohesion with the material and their chemistry as a band. As I've noted in my reviews of the performances/tours I think by this particular point in their collective history, ARW was turning in solid performances all around.
Even as I might find some fault with the way it was filmed, I appreciate that a seasoned director helmed this project and that it was shepherded at a professional level. It's well done, if not quite 9012Live in terms of cinematic perfection. Then again, that is just not possible anymore, for so many reasons.
To be honest, I'm just happy we actually have it, because I wasn't sure if it was going to be released. Although it was produced by an outside concern that wasn't necessarily enough assurance in terms of reaching the finish line (though I ardently wished that it would be, and it turned out okay in the end). So about that...
The waiting is *insert metaphor here*
Unless it was the plan all along as regards the observance of the anniversary or to coincide with the US tour, I don't understand why it took a year-and-a-half to get this release to market. As example, this November Eagle Rock is releasing a live album/video by prog legend Steven Wilson of a performance from March of this year in five different formats, also with a 5.1 Surround mix - thus proving that it does not take a year-and-a-half to accomplish such a feat. Since this release was available to buy at the recent shows I can only think that we were meant to wait that long. Of course, there might have been another reason entirely. I say this because, according to my research, the project cycle for an Eagle Rock live release tends to be about 6-8 months from production to sale.
"I think we should change the cover, though. A bit late!"
The above is an actual quote from Trevor, and certainly one may argue he was just joking but maybe not. I am on record as not having any particular affinity for Jay Nungesser's design work for ARW. For me, it's primarily the new logo, I don't like it. His ARW logo was much more appealing compared to the new Yes logo. I think the "Quintessential Yes" version of the overall design is far better still but I imagine the artwork for Live At The Apollo was created long before the new website design was completed so therefore it incorporates all of the previous elements (i.e. the maze and the cubes). The typeface and photos and all are fine, although I find it interesting that in the collage of photos Jon and Trevor are at the top of the page and Rick is relegated to a space with the sidemen at the bottom. I don't have a particular issue with the color scheme, but I have to admit I was a bit disappointed to discover that the packaging was reflecting the old design elements.
I know I'm not the only one who feels this way but I wanted to note this from a recent review of the Blu-ray on the AudiophileReview website:
(vigourous applause)
This next point has been a source of tireless debate in fandom thus far, and I have an opinion as does everyone else. Nobody is right or wrong I would say, but everyone is entitled to feel however they will about it. I'm taking a stand to declare that berating or ridiculing others regarding their feelings on this matter is not cool and if you've done this in fandom discussion or on social media, you should just stop it.
The added crowd noise in the audio (what I have referred to as crowd swells) is indeed annoying from my perspective but if you listen to it enough times solely on the audio I find it just becomes background noise. It's definitely strange strictly from the perspective of - if you were at the show or if you've watched audience footage of the show - knowing those in attendance were a typical prog-loving respectful UK-based audience and simply did not cheer every 30 seconds or so. Here's an example of what this crowd really sounded like during "Heart of the Sunrise" - I picked this video specifically because it is filmed from directly behind the production/mixing area so most of the crowd on the floor is in front of the person filming.
And in the Live At The Apollo video you can, at different points, witness the general demeanor of the audience, which is completely at odds with what you're hearing on the audio. There are washes of cheering during "And You and I" which you hear while you see the audience calmly absorbed within the performance before them. You hear one thing, you see another. I'm going to be blunt: that's just dumb. But what's done is done so fans will deal with it as they will. I can certainly understand the pushback occurring on social media, but I don't believe anything will be accomplished to remedy or change the release. However, in time I fully expect that a hobbyist audio engineer will at some point circulate a "hype-free" mix of the audio where the crowd noise has been turned down, so to speak.
Bare Bones
There are no bonus features on this release. None. I'm disappointed, sure, although I feel like it would have been too much to expect given how long it took to release this. I've noted before that there is a distinct lack of organization in the ARW business concern and I can't help but wonder if perhaps Eagle Rock requested that bonus features be provided or suggested that they be filmed, only to be met with resounding silence from the principles. I think at the very least we should have been provided with an audio track of "The Meeting" from a prior performance as that was an element of the 2016-17 setlist.
Digital-itis
It's not like I'm Quentin Tarantino demanding that movies be shot on film and projected from film, but the HD digital mediums for music and video are not entirely ideal in my opinion. There's something distinctly clinical about both aspects which can be both good and bad.
Interestingly, it's the nuance - there is so much nuance in Paul Linford's mix (and yes, I know that Paul and Trevor receive co-credit for the mix but Paul receives the leading credit so I'm going to assert it's primarily his mix) - which makes it an interesting and exciting experience to listen to, but at some points it is a little too cold for my tastes. But I do enjoy it even so, it shows the true character of this ensemble far better than any particular performance ever could, in my opinion, even with the enhancements (which I think are fairly unobtrusive). But I also know it's an all-digital recording so I would say that's probably the culprit. On the other hand, the HD video equipment used for shooting allows for any number of interesting camera angles and pans but it's a little too revealing sometimes. Things don't always look attractive in HD digital video. They call it the "Soap Opera Effect" and it can provoke Uncanny Valley levels of visual dread at times.
But also I have issues with some of the camera angles, like the camera which was placed somewhere in the vicinity of Trevor's right hip in order to capture shots of Lee (behind Trevor on his platform) which are just oddly-framed because of the positioning. And the very long shots where the stage appears in seeming miniature and granted, from the back of the hall (which seats 3500) it probably does look that way but I just don't see the point of including those kinds of shots. Some of the focus-pulls which I'm assuming were added in post are jarring to me as well. And the tracking is a bit too mechanical, as the cameras were all on automation. Far more convenient and less distracting in terms of having extra bodies on stage, but the movement of the cameras calls attention to that very consideration and so I found that distracting instead. And there are parts of Rick's solos where they fast-cut to every single camera angle they had for him and it reminded me of this one guy who had a cringingly amateurish music video show reel on YouTube and it was something like 20 cuts in 30 seconds which had the effect of making me want to claw my own eyes out.
On another point I did want to acknowledge the whimsy of making the opening sequence look like a film from 1968 which I thought was a nice touch; it actually enhanced the whole scripted quality of the band's entrance rather than emphasized the non-subtlety of it.
Consigned to the Recycle Bin of history
There's been some editing done to "Owner" because the segue into "Sunshine Of Your Love" has been cut out although I believe you can hear them coming out of it back into "Make It Easy" and then to the end of the song. Granted, it's a brief part when compared to other later renditions.
I do actually understand this edit for a couple reasons:
-1- Jon does not actually know the words, and it's funny but I don't know how well the joke would stand up in repeated listening/viewing.
-2- Who wants to pay licensing/royalties on something that's actually kind of a throw-away interpolation?
Speaking of edits, this brings me to one particular complaint I have with this release (and it shouldn't surprise any of my long-time readers) - the exclusion of Lou and Lee's solos. They weren't edited down, but rather cut completely out of the songs in which they were performed. And this truly baffles me because even if the reasoning is that someone at home might be bored by a five-minute solo, they could have still retained a minute or so to avoid the completely abrupt and confusing transitions where their solos are supposed to be.
Again, I'll be blunt: there is no good reason for this to have happened. Don't like the solos? Skip them. But give us the choice, don't edit out any of the performance when there's no need to do so, and there absolutely was not. It's like all of the generosity which allowed them to have a moment in the spotlight was then negated by excising those moments like they never existed at all. And I find myself very disappointed with whomever ultimately made that decision.
It's not totally spoiled but...
This was just a gaffe but it does disappoint me that the version of "Rhythm of Love" on this recording is missing an entire verse. It's my favorite of the setlist and again, I really wanted to have a professionally-recorded version of it. But for what it is, missing verse and all, it's a lot of fun although to my surprise I think the version of "Hold On" has more of a classic rock band kind of vibe to it. There's a certain crunchiness which is missing compared to previous performances of RoL.
Returning to my main gripe: the combined track of "Long Distance Runaround/The Fish" on Live At The Apollo comes to 6:17. The actual performance time of the songs - based on the audience video I've seen of that particular rendition - is a little over eleven minutes (if you subtract Jon's introductory remarks). Lee's solo comprises about five minutes of the total song. I'm not speaking from a position of attempting to demand anything from the production team, this is not me making an entitled rant. But I honestly don't understand why one of the highlights of the show - so much so that they actually made this section twice as long as it had been upon the original debut in 2016 - would be wholly deleted from the recording and concert film. Lee's performance of "The Fish" throughout those touring cycles was a wonderful tribute to Chris Squire as well as adding an additional layer of Yes-like legitimacy to the endeavor because to perform Yes music you need a great bass player, and I imagine now no one would dispute that Lee Pomeroy is one of the best the UK has to offer. His bravura and upbeat attitude made me a fan, and as a fan I'm gutted that it's not there. But I have already amassed a collection of audience videos and recordings on my hard drive to remind me of the good times, and you can't take that away from me, guys.
And I know what you're thinking: "Hey, there's nearly two minutes of Lee soloing in 'Heart of the Sunrise!'" And that is certainly true, and I truly appreciate that song didn't get edited down, trust me. I suppose if the reasoning was that Lee could have one solo but not two, well, okay - but that strikes me as a rather lame excuse if in fact it is one.
It has been suggested, due to the number of interpolations of other Yes songs in Lee's solo, it would have meant more of a licensing expenditure than what was already accomplished and thus provided a reason for its' exclusion, and I'll concede that might very well be. It's a reasonable assertion even as it also strikes me as a bit of pretzel logic. I don't accept it's the primary reason but it could certainly have influenced the decision though it's difficult to believe that Eagle Rock's licensing budget for this release would have been absolutely drained by such a consideration.
As much as the principles might have disapproved of YouTube videos - and thus this release was a response to such things - now audience recordings seem to be the only way to view the show as it was actually performed in toto.
So the video quality of this recording is not the greatest, although the sound is okay - but here is what we're missing in terms of experiencing a high-quality version of this section of the show (and I want to note that I found this particular video last year and added it to my collection, I'm not just now discovering it for the purpose of supporting my assertions).
Definitively not definitive
The interesting consideration for me as a fan and as someone with a critical appreciation for such things is that the audio and video releases present different experiences for different needs. When I need to listen to this great performance and enjoy it for what it is, then the audio serves that desire beautifully, whereas when I want to remember the experience of seeing ARW, the experience of the show itself, then I will (and have) listen to audience recordings instead. Same with the video - I'll watch a VOIO. What I get from the video portion of Live At The Apollo is an appreciation for their interplay and sense of enjoyment and fun, but not necessarily a true portrait of an actual show.
And given the reason this project was accomplished - to provide the definitive version of a recording of the live experience - I find that a bit ironic. This in fact does not replace audience recordings. It is certainly better quality overall but the decisions which were made from a production standpoint end up being at odds with what actually occurred.
