Continuing our series of biannual polls, here's what (65 of) you thought were the best Yes-related releases of the second half of 2017.
1. Downes Braide Association: Skyscraper Souls, 24 votes (37%)
2. Steve Howe: Anthology 2: Groups & Collaborations, 14 votes (22%)
3. Virgil & Steve Howe: Nexus, 12 votes (18%)
4. Bruford: Seems Like a Lifetime Ago, 9 votes (14%)
5. Trevor Horn: The Reflection Wave One—Original Soundtrack, 3 votes (5%)
6.
Mabel Greer's Toyshop: The Secret (w/ Banks), 2 votes (3%)
7. Tomorrow: Live Recordings: 1967-1968 (w/ Howe), 1 vote (2%)
There were no votes for any of Alpha Lighting System's 836 with Sherwood,
Rupam Sarmah's A Musical Journey: Together in Peace with White,
Glass Hammer's Untold Tales with Davison,
Dave Kerzner's Static with Sherwood, Legacy's 3 Chord Trick with Horn, or
Carrie Martin's Seductive Sky with O Wakeman. (I recommend 3 Chord Trick, some good blues-rock, and Untold Tales has some strong material.)
A strong win for the latest Downes Braide Association album, their most 'proggy' release as the collaboration evolves into a band. Howe brings up second and third. I imagine the price tag limited Seems Like a Lifetime Ago's appeal, lovely release though it is! Not included in the poll was Empire's The Complete Recordings, as there was no previously released material included, but a lovingly assembled collection and at a much more affordable price point.
If you agree or disagree with the results, let me know in the comments.
Saturday, 17 March 2018
Monday, 5 March 2018
John Holden / Kilty Town, two almost unrelated albums with Yes guests
I've been kindly sent a couple of previews of albums. There's no real connection to them, except they're both out soon and both have a Wakeman guesting!
Trevor Horn once said that he didn't like it when bands brought him songs with just a couple of good ideas: say, a good chorus and verse. To make a great song, he said, you need four or five good ideas, a good intro, a good coda, more going on. That's what John Holden delivers on Capture Light: yes, here's a catchy chorus, oh but there's some lovely harmonising here, and then a great solo. There's that prog ascetic. Is this a folk song? No. But would some folky guitar work at the beginning of this piece? Yes. Then stick it on. Holden is happy to pull in styles. Songs have dynamic contrast. They build and swell, ebb and flow.
"Dreamcatching" is the tranquil, meditative piece, complete with spoken word. Sort of Jon Anderson's Toltec territory. But most pieces have more rock. The insistent "Crimson Sky"recalls Fleetwood Mac, with Billy Sherwood's providing a guitar solo, one of his best. Then there are the longer, more narrative pieces: "Tears from the Sun" (a priest with 16th century conquistadors), "One Race" (Jesse Owens at the 1936 Berlin Olympics), and "Capture Light" (Titian and Tintoretto's rivalry in the 16th century). Songs that take you on a journey.
To deliver this impressive debut album, Holden has recruited a notable array of guests. Joe Payne, formerly of The Enid, handles those three big narrative pieces with big, evocative vocals. Jean Pageau (the guy who replaced Benoît David in Mystery) is on one piece. Oliver Wakeman and Gary O'Toole are both great on "No Man's Land". But along side some of the better known guests, there's great work from less familiar names, like Emily Dolan Davies on drums and Julie Gater on vocals. Oliver Day, from the Yes tribute band Fragile, appears on several tracks, including some lovely lute on the title track.
In all, Capture Light is a strong progressive rock album, with a '70s rock flavour, but a distinctive style of its own. There are samples at https://johnholdenmusic.com/ . The album is released 23 March.
While Capture Light is in prog rock territory, the forthcoming album from Kilty Town could be called world music, or perhaps progressive folk. Kilty Town is Daniel Engle and Nic Caciappo. The latter name will be familiar to Yes fans: Nic has been a high profile Yes fan for years and has worked with Rick Wakeman, and Rick returns the favour to guest on two tracks here. The album was also produced, recorded and mixed by another well-known Yes fan, Tim Morse, author of "Yes Stories" and with his own solo releases (I recommend Transformation). Wakeman has some nice playing on his two tracks, "September Waltz" (dedicated to the victims of September 11) and "Never Ending Journey". Wakeman described the tracks as the most unusual he had ever played on and this is not his usual music. The other guests were probably more at home: they include Michael Martin Murphey on vocals, Iwan Hassan on Celtic harp guitar, Oisin McAuley on fiddle, and the wife and husband team of Annbjørg Lien (Hardanger fiddle) and Bjorn Ole Rasch (pump organ).