But I also find that I'm enjoying it in the same way I enjoy recordings of the Union era and the Eighty Dates tour - an appreciation that this happened at all and we have the memory of that unique glory. Even if this release is not exactly what I want, it is quite enjoyable for the same reason that I enjoyed the ARW live experience to begin with: it gave me so much more elation than even I would have expected it to. And I truly hope that it does the same for you as well.
Also many thanks to my colleague Graham for technical support.
The release of Live At The Apollo is finally here and by and large it has been positively reviewed both in the press and by fans. I agree that it's a great thing to own which will provide much enjoyment. But I also think there are some problems with it and so I plan to discuss both sides in my review.
It's truly superfluous for me to state that this is my opinion - my blog my opinion, doncha know - and I can certainly understand why many fans don't have any issues with the release. But I do want to make it clear that in a review I am going to provide my critical opinion and you can choose to agree with me or not. But don't come at me for having an opinion either way, thanks. I tend to think these days in the fandom realm people get confused regarding the uses of criticism; and even as I may be largely positive about many things I approach it all from a perspective of discernment.
I also wanted to note that I'm not including a lot of screencaps in my review because I'm planning at least two other entries devoted to that sort of thing, just in case you were wondering.
The Good Stuff
I had three reasons, primarily, for desiring this release:
-1- As an avid collector of YesWest live recordings I wanted yet another audio/video release featuring Trevor. I know there are plenty of other people out there with this same desire.
-2- I have attended ARW shows, but could never afford to sit close to the stage. A professionally-filmed show would allow me that perspective.
-3- Not that I'd say I'm the only one but...I wanted a professional-quality version of "Long Distance Runaround/The Fish" primarily for Lee Pomeroy's solo.
So I got two out of three of those desires, and like the song says: that ain't bad.
I really do enjoy this release; I know there are some in fandom who believe I am protesting unduly or am willing to trash the whole thing because item number three was not granted to me (or anyone else who might have wanted it). That is simply not true. As someone who attended multiple shows (even though it was not as many as I wish I could have seen) there is much replay value to this release for me and I've already watched/listened more than a few times just to reach the point where I can write this review from an informed perspective.
The 2016 setlist, once it was solidified, was a good one in my estimation and I'm just fine with the song selection as represented in this document. It is wonderful to have a professional-quality recording of this setlist as played by an ensemble who had finally reached a point of performance cohesion with the material and their chemistry as a band. As I've noted in my reviews of the performances/tours I think by this particular point in their collective history, ARW was turning in solid performances all around.
Even as I might find some fault with the way it was filmed, I appreciate that a seasoned director helmed this project and that it was shepherded at a professional level. It's well done, if not quite 9012Live in terms of cinematic perfection. Then again, that is just not possible anymore, for so many reasons.
To be honest, I'm just happy we actually have it, because I wasn't sure if it was going to be released. Although it was produced by an outside concern that wasn't necessarily enough assurance in terms of reaching the finish line (though I ardently wished that it would be, and it turned out okay in the end). So about that...
The waiting is *insert metaphor here*
Unless it was the plan all along as regards the observance of the anniversary or to coincide with the US tour, I don't understand why it took a year-and-a-half to get this release to market. As example, this November Eagle Rock is releasing a live album/video by prog legend Steven Wilson of a performance from March of this year in five different formats, also with a 5.1 Surround mix - thus proving that it does not take a year-and-a-half to accomplish such a feat. Since this release was available to buy at the recent shows I can only think that we were meant to wait that long. Of course, there might have been another reason entirely. I say this because, according to my research, the project cycle for an Eagle Rock live release tends to be about 6-8 months from production to sale.
"I think we should change the cover, though. A bit late!"
The above is an actual quote from Trevor, and certainly one may argue he was just joking but maybe not. I am on record as not having any particular affinity for Jay Nungesser's design work for ARW. For me, it's primarily the new logo, I don't like it. His ARW logo was much more appealing compared to the new Yes logo. I think the "Quintessential Yes" version of the overall design is far better still but I imagine the artwork for Live At The Apollo was created long before the new website design was completed so therefore it incorporates all of the previous elements (i.e. the maze and the cubes). The typeface and photos and all are fine, although I find it interesting that in the collage of photos Jon and Trevor are at the top of the page and Rick is relegated to a space with the sidemen at the bottom. I don't have a particular issue with the color scheme, but I have to admit I was a bit disappointed to discover that the packaging was reflecting the old design elements.
I know I'm not the only one who feels this way but I wanted to note this from a recent review of the Blu-ray on the AudiophileReview website:
My only real nit pick on this release has nothing to do with the audio, the video or the performance. It is simply that the packaging design is lackluster for a release of this caliber. Even though the cover art does not feature design by Roger Dean -- the legendary artist whose images have become somewhat synonymous with the band -- the logo used here is rather ... well... pedestrian. Its just not iconic enough to match the stature of the band and this performance. This band deserves better.One thing I have noticed is that there is no packaging design/artwork credit for this release - to my knowledge Nungesser has never been publicly credited for his work on the previous website and merchandising (other than his own postings to social media) and you have to wonder if that's intentional. Unless Nungesser was the one to request that his name not appear, that is.
(vigourous applause)
This next point has been a source of tireless debate in fandom thus far, and I have an opinion as does everyone else. Nobody is right or wrong I would say, but everyone is entitled to feel however they will about it. I'm taking a stand to declare that berating or ridiculing others regarding their feelings on this matter is not cool and if you've done this in fandom discussion or on social media, you should just stop it.
The added crowd noise in the audio (what I have referred to as crowd swells) is indeed annoying from my perspective but if you listen to it enough times solely on the audio I find it just becomes background noise. It's definitely strange strictly from the perspective of - if you were at the show or if you've watched audience footage of the show - knowing those in attendance were a typical prog-loving respectful UK-based audience and simply did not cheer every 30 seconds or so. Here's an example of what this crowd really sounded like during "Heart of the Sunrise" - I picked this video specifically because it is filmed from directly behind the production/mixing area so most of the crowd on the floor is in front of the person filming.
And in the Live At The Apollo video you can, at different points, witness the general demeanor of the audience, which is completely at odds with what you're hearing on the audio. There are washes of cheering during "And You and I" which you hear while you see the audience calmly absorbed within the performance before them. You hear one thing, you see another. I'm going to be blunt: that's just dumb. But what's done is done so fans will deal with it as they will. I can certainly understand the pushback occurring on social media, but I don't believe anything will be accomplished to remedy or change the release. However, in time I fully expect that a hobbyist audio engineer will at some point circulate a "hype-free" mix of the audio where the crowd noise has been turned down, so to speak.
Bare Bones
There are no bonus features on this release. None. I'm disappointed, sure, although I feel like it would have been too much to expect given how long it took to release this. I've noted before that there is a distinct lack of organization in the ARW business concern and I can't help but wonder if perhaps Eagle Rock requested that bonus features be provided or suggested that they be filmed, only to be met with resounding silence from the principles. I think at the very least we should have been provided with an audio track of "The Meeting" from a prior performance as that was an element of the 2016-17 setlist.
Digital-itis
It's not like I'm Quentin Tarantino demanding that movies be shot on film and projected from film, but the HD digital mediums for music and video are not entirely ideal in my opinion. There's something distinctly clinical about both aspects which can be both good and bad.
Interestingly, it's the nuance - there is so much nuance in Paul Linford's mix (and yes, I know that Paul and Trevor receive co-credit for the mix but Paul receives the leading credit so I'm going to assert it's primarily his mix) - which makes it an interesting and exciting experience to listen to, but at some points it is a little too cold for my tastes. But I do enjoy it even so, it shows the true character of this ensemble far better than any particular performance ever could, in my opinion, even with the enhancements (which I think are fairly unobtrusive). But I also know it's an all-digital recording so I would say that's probably the culprit. On the other hand, the HD video equipment used for shooting allows for any number of interesting camera angles and pans but it's a little too revealing sometimes. Things don't always look attractive in HD digital video. They call it the "Soap Opera Effect" and it can provoke Uncanny Valley levels of visual dread at times.
But also I have issues with some of the camera angles, like the camera which was placed somewhere in the vicinity of Trevor's right hip in order to capture shots of Lee (behind Trevor on his platform) which are just oddly-framed because of the positioning. And the very long shots where the stage appears in seeming miniature and granted, from the back of the hall (which seats 3500) it probably does look that way but I just don't see the point of including those kinds of shots. Some of the focus-pulls which I'm assuming were added in post are jarring to me as well. And the tracking is a bit too mechanical, as the cameras were all on automation. Far more convenient and less distracting in terms of having extra bodies on stage, but the movement of the cameras calls attention to that very consideration and so I found that distracting instead. And there are parts of Rick's solos where they fast-cut to every single camera angle they had for him and it reminded me of this one guy who had a cringingly amateurish music video show reel on YouTube and it was something like 20 cuts in 30 seconds which had the effect of making me want to claw my own eyes out.
On another point I did want to acknowledge the whimsy of making the opening sequence look like a film from 1968 which I thought was a nice touch; it actually enhanced the whole scripted quality of the band's entrance rather than emphasized the non-subtlety of it.
Consigned to the Recycle Bin of history
There's been some editing done to "Owner" because the segue into "Sunshine Of Your Love" has been cut out although I believe you can hear them coming out of it back into "Make It Easy" and then to the end of the song. Granted, it's a brief part when compared to other later renditions.
-1- Jon does not actually know the words, and it's funny but I don't know how well the joke would stand up in repeated listening/viewing.
-2- Who wants to pay licensing/royalties on something that's actually kind of a throw-away interpolation?
Speaking of edits, this brings me to one particular complaint I have with this release (and it shouldn't surprise any of my long-time readers) - the exclusion of Lou and Lee's solos. They weren't edited down, but rather cut completely out of the songs in which they were performed. And this truly baffles me because even if the reasoning is that someone at home might be bored by a five-minute solo, they could have still retained a minute or so to avoid the completely abrupt and confusing transitions where their solos are supposed to be.
Again, I'll be blunt: there is no good reason for this to have happened. Don't like the solos? Skip them. But give us the choice, don't edit out any of the performance when there's no need to do so, and there absolutely was not. It's like all of the generosity which allowed them to have a moment in the spotlight was then negated by excising those moments like they never existed at all. And I find myself very disappointed with whomever ultimately made that decision.
It's not totally spoiled but...
This was just a gaffe but it does disappoint me that the version of "Rhythm of Love" on this recording is missing an entire verse. It's my favorite of the setlist and again, I really wanted to have a professionally-recorded version of it. But for what it is, missing verse and all, it's a lot of fun although to my surprise I think the version of "Hold On" has more of a classic rock band kind of vibe to it. There's a certain crunchiness which is missing compared to previous performances of RoL.
Returning to my main gripe: the combined track of "Long Distance Runaround/The Fish" on Live At The Apollo comes to 6:17. The actual performance time of the songs - based on the audience video I've seen of that particular rendition - is a little over eleven minutes (if you subtract Jon's introductory remarks). Lee's solo comprises about five minutes of the total song. I'm not speaking from a position of attempting to demand anything from the production team, this is not me making an entitled rant. But I honestly don't understand why one of the highlights of the show - so much so that they actually made this section twice as long as it had been upon the original debut in 2016 - would be wholly deleted from the recording and concert film. Lee's performance of "The Fish" throughout those touring cycles was a wonderful tribute to Chris Squire as well as adding an additional layer of Yes-like legitimacy to the endeavor because to perform Yes music you need a great bass player, and I imagine now no one would dispute that Lee Pomeroy is one of the best the UK has to offer. His bravura and upbeat attitude made me a fan, and as a fan I'm gutted that it's not there. But I have already amassed a collection of audience videos and recordings on my hard drive to remind me of the good times, and you can't take that away from me, guys.
And I know what you're thinking: "Hey, there's nearly two minutes of Lee soloing in 'Heart of the Sunrise!'" And that is certainly true, and I truly appreciate that song didn't get edited down, trust me. I suppose if the reasoning was that Lee could have one solo but not two, well, okay - but that strikes me as a rather lame excuse if in fact it is one.
(with thanks to Cee for this screencap)
As much as the principles might have disapproved of YouTube videos - and thus this release was a response to such things - now audience recordings seem to be the only way to view the show as it was actually performed in toto.
So the video quality of this recording is not the greatest, although the sound is okay - but here is what we're missing in terms of experiencing a high-quality version of this section of the show (and I want to note that I found this particular video last year and added it to my collection, I'm not just now discovering it for the purpose of supporting my assertions).
Definitively not definitive
The interesting consideration for me as a fan and as someone with a critical appreciation for such things is that the audio and video releases present different experiences for different needs. When I need to listen to this great performance and enjoy it for what it is, then the audio serves that desire beautifully, whereas when I want to remember the experience of seeing ARW, the experience of the show itself, then I will (and have) listen to audience recordings instead. Same with the video - I'll watch a VOIO. What I get from the video portion of Live At The Apollo is an appreciation for their interplay and sense of enjoyment and fun, but not necessarily a true portrait of an actual show.
And given the reason this project was accomplished - to provide the definitive version of a recording of the live experience - I find that a bit ironic. This in fact does not replace audience recordings. It is certainly better quality overall but the decisions which were made from a production standpoint end up being at odds with what actually occurred.
But I also find that I'm enjoying it in the same way I enjoy recordings of the Union era and the Eighty Dates tour - an appreciation that this happened at all and we have the memory of that unique glory. Even if this release is not exactly what I want, it is quite enjoyable for the same reason that I enjoyed the ARW live experience to begin with: it gave me so much more elation than even I would have expected it to. And I truly hope that it does the same for you as well.
Wednesday, September 12, 2018
road warrior, part five
This particular photo seems, to me, to sum up Lee's year as a working musician: bouncing in and out of various ensembles - but beloved by all, naturally. And now he's on his fourth jaunt of the year, mere days after the conclusion of ARW's short summer tour, accompanying the Jeff Lynne's ELO European tour for the next two months.
Wednesday, September 5, 2018
In which I spend another entertaining evening with that Yes
Unlimited gratitude goes to my dear Cee, without whom...
Also: op-ed is in effect as usual, caveat lector.
Anniversaries are A Thing
The touring cycles for this year are ostensibly to observe the 50th Anniversary of Yes as a band; however, I would say that what ARW has actually accomplished this year isn't much, really, despite their branding this outing as "Quintessential Yes: 50th Anniversary Tour." And that's my opinion, of course. One might posit that if one paid attention to various interviews and publicity and such there appeared to be any number of plans as regards the observance but in the end, not much to show for it. The airing of "Fragile," the release of Live At The Apollo, and, all told, less than an actual month's worth of touring for the entire year. And this is it because as we know - again, if you've paid attention - the principles have already revealed their plans for the rest of 2018 and none of it has anything to do with their version of Yes. If nothing else the anniversary illustrates the inherent value of the music which will always transcend the desires of the people who actually created it in the first place. So I think this was a convenient marketing strategy which somehow backfired or came to naught for whatever reason. Perhaps incompetence of a kind, perhaps self-sabotage. Certainly a missed opportunity, even a wasted one. But we have to appreciate what we do have, right? Sure, okay, so let's talk about that.
The venue
As I noted in a post on Yesfans after the show, I have lived in the San Diego area for many years now but I had never previously attended a show at Humphreys. It's an interesting venue because it's an adjunct to the Humphreys Half Moon Inn resort on Shelter Island (which isn't actually an island, in case you were wondering) and also features the Humphreys Backstage Live lounge. There is public parking across the road adjacent to the marina - and the view of downtown San Diego across the bay is one of those picture-postcard tourist moments which locals such as myself may not often experience in our day-to-day lives, however I chose to park in the paid area which was actually on the hotel grounds - I was mere yards from the entrance to the venue itself. The venue is almost like a bijou type of "shed" (though not tiered in the way a traditional amphitheatre would be) holding about 1400 with four sections of seating in front of the stage which abuts the harbor. The view of the marina at sunset is quite lovely, and some hotel guests can watch the show directly from their rooms.
I wasn't sure about the view I'd have based on the seating chart, but it turned out I could see the stage just fine from where I sat in the center section and even better, most everyone sat down during the songs (I admit it, I'm old now and not up to standing during an entire show). The evening weather was mild, the seats are close together but it wasn't too much of a hardship, the sound was good, and the crowd not nearly as distracted as I've experienced at other venues.
The setlist
The setlist for 2018 can best be described as a sort of amalgam of the previous years' setlists, with the emphasis on 2016; in fact it reprises the 2016 set almost entirely. This wasn't as much of an issue for me because I did not attend any shows in 2017 due to ARW giving Southern California a pass as far as touring was concerned. If I had, I think I would have been somewhat disappointed by the lack of true change in the setlist. However, given that we know the principles have been conservative at best, unimaginative at worst, in terms of expanding/revamping the setlist, it's not entirely unexpected. I actually predicted they would not play any new or newer songs - and for once I don't enjoy being right.
Perhaps the most disappointing aspect is it appears there was an idea to play both "Fragile" (which appears to actually be named "Fragile/Touch") and "Wondrous Stories" at their Whisky A Go-Go performance (verified by a fan posting a photo of Jon's setlist as well as a mention by Jon during their appearance on Jonesy's Jukebox on the 24th) but neither of them were performed, nor does it appear they will be unless they decide to do so within this next week. Even adding just one newer song can make a big difference for fans, I believe, as so many of us have seen at least one prior performance by now. I have more to express but I will cover that in the next section as I go through the show song-by-song.
That said, I do wish I would have had the chance to see the 2017 setlist performed, as "South Side of the Sky" is one of my favorite Classic Yes songs. But the length of the set is what I feel it should be considering what fans are expected to pay for the privilege, it comes to just a little over two hours.
The performance
This was my first time seeing a show early in their tour, as previously I attended performances at the end of the tour (and that was better at the time, for reasons I have already articulated in my prior review) and I feel the energy level of the band - their general demeanor and their chemistry - was strong, it was fresh, and it enhanced my enjoyment of the performance that much more. I was especially determined to enjoy this evening because even if ARW do embark on a tour of the US next year at all, they wouldn't be returning to Southern California so I was thankful to have one more chance to see them, at least.
I do regret that this particular show did not feature the normal staging in terms of their backdrop, projections and lighting rig, which is much improved from the last time I saw them, but I assume Humphreys is not the type of venue which could accommodate it. The lighting and "haze" which was used did not detract from the performance, but having seen many videos and photos of what the current production does lend to the show overall made me wish I could have experienced it for myself.
The show now begins with new introductory music and some have posited they believe it's a group effort. Personally, I see it as something Trevor specifically wrote for the occasion (this year's touring) or is something perhaps previously composed for a scoring project, as it does have that vibe to it. Given that "Perpetual Change" was moved to the midpoint of the set, I can see why new music was needed, but I disagree with this strategy - "Cinema" and "Perpetual Change" are perfect partners and should always open the show. The transition between "Cinema" and "Hold On" strikes me as somewhat awkward.
Moving forward, this setlist mirrors 2016 with the next two songs, "Hold On" and "I've Seen All Good People." They were each what I expected them to be, no real surprise but solid renditions. In terms of performance the fact that this ensemble has been playing these exact songs, largely, over time means that they know them well enough not to succumb to any major gaffes now (as opposed to what occurred during the first couple weeks of touring in 2016).
"Changes" followed - this time earlier in the setlist, and I found myself thinking that its' place later in the 2016 setlist was more appropriate. It seems as though they have basically swapped the positions of "Changes" and "Lift Me Up" within the 2018 setlist. Again, it was a strong rendition with everything I expected from Trevor and they are back to playing The Game with the song, which I still don't approve of even as I understand why Rick and Trevor are amused by it.
"And You and I" is one of those songs I believe they feel they have to play, and it is a favorite of mine within the Classic Yes canon, but there's something about the way ARW perform it which just isn't that appealing anymore. I did enjoy it in 2016 but I didn't get that chill down my spine this time. It seems like there is something plodding about the way they play it now.
During "Rhythm of Love" I considered how good it sounds in a live setting, even better than the recording on Live At The Apollo. It's just so intense, and it has that compelling energy to it which makes it my continued favorite of the setlist. And I think part of that has to do with how it's the most "rock" of all the songs they play (even more than "Owner"), it has such a groove to it which makes it sound so exciting. And Trevor and Rick do a great job with their solos.
Speaking of changes, this brings us to the point where "Perpetual Change" has been placed, taking the position of where "Heart of the Sunrise" was in the 2016 setlist. And although, as I've stated, I don't approve of "Perpetual Change" in this spot I do agree with putting "Heart" where it is now, preceding the epic rendition of "Awaken." But their rendition of "Perpetual Change" continues to be another solid performance overall and I still enjoy it. It has the same propulsive energy it needs to, but I find their nuances and chemistry hold up much better when compared with their performance of "And You and I" (as example).
"Lift Me Up" has returned, and this rendition is much better than it was in 2016 so I'm fine with the return, especially as I think it's kind of a waste to have Trevor only sing one song (not to mention that those of us who had waited decades to see Trevor perform again desire his role to be much larger). But I'm still not fond of the way they're ending the song now. However, as I noted previously, dropping the drum solo ahead of the song was a very intelligent choice. Though I wish Lou got a few more bars to vamp that introductory pattern.
I'm happy I had a chance to experience "I Am Waiting" especially because I never got to see the Talk tour, so it's a special thing for me to see Trevor perform a song from this album which, as long-time readers know, I love. However, it was disappointing to me to witness it serving as the "bathroom break" song with the audience. I think it's a testament to the sentimental value of "Awaken" that it doesn't serve as that song. "Awaken" goes on forever, people. (Okay, don't come for me in email!) I fully understand how beloved and "sacred" that song is to long-time diehard fans. As someone who does not take bathroom breaks during a concert it's not a consideration for me, but I think ARW does a lovely rendition of "I Am Waiting," although I don't understand why Jon sings part of the "it happened in the water" bridge, which is Trevor's section. It seems to me he could hit those notes, but maybe he can't anymore. His register has changed for certain.
Due to the re-sequencing of the setlist as well as song changes, "Heart of the Sunrise" has now become one of the definite highlights of the set. They still play it like their version of speed metal, but that's not a bad thing at all. The contrast between the thundering 6/8 sections and the quieter interludes is more pronounced and emphasizes the song's progressive rock stylistic metier. Jon sounds wonderful even as one can discern the changes in his register but they are not pronounced enough to detract from his performance. And now it's the only opportunity Lee has to solo for those 90 seconds at the beginning or however long it is. I find this disheartening in a band which claims to be Yes, because virtuosic bass playing should be a definite feature of any band which claims to be Yes and yet it is not truly on display in this version - not now, anyway. It was, but this year they chose not to include that aspect. I don't know why, but I don't agree with that decision. I stated in fandom discussion that it seems to be ARW is squandering their resources by not allowing Lee and Lou to have their solo spots; or at least acknowledge that these guys are working as hard (if not harder) as everyone else to entertain the audience. But "Heart of the Sunrise" provoked a standing ovation in this audience which was well-deserved indeed. Along with "Rhythm of Love" it was my favorite of the night.
In reading fan reviews from last year, there seemed to be a consensus regarding "Awaken" - that it had improved and become even more dramatic with a darker tone. I don't know if I truly appreciated all the nuances therein but I found I was in a better frame of mine to enjoy it this time. It's still definitely more rock n'roll than any version I've heard prior to ARW's debut but that's part of what I do enjoy about their interpretations overall. Once again Rick was masterful in his playing on this song, even as he provides so much color and texture to all the songs, "Awaken" is the moment in which he truly shines.
I think of "Owner of a Lonely Heart" as ARW's warhorse now, rather than merely just another song in the setlist, and I would say this year it's probably the least entertaining that it's been overall. And I don't like having to state that, but that's how I feel about it. Not due to repetition or even the elements which are always there, but rather what they've done to what I consider to be the second part of the song, after they transition into Rick and Trevor's walk into the audience. I don't mind the "walkabout" and I got to see the guys this time just like I did in Anaheim, but beyond that they didn't make that section interesting this time. They omitted the solos and bass battle from last year and instead played a sort of "double-time" section seguing into "Sunshine Of Your Love" with Jon singing his own lyrics again. Some people are puzzled by this or don't approve of it but you have to remember that cover songs were a tradition within YesWest: "Gimme Some Lovin,'" "I'm Down," "Purple Haze" - this is something they've always done so the original interpolation back in 2016 did not surprise me when they started including it. Although it was fun to sing along with the chorus, that section of the show just wasn't as enlivening to me as it had been previously.
The "encore" is now and forever "Roundabout" of course, but interestingly they've changed the arrangement to the YesWest tradition of omitting the introduction but otherwise playing the full version of the song this time, rather than the way YesWest used to play a shorter version (and the way ARW has played it for most of their existence). I certainly appreciate them playing the middle section because it's the best part of the song, in my opinion (as someone who still loves this song so much even as I've been listening to it since I was 10 years old). So that was the only true surprise, but a welcome one. During the extended vamp which ends the song Lee has been interpolating a bit of "Close To The Edge" although I'm not sure if he does it at every show.
Regarding the mix, I listened to the audience recording of the show I was made aware of, and I would say the bass is certainly louder than it used to be. Is it ever going to reach Chris Squire levels of sonic boom? No, and that's because the focus in ARW is unequivocally on Jon's voice. And I think the harmony vocals are also better-placed in the mix, but again, they'll never be as prominent as they were in YesWest. As I noted previously, I think Chris Fudurich has done a great job with achieving a better balance in the overall mix even as fans continue to mourn the absence of those traditional Yes values. And therefore you'll never be completely happy with the way ARW does it now unless you choose to adjust your expectations. But I fully understand why some people do not choose to do this.
The merchandise
I would never suggest that any of my editorializing has any effect or influence on the decisions of this endeavor but thank goodness someone realized that the merchandising needed to improve because it was so wonderful to see this upon entering the venue.
I will still rank the 2016 Los Angeles show at the Orpheum Theatre as the best experience I have had with ARW, but this show was a close second in terms of overall vibe and quality. It was fun, and that is exactly what I expect from this version of Yes. I don't expect a reverence to the continuity of the music, which I feel is what Yes official strives to provide, that is their "brand," so to speak. ARW is more about entertaining people and playing Yes music like a rock band would. In terms of a legacy touring band experience, it's all about a good time and so if that's what you experienced, then you got your money's worth. There were a lot of singalong moments for the crowd, and as I noted the guys all seemed engaged and their energy was good, I didn't get a sense that anyone was phoning it in. They performed the best they are all capable of doing. Lee and Lou continue to be the MVPs in terms of providing the engine which the principles need to make it all work, and Lee is as always a bouncy bundle of sunshine on every stage he graces (seriously, go on YouTube and watch any performance he appears in over the last ten years and he's always smiling) and I think that's invaluable to the morale of this enterprise. How can you not have fun playing with someone who's just so damn happy all the time? Now the fact that they are only playing ten shows may have something to do with the overall demeanor of the principles.
Would I see ARW again if they never changed the setlist? I honestly don't know. I don't believe I would attend multiple shows (presuming I could afford such a thing) if it was the same setlist as previous. I suppose I might succumb simply because I can't see myself turning down an opportunity to see Trevor play, and I'm thankful I have been able to experience this era of his history as a performer. Not to mention that I'd jump at any chance to see Lee play (even as I couldn't go see Jeff Lynne's ELO in August and trust me, it's killing me to say that). But it's my opinion that they are severely testing the goodwill of everyone in the US who turned out for the tours in 2016 and 2017 because how many times can you expect people to pay to see what is pretty much the exact same show? Especially now that Live At The Apollo will allow you to watch it any time you please. However, that does seem to be the trend these days, when touring rather than recording is the primary revenue stream for rock musicians.
If you can see them in the time remaining for this tour I would recommend you do so, because the future is always uncertain. But also because it's fun and if you want to have a good time hearing and seeing Yes music performed then you likely will. But I won't be among those who say you are missing out if you don't choose to attend. Everyone has their own tastes and you have to possess a certain affinity in order to enjoy this particular experience. But even for those of us who have loyally attended numerous ARW shows, there may be a limit to how much nostalgia we're willing to continue to ingest.
Also: op-ed is in effect as usual, caveat lector.
What's better than getting the scoop (as I did in March) that Our Boys were touring this year? Why, that they were actually going to come to my specific geographic area this time! Lucky me! (Look, you just don't know how I hate that drive to Los Angeles these days.) And so it was with a swing in my step and a (YesWest) song in my heart that I made the hour-long drive to Shelter Island as opposed to a multi-hour drive to regions beyond to see ARW for the third time since they began their life as a legacy touring band, playing the second show on this tour on August 27th at Humphreys Concerts By The Bay.
Anniversaries are A Thing
The touring cycles for this year are ostensibly to observe the 50th Anniversary of Yes as a band; however, I would say that what ARW has actually accomplished this year isn't much, really, despite their branding this outing as "Quintessential Yes: 50th Anniversary Tour." And that's my opinion, of course. One might posit that if one paid attention to various interviews and publicity and such there appeared to be any number of plans as regards the observance but in the end, not much to show for it. The airing of "Fragile," the release of Live At The Apollo, and, all told, less than an actual month's worth of touring for the entire year. And this is it because as we know - again, if you've paid attention - the principles have already revealed their plans for the rest of 2018 and none of it has anything to do with their version of Yes. If nothing else the anniversary illustrates the inherent value of the music which will always transcend the desires of the people who actually created it in the first place. So I think this was a convenient marketing strategy which somehow backfired or came to naught for whatever reason. Perhaps incompetence of a kind, perhaps self-sabotage. Certainly a missed opportunity, even a wasted one. But we have to appreciate what we do have, right? Sure, okay, so let's talk about that.
The venue
As I noted in a post on Yesfans after the show, I have lived in the San Diego area for many years now but I had never previously attended a show at Humphreys. It's an interesting venue because it's an adjunct to the Humphreys Half Moon Inn resort on Shelter Island (which isn't actually an island, in case you were wondering) and also features the Humphreys Backstage Live lounge. There is public parking across the road adjacent to the marina - and the view of downtown San Diego across the bay is one of those picture-postcard tourist moments which locals such as myself may not often experience in our day-to-day lives, however I chose to park in the paid area which was actually on the hotel grounds - I was mere yards from the entrance to the venue itself. The venue is almost like a bijou type of "shed" (though not tiered in the way a traditional amphitheatre would be) holding about 1400 with four sections of seating in front of the stage which abuts the harbor. The view of the marina at sunset is quite lovely, and some hotel guests can watch the show directly from their rooms.
I wasn't sure about the view I'd have based on the seating chart, but it turned out I could see the stage just fine from where I sat in the center section and even better, most everyone sat down during the songs (I admit it, I'm old now and not up to standing during an entire show). The evening weather was mild, the seats are close together but it wasn't too much of a hardship, the sound was good, and the crowd not nearly as distracted as I've experienced at other venues.
The setlist
The setlist for 2018 can best be described as a sort of amalgam of the previous years' setlists, with the emphasis on 2016; in fact it reprises the 2016 set almost entirely. This wasn't as much of an issue for me because I did not attend any shows in 2017 due to ARW giving Southern California a pass as far as touring was concerned. If I had, I think I would have been somewhat disappointed by the lack of true change in the setlist. However, given that we know the principles have been conservative at best, unimaginative at worst, in terms of expanding/revamping the setlist, it's not entirely unexpected. I actually predicted they would not play any new or newer songs - and for once I don't enjoy being right.
Perhaps the most disappointing aspect is it appears there was an idea to play both "Fragile" (which appears to actually be named "Fragile/Touch") and "Wondrous Stories" at their Whisky A Go-Go performance (verified by a fan posting a photo of Jon's setlist as well as a mention by Jon during their appearance on Jonesy's Jukebox on the 24th) but neither of them were performed, nor does it appear they will be unless they decide to do so within this next week. Even adding just one newer song can make a big difference for fans, I believe, as so many of us have seen at least one prior performance by now. I have more to express but I will cover that in the next section as I go through the show song-by-song.
That said, I do wish I would have had the chance to see the 2017 setlist performed, as "South Side of the Sky" is one of my favorite Classic Yes songs. But the length of the set is what I feel it should be considering what fans are expected to pay for the privilege, it comes to just a little over two hours.
The performance
This was my first time seeing a show early in their tour, as previously I attended performances at the end of the tour (and that was better at the time, for reasons I have already articulated in my prior review) and I feel the energy level of the band - their general demeanor and their chemistry - was strong, it was fresh, and it enhanced my enjoyment of the performance that much more. I was especially determined to enjoy this evening because even if ARW do embark on a tour of the US next year at all, they wouldn't be returning to Southern California so I was thankful to have one more chance to see them, at least.
I do regret that this particular show did not feature the normal staging in terms of their backdrop, projections and lighting rig, which is much improved from the last time I saw them, but I assume Humphreys is not the type of venue which could accommodate it. The lighting and "haze" which was used did not detract from the performance, but having seen many videos and photos of what the current production does lend to the show overall made me wish I could have experienced it for myself.
The show now begins with new introductory music and some have posited they believe it's a group effort. Personally, I see it as something Trevor specifically wrote for the occasion (this year's touring) or is something perhaps previously composed for a scoring project, as it does have that vibe to it. Given that "Perpetual Change" was moved to the midpoint of the set, I can see why new music was needed, but I disagree with this strategy - "Cinema" and "Perpetual Change" are perfect partners and should always open the show. The transition between "Cinema" and "Hold On" strikes me as somewhat awkward.
Moving forward, this setlist mirrors 2016 with the next two songs, "Hold On" and "I've Seen All Good People." They were each what I expected them to be, no real surprise but solid renditions. In terms of performance the fact that this ensemble has been playing these exact songs, largely, over time means that they know them well enough not to succumb to any major gaffes now (as opposed to what occurred during the first couple weeks of touring in 2016).
"Changes" followed - this time earlier in the setlist, and I found myself thinking that its' place later in the 2016 setlist was more appropriate. It seems as though they have basically swapped the positions of "Changes" and "Lift Me Up" within the 2018 setlist. Again, it was a strong rendition with everything I expected from Trevor and they are back to playing The Game with the song, which I still don't approve of even as I understand why Rick and Trevor are amused by it.
"And You and I" is one of those songs I believe they feel they have to play, and it is a favorite of mine within the Classic Yes canon, but there's something about the way ARW perform it which just isn't that appealing anymore. I did enjoy it in 2016 but I didn't get that chill down my spine this time. It seems like there is something plodding about the way they play it now.
During "Rhythm of Love" I considered how good it sounds in a live setting, even better than the recording on Live At The Apollo. It's just so intense, and it has that compelling energy to it which makes it my continued favorite of the setlist. And I think part of that has to do with how it's the most "rock" of all the songs they play (even more than "Owner"), it has such a groove to it which makes it sound so exciting. And Trevor and Rick do a great job with their solos.
Speaking of changes, this brings us to the point where "Perpetual Change" has been placed, taking the position of where "Heart of the Sunrise" was in the 2016 setlist. And although, as I've stated, I don't approve of "Perpetual Change" in this spot I do agree with putting "Heart" where it is now, preceding the epic rendition of "Awaken." But their rendition of "Perpetual Change" continues to be another solid performance overall and I still enjoy it. It has the same propulsive energy it needs to, but I find their nuances and chemistry hold up much better when compared with their performance of "And You and I" (as example).
"Lift Me Up" has returned, and this rendition is much better than it was in 2016 so I'm fine with the return, especially as I think it's kind of a waste to have Trevor only sing one song (not to mention that those of us who had waited decades to see Trevor perform again desire his role to be much larger). But I'm still not fond of the way they're ending the song now. However, as I noted previously, dropping the drum solo ahead of the song was a very intelligent choice. Though I wish Lou got a few more bars to vamp that introductory pattern.
I'm happy I had a chance to experience "I Am Waiting" especially because I never got to see the Talk tour, so it's a special thing for me to see Trevor perform a song from this album which, as long-time readers know, I love. However, it was disappointing to me to witness it serving as the "bathroom break" song with the audience. I think it's a testament to the sentimental value of "Awaken" that it doesn't serve as that song. "Awaken" goes on forever, people. (Okay, don't come for me in email!) I fully understand how beloved and "sacred" that song is to long-time diehard fans. As someone who does not take bathroom breaks during a concert it's not a consideration for me, but I think ARW does a lovely rendition of "I Am Waiting," although I don't understand why Jon sings part of the "it happened in the water" bridge, which is Trevor's section. It seems to me he could hit those notes, but maybe he can't anymore. His register has changed for certain.
Due to the re-sequencing of the setlist as well as song changes, "Heart of the Sunrise" has now become one of the definite highlights of the set. They still play it like their version of speed metal, but that's not a bad thing at all. The contrast between the thundering 6/8 sections and the quieter interludes is more pronounced and emphasizes the song's progressive rock stylistic metier. Jon sounds wonderful even as one can discern the changes in his register but they are not pronounced enough to detract from his performance. And now it's the only opportunity Lee has to solo for those 90 seconds at the beginning or however long it is. I find this disheartening in a band which claims to be Yes, because virtuosic bass playing should be a definite feature of any band which claims to be Yes and yet it is not truly on display in this version - not now, anyway. It was, but this year they chose not to include that aspect. I don't know why, but I don't agree with that decision. I stated in fandom discussion that it seems to be ARW is squandering their resources by not allowing Lee and Lou to have their solo spots; or at least acknowledge that these guys are working as hard (if not harder) as everyone else to entertain the audience. But "Heart of the Sunrise" provoked a standing ovation in this audience which was well-deserved indeed. Along with "Rhythm of Love" it was my favorite of the night.
In reading fan reviews from last year, there seemed to be a consensus regarding "Awaken" - that it had improved and become even more dramatic with a darker tone. I don't know if I truly appreciated all the nuances therein but I found I was in a better frame of mine to enjoy it this time. It's still definitely more rock n'roll than any version I've heard prior to ARW's debut but that's part of what I do enjoy about their interpretations overall. Once again Rick was masterful in his playing on this song, even as he provides so much color and texture to all the songs, "Awaken" is the moment in which he truly shines.
I think of "Owner of a Lonely Heart" as ARW's warhorse now, rather than merely just another song in the setlist, and I would say this year it's probably the least entertaining that it's been overall. And I don't like having to state that, but that's how I feel about it. Not due to repetition or even the elements which are always there, but rather what they've done to what I consider to be the second part of the song, after they transition into Rick and Trevor's walk into the audience. I don't mind the "walkabout" and I got to see the guys this time just like I did in Anaheim, but beyond that they didn't make that section interesting this time. They omitted the solos and bass battle from last year and instead played a sort of "double-time" section seguing into "Sunshine Of Your Love" with Jon singing his own lyrics again. Some people are puzzled by this or don't approve of it but you have to remember that cover songs were a tradition within YesWest: "Gimme Some Lovin,'" "I'm Down," "Purple Haze" - this is something they've always done so the original interpolation back in 2016 did not surprise me when they started including it. Although it was fun to sing along with the chorus, that section of the show just wasn't as enlivening to me as it had been previously.
The "encore" is now and forever "Roundabout" of course, but interestingly they've changed the arrangement to the YesWest tradition of omitting the introduction but otherwise playing the full version of the song this time, rather than the way YesWest used to play a shorter version (and the way ARW has played it for most of their existence). I certainly appreciate them playing the middle section because it's the best part of the song, in my opinion (as someone who still loves this song so much even as I've been listening to it since I was 10 years old). So that was the only true surprise, but a welcome one. During the extended vamp which ends the song Lee has been interpolating a bit of "Close To The Edge" although I'm not sure if he does it at every show.
Regarding the mix, I listened to the audience recording of the show I was made aware of, and I would say the bass is certainly louder than it used to be. Is it ever going to reach Chris Squire levels of sonic boom? No, and that's because the focus in ARW is unequivocally on Jon's voice. And I think the harmony vocals are also better-placed in the mix, but again, they'll never be as prominent as they were in YesWest. As I noted previously, I think Chris Fudurich has done a great job with achieving a better balance in the overall mix even as fans continue to mourn the absence of those traditional Yes values. And therefore you'll never be completely happy with the way ARW does it now unless you choose to adjust your expectations. But I fully understand why some people do not choose to do this.
The merchandise
I would never suggest that any of my editorializing has any effect or influence on the decisions of this endeavor but thank goodness someone realized that the merchandising needed to improve because it was so wonderful to see this upon entering the venue.
Even as the selection was more limited than last year, the design scheme and presentation were much more enticing and professional-looking. I actually wanted to buy some merchandise this year, as opposed to my attitude regarding what was on offer last year. And of course there was no distasteful ursurping of the traditional Yes bubble logo (although they tried it again earlier in the year during the new website launch only to change the design after receiving yet another C&D, one assumes). I do think it was a good idea to offer the Live At The Apollo releases at the shows because it might have prompted a few impulse buys among the attendees. If I could have afforded it I might have bought a copy of the DVD and just canceled my preorder with Amazon, but alas that wasn't going to happen.
*~*~*
I will still rank the 2016 Los Angeles show at the Orpheum Theatre as the best experience I have had with ARW, but this show was a close second in terms of overall vibe and quality. It was fun, and that is exactly what I expect from this version of Yes. I don't expect a reverence to the continuity of the music, which I feel is what Yes official strives to provide, that is their "brand," so to speak. ARW is more about entertaining people and playing Yes music like a rock band would. In terms of a legacy touring band experience, it's all about a good time and so if that's what you experienced, then you got your money's worth. There were a lot of singalong moments for the crowd, and as I noted the guys all seemed engaged and their energy was good, I didn't get a sense that anyone was phoning it in. They performed the best they are all capable of doing. Lee and Lou continue to be the MVPs in terms of providing the engine which the principles need to make it all work, and Lee is as always a bouncy bundle of sunshine on every stage he graces (seriously, go on YouTube and watch any performance he appears in over the last ten years and he's always smiling) and I think that's invaluable to the morale of this enterprise. How can you not have fun playing with someone who's just so damn happy all the time? Now the fact that they are only playing ten shows may have something to do with the overall demeanor of the principles.
Would I see ARW again if they never changed the setlist? I honestly don't know. I don't believe I would attend multiple shows (presuming I could afford such a thing) if it was the same setlist as previous. I suppose I might succumb simply because I can't see myself turning down an opportunity to see Trevor play, and I'm thankful I have been able to experience this era of his history as a performer. Not to mention that I'd jump at any chance to see Lee play (even as I couldn't go see Jeff Lynne's ELO in August and trust me, it's killing me to say that). But it's my opinion that they are severely testing the goodwill of everyone in the US who turned out for the tours in 2016 and 2017 because how many times can you expect people to pay to see what is pretty much the exact same show? Especially now that Live At The Apollo will allow you to watch it any time you please. However, that does seem to be the trend these days, when touring rather than recording is the primary revenue stream for rock musicians.
If you can see them in the time remaining for this tour I would recommend you do so, because the future is always uncertain. But also because it's fun and if you want to have a good time hearing and seeing Yes music performed then you likely will. But I won't be among those who say you are missing out if you don't choose to attend. Everyone has their own tastes and you have to possess a certain affinity in order to enjoy this particular experience. But even for those of us who have loyally attended numerous ARW shows, there may be a limit to how much nostalgia we're willing to continue to ingest.
Friday, August 24, 2018
New videos!
As I first reported in May, this week and last would see the release of the advance singles from Live At The Apollo as well as accompanying videos taken from the concert film.
Sunday, August 5, 2018
Spot the Poms, part six
The North American tour for Jeff Lynne's ELO began this past week and so Lee (attired in his snazzy purple suit) joined his bandmate and ARW's substitute bassist Iain Hornal (who does an amazing impersonation of Roy Orbison) on stage once again for an evening full of iconic hits and one hell of a light show...
Here's a glimpse from backstage and I might be wrong about this but the man preceding Jeff in the walk to the stage looks to be famed tour manager Richard Fernandez (but without his trademark hat). If you watch the entire clip you'll see Lee mugging for the camera.Thank you, Oakland, for a wonderful opening night! pic.twitter.com/sKthqvbPPk— Jeff Lynne's ELO (@JeffLynnesELO) August 3, 2018
Follow Jeff Lynne's ELO on Instagram (@jefflynneselo) to see instagram stories of exclusive backstage moments from the first weekend of tour! pic.twitter.com/U037r3l9wz— Jeff Lynne's ELO (@JeffLynnesELO) August 3, 2018
Monday, May 7, 2018
new interview with Lee
I had originally spotted mention of this interview on Friday but the link appeared to be broken, so I'm very happy it's back up now. Music Radar had posted a great in-depth interview with Mr. Poms back in 2014 and this new one, from one of the writers for Bass Guitar magazine. is also very comprehensive in terms of the scope of Lee's career as well as technical discussion, and as always enhanced by his great sense of humor.
And this quote is just classic!
"If you slice me in two, I’m prog all the way through.”
https://www.musicradar.com/news/lee-pomeroy-to-play-these-songs-with-jon-anderson-and-trevor-rabin-is-a-dream-come-true
And this quote is just classic!
"If you slice me in two, I’m prog all the way through.”
https://www.musicradar.com/news/lee-pomeroy-to-play-these-songs-with-jon-anderson-and-trevor-rabin-is-a-dream-come-true
Thursday, April 26, 2018
Spot the Poms, part five
Lee's enthusiasm for performing makes me wish it could be bottled because wouldn't everyone want to be this happy every day?
Friday, April 20, 2018
update: I stand corrected
(With thanks to Yesfans member Bad Wolf for the heads-up.)
As I reported earlier in the week, Lee is currently touring with Gary Barlow and now I know he'll be on that tour till its' completion, as Iain Hornal has Tweeted today that he'll be joining ARW once more for the UK and European performances in June. As we know, Iain previously filled in on the Japanese tour while Lee was performing with Take That.
As I reported earlier in the week, Lee is currently touring with Gary Barlow and now I know he'll be on that tour till its' completion, as Iain Hornal has Tweeted today that he'll be joining ARW once more for the UK and European performances in June. As we know, Iain previously filled in on the Japanese tour while Lee was performing with Take That.
I will have the honour of depping for my pal Lee Pomeroy, playing Chris Squire’s glorious bass parts for @YESfeaturingARW on their 50th Anniversary Tour this June. 17-year-old me wouldn’t believe it... https://t.co/NzPlGNpE76— Iain Hornal (@HornalMusic) April 20, 2018
Monday, April 16, 2018
road warrior, part four
How many tours can one man undertake in a year? If you're Lee Pomeroy the answer is: a lot.
Tonight marked the beginning of a new solo tour for Take That's Gary Barlow (in support of the reissue of his first solo album Open Road) and his backing band is the same as Take That which is the same as Jeff Lynne's ELO, so this ensemble will be performing for most of the year through the UK, the US, and Western Europe. Lee is with Gary's tour at least until June when he'll join ARW for their UK and European performances, and then he'll be back with those guys for Jeff Lynne's ELO American tour in August and then...well, he's a busy guy!
— Scott Robertson (@ScottR93) April 16, 2018
Friday, February 23, 2018
follow the bouncing bassist
A very Happy Birthday to the third Piscean bassist in the Yes continuum (which is why I like to say it's a rule that you have to be a Pisces to play bass in Yes) and this year is the big 5-0 for Mr. Poms, but agile and tirelessly cheerful as Lee is, he's got the energy of a man half that age...as they say in Hoxton, gawdblessya!
(photo: Cathy Poulton)
Friday, February 16, 2018
musical families and friendships, part two
One thing which Our Guys can say they truly have in common is musically-talented progeny, and today Rick's son Adam released a second album with his long-time friend and collaborator Damian Wilson - The Sun Will Dance In Its Twilight Hour - the creation of which was crowdfunded on Kickstarter and is now available across all digital distribution platforms and on CD from Blacklake. A vinyl version is scheduled for release in March.
Their 2016 album Weir Keeper's Tale is a beautifully written and recorded work and I recommend it to anyone who enjoys acoustic-based music in the classic singer-songwriter mode. Adam and Damian are incredibly talented; and as they compromise 2/5ths of Headspace, one of my now-favorite groups, these albums are an automatic acquisition for me.
My favorites from the new release thus far are: "On This Battlefield" (with Adam on lead vocal), "Tried And Tested," and the title track.
My favorites from the new release thus far are: "On This Battlefield" (with Adam on lead vocal), "Tried And Tested," and the title track.
And of course anyone who has followed Rick's career over the years knows that Adam and Damian (along with Lee Pomeroy) were a part of his New English Rock Ensemble from 2000-2002.
Sunday, February 11, 2018
Spot the Poms, part four
So it appears Lee is also keeping creatively busy during the ARW hiatus, as a few days ago drummer Richard Brook posted this on his Instagram...
When the paisley scarf is on that means Prog Business! And just to note, none of the Headspace lads can seem to stay apart - Adam and Damian are touring the UK right now, last year Adam briefly joined Pete in Natalie Imbruglia's backing band as well as Rich and Lee reuniting at one of the Take That performances in London. Here's hoping we get to hear whatever this turns out to be!
Thursday, January 11, 2018
Spot the Poms, part three
Carrying on into 2018 with his musical mission of backing up the best, here we see Lee with Take That's Gary Barlow and musical director Mike Stevens at London's Battersea Evolution for the Swing Low Dinner charity event last night where Take That was the featured musical entertainment.
Monday, December 11, 2017
State of the Tour 2017
The following contains my usual op-ed and analysis, so caveat lector if you're not particularly interested in such things or may take offense to my point of view. Also, this is a long entry with various photos/videos and so might be more of a strain on older/slower browsers.
Even as I did not attend a single ARW show this year (because they did not tour in Southern California this time) there is still so much to discuss, leastwise because they did play 55 dates total and it makes for lots of interesting details to ponder and comparisons to make. And I can do so because there is plenty of documentation out there to absorb. I am thankful for this consideration because, even as I understand why the tour didn't make it to my region, as someone who wants nothing more than to see at least one ARW show per year (although more than one would be nice) I was sort of dying inside.
(#fangirlproblems)
As we know, it really was a matter of two different tours: the dates in the UK, Europe and Japan were a continuation of last year's US tour as it was - for most performances - the exact same setlist. The North American tour later in the year could be considered a new(ish) tour with a few setlist changes and a beefed-up production design plus new venues and cities were visited. The primary difference, in my estimation, was touring under the new moniker and all which it implies. But I'm still not interested in engaging in the legitimacy debate so that's not happening.
First I wanted to include a few compendiums from various sources at different points during the year, to give everyone an idea of how both the performances and the staging evolved throughout the respective touring cycles. Of course those of us who have been assiduosly following along will have already watched these particular videos.
I find it easier to write about this if I break it down into subtopics so here we go; and I will continue to refer to the North American tour as "Summer/Fall."
Round the World
As someone who desires this ensemble to succeed and evolve, it was really nice to see the guys touring the world this year, with stops in Israel, the UK, Low Countries, Japan, Western Europe and North America. I can imagine many fans were grateful to have the opportunity to see them and I'm really looking forward to what could be considered a well-staged classic iteration of their performances with the release of the March 25th Manchester Apollo show on DVD.
Of those gigs elsewhere there are two I wanted to note in particular: one is the first show of the year at Menora Mivtachim Arena in Tel Aviv, the only arena ARW has played thus far and even though the gig was a bit fast-and-loose there was also a lot of energy which makes it a great show to watch, in my estimation. And the stop in Rome at Cavea Auditorium Parco della Musica was also a great performance in a beautiful setting. No offense meant to Merrie Ole but I really wish the Rome date could have been professionally filmed as well.
Territories
The Summer/Fall tour itinerary was interesting in that while there were new cities/venues included - and a three-date stint in Canada which was excellent news for fans above the lower 48 - more than a few of the exact same venues were played, and more than half the tour could be considered as being booked in the East Coast/Northeast region of North America. And I can certainly understand varying the particular regions in order to give more fans a chance to see the band, but given that there were many of the same types of bookings made - multiple dates in New Jersey, New York and Florida - it suggests to me that the East Coast is the true stronghold for the band as well as Larry Magid having a vast network of bookers and local promoters, and therefore we can expect for the life of this band that they will always have a larger presence in that area of the country. Which, if you're an East Coast-based fan, is good news for you!
Venues
As I noted, some of the same venues were visited this time around in the US, such as the Goodyear Theatre in Akron, the Count Basie Theatre in Red Hook, and Ruth Eckerd Hall in Clearwater. But interestingly there seemed to be more of an emphasis on theatre type venues, with more than a few Performing Arts centers booked rather than casinos. And then there was a winery, which was incredibly picturesque (and the show I would have chosen to attend had I been able to afford to travel to NoCal - even as its' small stage precluded the use of their backdrop, projections, and custom lighting rig), as well as Wolf Trap in Virginia and Toronto's Massey Hall which are historic venues in their own right. So I would say this enterprise is moving up in the world a bit but I expect that their preferences are not going to change in terms of the type of venues/capacity they will play in the future, and also that they will continue to tour solely on their own with no support act rather than as part of a double bill or package tour.
Fashion Watch
It seemed The Boys were each mostly committed to a uniform this year, although Rick did add a couple capes to his repertoire and Lee opted for casual with a rotating selection of t-shirts. But is it just me, or are those skinny jeans beginning to appear more and more like a tribute to Chris' black spandex? (I kid because I love.) Trevor continued his strategy of switching it up most nights, although it was primarily the same pieces as last year. But I do have to thank Whomever/Whatever it was which convinced him not to wear the track pants again for Summer/Fall. That was indeed an aesthetic too far.
However, my response to this is "Same."
The Setlist
As I had previously reported, there were changes made to the setlist for Summer/Fall but they were not extensive. Originally for the three pieces which were removed - "I've Seen All Good People," "Changes" and "Long Distance Runaround/The Fish" - there were supposed to be three additions: "South Side of the Sky," "I Am Waiting" and "It Can Happen." However, the latter song was never performed although Rick noted it had been rehearsed, as well as soundchecked at least one venue (with thanks to Judy Davis for that bit of info). "The Meeting" was also removed but as that had occurred in the previous touring cycle I wasn't considering it as part of this overall revision. Then ten dates into the tour "Lift Me Up" was directly swapped out for "Changes" and that was the extent of said changes, which resulted in a shorter setlist overall with 12 songs (when compared to the previous cycle with potentially 15 songs performed, depending on how you count).
I think "South Side" and "I Am Waiting" were great additions in terms of nods to both Classic Yes and YesWest, even as both eras are represented overall. Now there is an equal amount of material in the setlist and it would seem to me they will strike this same balance in the future. "It Can Happen" would have also been an refreshing choice and now I can't help but wonder if it partly had to do with providing something interesting for Rick to play as regards the various textures the song employs. I still believe "Hearts" would be a great choice for next year. As I don't expect the set will get any longer, I would be willing to swap out either "Hold On" or "And You and I" for it. But of course these decisions aren't up to me (or anyone else other than Jon, Rick and Trevor). As for replacing "Lift Me Up" with "Changes" although I was disappointed that Trevor was down to one song - and that is a consideration specific to those of us who were there to hear Trevor sing as well as play, and I am aware that is fewer people than those attending the show in total - I do believe perhaps the primary reason had to do with Trevor's comfort level in performance. It seems, when comparing the two, that he displayed more ease when it came to singing "Changes" versus "Lift Me Up" and given that this wasn't a one-off decision (i.e. it wasn't added on the fly at one particular show but rather was a permanent substitution) it would seem it was given ongoing consideration during those first two weeks of the tour and was an inevitable adjustment. And for those of us who pay attention to setlist statistics, the change occurred at almost exactly the same point as on last year's US tour, meaning that it was a previously agreed-upon intersection for making a change. As well as "Changes" being a signature song for Trevor in terms of both playing and singing, in the end it was the right choice, in my opinion.
As the show employed a static setlist for almost the whole of the tour, it's an interesting consideration for those fans who attended multiple shows - because fans being fans, they want to be supportive and also have that experience more than once - as to what is rewarding about such an endeavor. Good friend of the blog Cee attended three shows on this tour and she notes: "...even though the set list is the same, I find the vibe and energy are different at each show depending on the audience, and that makes them all unique."
And I would agree with this as it mirrors my experience last year in terms of the difference between the Los Angeles and Anaheim crowds and vibe in the venues.
One thing which strikes me about the Summer/Fall setlist is how it really seemed to be divided into two distinct acts (regardless of the intervals they did have at a few dates), as the first half is more YesWest-heavy and upbeat, whereas the second set has more of an epic feel to it. And that is definitely fitting for the ebb-and-flow of a progressive rock show, but the sense of two distinct moods is palpable to me now.
The Staging
Although dynamic production values are something we expect from any version of Yes - and even progressive rock in general - and even more specifically from tours in the 21st Century, it's not always necessary. One consideration which comes to mind when I view the It Bites concert video It Happened One Night is it features a show with a very basic presentation - not much at all in the way of lighting or staging - but what it does have are four gentlemen who are consummate professionals (with a matching palette in stage attire), great songs, and spot-on intense and upbeat performances to an appreciative crowd. The stripped-down staging of it is something you don't notice unless you've watched it multiple times (as I have of late).
The Game
It was revealed in PROG's coverage of the 2016 tour that Rick and Trevor were playing a game (which dated back to their first experiences performing together) every night with "Changes" in that Trevor would find a way to include a word of Rick's choosing in such a way that the audience wouldn't notice - and thus his very noticeable seeming flub in the Union-era Denver concert footage was finally explained. But as "Changes" was not performed at the first nine shows it fell to "Rhythm of Love" to be the song for the game - I believe the word Rick gave Trevor in Saratoga was "crabs" - and while I get that they want to have fun and avoid tedium, look guys: don't mess with my favorite of the setlist. When "Changes" returned then so did the traditional iteration of the game but it doesn't appear they played it at every gig, unless Trevor was entirely stealthy on some nights.
The Guitars
Given that Trevor has a previously-stated preference for playing very few guitars onstage, it's not a surprise that he hadn't really changed it up much for Summer/Fall (there having been only a few changes to the setlist, so no need to change out guitars, necessarily). As usual Trevor plays the Strat on most of the material, busting out his custom Pantera for "Changes" (and previously "Lift Me Up") and "I Am Waiting" and using his signature model on "Awaken." However, he did bring along his candy apple red Strat to use for "South Side of the Sky." I imagined this was for the same reason as his choice of guitar on "Awaken" - because the song utilizes a specific tuning and therefore it's easier to use another guitar. But it was a change which also occurred mid-tour in Kettering. Prior to this Trevor was using the Strat on "South Side" so that may discount my theory altogether.
Solo Spots/Bass Battle
I felt it was a bad decision, and I'm glad they rectified this six gigs in. It appears it may have been first performed as a substitute for the walkabout as they weren't able to enact it in Littleton (a situation which would come up several times during the course of the tour). Instead they played an extended jam within "Owner of a Lonely Heart" which included solos from Lou and Lee and this was the way in which I truly felt the song was made newly dynamic, as well as a more organic way to include a solo spot within the show. And then choosing to continue it was a great decision! The walkabout is fine but I feel it's a bit played out and therefore what I've been calling the "bass battle" was a nice addition to this section of the show. Adding a bit of comedy - something natural to Rick and Lee from their time together in English Rock Ensemble - is fun for everyone.
Old vs. New
So now that the US has two tours to compare, are they equally enjoyable? Of course most fans would reply: "Yes!" and I would be apt to agree but I'd give the edge to Summer/Fall if only for the fact that this year's version of ARW is relaxed, honed and completely in tune as an ensemble. And I understand that it's a process and a continual evolution, but I think it's reasonable to opine that some markets deserved better than a band attempting to find their way to that professionalism, consistency, and entertainment which everyone paid to see at every performance on every tour. Thankfully, some of those areas were lucky enough to have another chance this year and from the reactions I've read, were wholly gratified by the second time.
My dear friend fiendish_thingy has attended gigs for both tours and she commented: "...this year it was obvious that they were 100% focused, back to playing like they could in their prime and everything fine-tuned. The effect was less cute and more powerful. It wasn't like they weren't having fun but they were having fun because they knew they sounded so good..."
The Merch
I have an upcoming Collector's Corner entry regarding this year's merchandise but I did want to acknowledge that different merchandise was being sold on the Summer/Fall tour reflective of the name change; but also they were indeed poaching the classic Yes bubble logo design which is - according to fandom research - jointly-owned by Roger Dean and Steve Howe. As we know, things are not always what they seem in Yesland but it appears - thanks to anecdotal evidence from various individuals - that ARW's management did not have permission to sell merchandise bearing the classic logo and had to pull the two t-shirts which featured it from their inventory in the last two weeks of the tour. Fans are of course free to speculate as to why a band would produce their own bootleg merchandise.
Also: the merchandise sold in Japan was, in my opinion, far superior in design and variety to anything which was sold in any other region.
To everyone who attended a show (or shows) this year: I hate you.
Just kidding! 55 down, none to go, another tour and no more shows...but for everyone who continues to support Our Guys, I hope it was a blast and here's to next year and whatever musical adventure we will all embark upon with Jon, Rick, Trevor, Lou and Lee.
Even as I did not attend a single ARW show this year (because they did not tour in Southern California this time) there is still so much to discuss, leastwise because they did play 55 dates total and it makes for lots of interesting details to ponder and comparisons to make. And I can do so because there is plenty of documentation out there to absorb. I am thankful for this consideration because, even as I understand why the tour didn't make it to my region, as someone who wants nothing more than to see at least one ARW show per year (although more than one would be nice) I was sort of dying inside.
(#fangirlproblems)
As we know, it really was a matter of two different tours: the dates in the UK, Europe and Japan were a continuation of last year's US tour as it was - for most performances - the exact same setlist. The North American tour later in the year could be considered a new(ish) tour with a few setlist changes and a beefed-up production design plus new venues and cities were visited. The primary difference, in my estimation, was touring under the new moniker and all which it implies. But I'm still not interested in engaging in the legitimacy debate so that's not happening.
First I wanted to include a few compendiums from various sources at different points during the year, to give everyone an idea of how both the performances and the staging evolved throughout the respective touring cycles. Of course those of us who have been assiduosly following along will have already watched these particular videos.
UK tour: Birmingham, England
Summer Festivals/European tour: Schio, Italy
Summer/Fall tour: Toronto, Canada
I find it easier to write about this if I break it down into subtopics so here we go; and I will continue to refer to the North American tour as "Summer/Fall."
Round the World
As someone who desires this ensemble to succeed and evolve, it was really nice to see the guys touring the world this year, with stops in Israel, the UK, Low Countries, Japan, Western Europe and North America. I can imagine many fans were grateful to have the opportunity to see them and I'm really looking forward to what could be considered a well-staged classic iteration of their performances with the release of the March 25th Manchester Apollo show on DVD.
Of those gigs elsewhere there are two I wanted to note in particular: one is the first show of the year at Menora Mivtachim Arena in Tel Aviv, the only arena ARW has played thus far and even though the gig was a bit fast-and-loose there was also a lot of energy which makes it a great show to watch, in my estimation. And the stop in Rome at Cavea Auditorium Parco della Musica was also a great performance in a beautiful setting. No offense meant to Merrie Ole but I really wish the Rome date could have been professionally filmed as well.
Territories
The Summer/Fall tour itinerary was interesting in that while there were new cities/venues included - and a three-date stint in Canada which was excellent news for fans above the lower 48 - more than a few of the exact same venues were played, and more than half the tour could be considered as being booked in the East Coast/Northeast region of North America. And I can certainly understand varying the particular regions in order to give more fans a chance to see the band, but given that there were many of the same types of bookings made - multiple dates in New Jersey, New York and Florida - it suggests to me that the East Coast is the true stronghold for the band as well as Larry Magid having a vast network of bookers and local promoters, and therefore we can expect for the life of this band that they will always have a larger presence in that area of the country. Which, if you're an East Coast-based fan, is good news for you!
Venues
As I noted, some of the same venues were visited this time around in the US, such as the Goodyear Theatre in Akron, the Count Basie Theatre in Red Hook, and Ruth Eckerd Hall in Clearwater. But interestingly there seemed to be more of an emphasis on theatre type venues, with more than a few Performing Arts centers booked rather than casinos. And then there was a winery, which was incredibly picturesque (and the show I would have chosen to attend had I been able to afford to travel to NoCal - even as its' small stage precluded the use of their backdrop, projections, and custom lighting rig), as well as Wolf Trap in Virginia and Toronto's Massey Hall which are historic venues in their own right. So I would say this enterprise is moving up in the world a bit but I expect that their preferences are not going to change in terms of the type of venues/capacity they will play in the future, and also that they will continue to tour solely on their own with no support act rather than as part of a double bill or package tour.
Fashion Watch
It seemed The Boys were each mostly committed to a uniform this year, although Rick did add a couple capes to his repertoire and Lee opted for casual with a rotating selection of t-shirts. But is it just me, or are those skinny jeans beginning to appear more and more like a tribute to Chris' black spandex? (I kid because I love.) Trevor continued his strategy of switching it up most nights, although it was primarily the same pieces as last year. But I do have to thank Whomever/Whatever it was which convinced him not to wear the track pants again for Summer/Fall. That was indeed an aesthetic too far.
However, my response to this is "Same."
Mood: Trevor Rabin's semi-hawaiian shirts— Narcissus (@moodiestofblues) September 25, 2017
Photo: Cathy Poulton
The Setlist
As I had previously reported, there were changes made to the setlist for Summer/Fall but they were not extensive. Originally for the three pieces which were removed - "I've Seen All Good People," "Changes" and "Long Distance Runaround/The Fish" - there were supposed to be three additions: "South Side of the Sky," "I Am Waiting" and "It Can Happen." However, the latter song was never performed although Rick noted it had been rehearsed, as well as soundchecked at least one venue (with thanks to Judy Davis for that bit of info). "The Meeting" was also removed but as that had occurred in the previous touring cycle I wasn't considering it as part of this overall revision. Then ten dates into the tour "Lift Me Up" was directly swapped out for "Changes" and that was the extent of said changes, which resulted in a shorter setlist overall with 12 songs (when compared to the previous cycle with potentially 15 songs performed, depending on how you count).
I think "South Side" and "I Am Waiting" were great additions in terms of nods to both Classic Yes and YesWest, even as both eras are represented overall. Now there is an equal amount of material in the setlist and it would seem to me they will strike this same balance in the future. "It Can Happen" would have also been an refreshing choice and now I can't help but wonder if it partly had to do with providing something interesting for Rick to play as regards the various textures the song employs. I still believe "Hearts" would be a great choice for next year. As I don't expect the set will get any longer, I would be willing to swap out either "Hold On" or "And You and I" for it. But of course these decisions aren't up to me (or anyone else other than Jon, Rick and Trevor). As for replacing "Lift Me Up" with "Changes" although I was disappointed that Trevor was down to one song - and that is a consideration specific to those of us who were there to hear Trevor sing as well as play, and I am aware that is fewer people than those attending the show in total - I do believe perhaps the primary reason had to do with Trevor's comfort level in performance. It seems, when comparing the two, that he displayed more ease when it came to singing "Changes" versus "Lift Me Up" and given that this wasn't a one-off decision (i.e. it wasn't added on the fly at one particular show but rather was a permanent substitution) it would seem it was given ongoing consideration during those first two weeks of the tour and was an inevitable adjustment. And for those of us who pay attention to setlist statistics, the change occurred at almost exactly the same point as on last year's US tour, meaning that it was a previously agreed-upon intersection for making a change. As well as "Changes" being a signature song for Trevor in terms of both playing and singing, in the end it was the right choice, in my opinion.
As the show employed a static setlist for almost the whole of the tour, it's an interesting consideration for those fans who attended multiple shows - because fans being fans, they want to be supportive and also have that experience more than once - as to what is rewarding about such an endeavor. Good friend of the blog Cee attended three shows on this tour and she notes: "...even though the set list is the same, I find the vibe and energy are different at each show depending on the audience, and that makes them all unique."
And I would agree with this as it mirrors my experience last year in terms of the difference between the Los Angeles and Anaheim crowds and vibe in the venues.
One thing which strikes me about the Summer/Fall setlist is how it really seemed to be divided into two distinct acts (regardless of the intervals they did have at a few dates), as the first half is more YesWest-heavy and upbeat, whereas the second set has more of an epic feel to it. And that is definitely fitting for the ebb-and-flow of a progressive rock show, but the sense of two distinct moods is palpable to me now.
The Staging
One of the very best changes in my opinion was updating the lighting for the Summer/Fall tour, although this was actually enacted with the staging of the Manchester Apollo show for filming purposes, as I had previously reported. From all the photos and video I have seen - when compared with the shows I attended last year - the new lighting makes a world of difference in terms of the presentation and impact, and an engaging production is always a plus in the contemporary concert market. As well it was nice to see the use of projections throughout the tour, as this is a particularly Yes-ish type of production value. I will also say that bringing Chris Fudurich onboard as the Front of House mixer was helpful in terms of achieving a better balance of sound even as there continued to be complaints from some attendees regarding the lack of bass in the overall mix - but as the guys from Progressive Palaver noted (and I agree with this) it really did seem to depend on where you were sitting as to how dynamic and full the mix sounded.
Although dynamic production values are something we expect from any version of Yes - and even progressive rock in general - and even more specifically from tours in the 21st Century, it's not always necessary. One consideration which comes to mind when I view the It Bites concert video It Happened One Night is it features a show with a very basic presentation - not much at all in the way of lighting or staging - but what it does have are four gentlemen who are consummate professionals (with a matching palette in stage attire), great songs, and spot-on intense and upbeat performances to an appreciative crowd. The stripped-down staging of it is something you don't notice unless you've watched it multiple times (as I have of late).
The Game
It was revealed in PROG's coverage of the 2016 tour that Rick and Trevor were playing a game (which dated back to their first experiences performing together) every night with "Changes" in that Trevor would find a way to include a word of Rick's choosing in such a way that the audience wouldn't notice - and thus his very noticeable seeming flub in the Union-era Denver concert footage was finally explained. But as "Changes" was not performed at the first nine shows it fell to "Rhythm of Love" to be the song for the game - I believe the word Rick gave Trevor in Saratoga was "crabs" - and while I get that they want to have fun and avoid tedium, look guys: don't mess with my favorite of the setlist. When "Changes" returned then so did the traditional iteration of the game but it doesn't appear they played it at every gig, unless Trevor was entirely stealthy on some nights.
The Guitars
Given that Trevor has a previously-stated preference for playing very few guitars onstage, it's not a surprise that he hadn't really changed it up much for Summer/Fall (there having been only a few changes to the setlist, so no need to change out guitars, necessarily). As usual Trevor plays the Strat on most of the material, busting out his custom Pantera for "Changes" (and previously "Lift Me Up") and "I Am Waiting" and using his signature model on "Awaken." However, he did bring along his candy apple red Strat to use for "South Side of the Sky." I imagined this was for the same reason as his choice of guitar on "Awaken" - because the song utilizes a specific tuning and therefore it's easier to use another guitar. But it was a change which also occurred mid-tour in Kettering. Prior to this Trevor was using the Strat on "South Side" so that may discount my theory altogether.
Photo: Judy Davis
Solo Spots/Bass Battle
When I first saw/heard clips from Stockton and Saratoga, the detail which struck me immediately was the lack of solo spots for Lou and Lee. As "The Fish" had been deleted from the setlist I could understand why but I originally (erroneously) believed that Lou still had his drum solo, but then I watched the Saratoga show and saw that wasn't the case. (And in relation to a comment I made last year, "Lift Me Up" sounded far better without that drum solo intro.)
I felt it was a bad decision, and I'm glad they rectified this six gigs in. It appears it may have been first performed as a substitute for the walkabout as they weren't able to enact it in Littleton (a situation which would come up several times during the course of the tour). Instead they played an extended jam within "Owner of a Lonely Heart" which included solos from Lou and Lee and this was the way in which I truly felt the song was made newly dynamic, as well as a more organic way to include a solo spot within the show. And then choosing to continue it was a great decision! The walkabout is fine but I feel it's a bit played out and therefore what I've been calling the "bass battle" was a nice addition to this section of the show. Adding a bit of comedy - something natural to Rick and Lee from their time together in English Rock Ensemble - is fun for everyone.
Old vs. New
So now that the US has two tours to compare, are they equally enjoyable? Of course most fans would reply: "Yes!" and I would be apt to agree but I'd give the edge to Summer/Fall if only for the fact that this year's version of ARW is relaxed, honed and completely in tune as an ensemble. And I understand that it's a process and a continual evolution, but I think it's reasonable to opine that some markets deserved better than a band attempting to find their way to that professionalism, consistency, and entertainment which everyone paid to see at every performance on every tour. Thankfully, some of those areas were lucky enough to have another chance this year and from the reactions I've read, were wholly gratified by the second time.
My dear friend fiendish_thingy has attended gigs for both tours and she commented: "...this year it was obvious that they were 100% focused, back to playing like they could in their prime and everything fine-tuned. The effect was less cute and more powerful. It wasn't like they weren't having fun but they were having fun because they knew they sounded so good..."
The Merch
I have an upcoming Collector's Corner entry regarding this year's merchandise but I did want to acknowledge that different merchandise was being sold on the Summer/Fall tour reflective of the name change; but also they were indeed poaching the classic Yes bubble logo design which is - according to fandom research - jointly-owned by Roger Dean and Steve Howe. As we know, things are not always what they seem in Yesland but it appears - thanks to anecdotal evidence from various individuals - that ARW's management did not have permission to sell merchandise bearing the classic logo and had to pull the two t-shirts which featured it from their inventory in the last two weeks of the tour. Fans are of course free to speculate as to why a band would produce their own bootleg merchandise.
Also: the merchandise sold in Japan was, in my opinion, far superior in design and variety to anything which was sold in any other region.
***
As always to everyone who has requested and followed the Tour Reports, I thank you for your patronage Even as it's a lot of work to produce them, I love the process of finding everything I can related to each gig and I hope you've enjoyed the journey too. I suggest, if you're interested, to go back and check the entries because I've updated nearly all of them from this year in some way as more material is made available.To everyone who attended a show (or shows) this year: I hate you.
Just kidding! 55 down, none to go, another tour and no more shows...but for everyone who continues to support Our Guys, I hope it was a blast and here's to next year and whatever musical adventure we will all embark upon with Jon, Rick, Trevor, Lou and Lee.
Subscribe to:
Posts (Atom)