This is free-wheeling music with high standards of performance: moving, usually joyful. The album is expected soon-ish. Follow Kilty Town at https://www.facebook.com/Kilty-Town-108429615994275/
Trevor Horn once said that he didn't like it when bands brought him songs with just a couple of good ideas: say, a good chorus and verse. To make a great song, he said, you need four or five good ideas, a good intro, a good coda, more going on. That's what John Holden delivers on Capture Light: yes, here's a catchy chorus, oh but there's some lovely harmonising here, and then a great solo. There's that prog ascetic. Is this a folk song? No. But would some folky guitar work at the beginning of this piece? Yes. Then stick it on. Holden is happy to pull in styles. Songs have dynamic contrast. They build and swell, ebb and flow.
"Dreamcatching" is the tranquil, meditative piece, complete with spoken word. Sort of Jon Anderson's Toltec territory. But most pieces have more rock. The insistent "Crimson Sky"recalls Fleetwood Mac, with Billy Sherwood's providing a guitar solo, one of his best. Then there are the longer, more narrative pieces: "Tears from the Sun" (a priest with 16th century conquistadors), "One Race" (Jesse Owens at the 1936 Berlin Olympics), and "Capture Light" (Titian and Tintoretto's rivalry in the 16th century). Songs that take you on a journey.
To deliver this impressive debut album, Holden has recruited a notable array of guests. Joe Payne, formerly of The Enid, handles those three big narrative pieces with big, evocative vocals. Jean Pageau (the guy who replaced Benoît David in Mystery) is on one piece. Oliver Wakeman and Gary O'Toole are both great on "No Man's Land". But along side some of the better known guests, there's great work from less familiar names, like Emily Dolan Davies on drums and Julie Gater on vocals. Oliver Day, from the Yes tribute band Fragile, appears on several tracks, including some lovely lute on the title track.
In all, Capture Light is a strong progressive rock album, with a '70s rock flavour, but a distinctive style of its own. There are samples at https://johnholdenmusic.com/ . The album is released 23 March.
While Capture Light is in prog rock territory, the forthcoming album from Kilty Town could be called world music, or perhaps progressive folk. Kilty Town is Daniel Engle and Nic Caciappo. The latter name will be familiar to Yes fans: Nic has been a high profile Yes fan for years and has worked with Rick Wakeman, and Rick returns the favour to guest on two tracks here. The album was also produced, recorded and mixed by another well-known Yes fan, Tim Morse, author of "Yes Stories" and with his own solo releases (I recommend Transformation). Wakeman has some nice playing on his two tracks, "September Waltz" (dedicated to the victims of September 11) and "Never Ending Journey". Wakeman described the tracks as the most unusual he had ever played on and this is not his usual music. The other guests were probably more at home: they include Michael Martin Murphey on vocals, Iwan Hassan on Celtic harp guitar, Oisin McAuley on fiddle, and the wife and husband team of Annbjørg Lien (Hardanger fiddle) and Bjorn Ole Rasch (pump organ).
This is free-wheeling music with high standards of performance: moving, usually joyful. The album is expected soon-ish. Follow Kilty Town at https://www.facebook.com/Kilty-Town-108429615994275/
REV: Peter Banks' Be Well, Be Safe, Be Lucky... The Anthology
Due 9 March is the 2CD Be Well, Be Safe, Be Lucky... The Anthology, the third Peter Banks Musical Estate release after The Self-Contained Trilogy and Empire's The Complete Recordings.
This
anthology is part best-of and part compiling a set of material
otherwise hard/impossible to find. As with the previous PBME
releases, there is a low cover price, which means it doesn't matter
whether you want an introduction to Pete's solo work or want the
rarities, this release works for you.
For those who don't
have all of Banks' solo albums, there is a good selection here,
bringing a sense of unity to an
output over several decades, with tracks from all five of his solo
albums.
For
those who have all the regular solo albums, there is plenty more
here. The second disc rescues the solo material from Can I
Play You Something?, which
otherwise seems unlikely to be re-issued given rights issues, and it
does so preserving the playfulness and collage approach of the
original.
Rarities
can be rare without being good, but there are plenty of gems here. We
get the two hard to find Guitar Workshop
tracks, a brief moment of a lost period between Two Sides
and his 1990s work. We get the Flashback remixes, Banks as collagist
crossed with Gerard Johnson as remixer, which don't quite fit
anywhere, but find a home here.
Two
previously unreleased versions of known tracks aren't radically
different, but nice to have. And recorded (I presume) for this
anthology, "Knights (Revisited)", re-unites, albeit
posthumously, Banks with three former collaborators. Mirroring
the "dream team" of Banks, Steve Hackett, John Wetton and
Phil Collins on "Knights (Reprise)", "Knights
(Revisited)" gives us a CIRCA: line-up of Tony Kaye, Billy
Sherwood and Jay Schellen, who had all previously and separately
worked with Banks. (Kaye of course was in Yes with him. Schellen was
in his solo band at the beginning of the 1980s. Sherwood employed
Banks on various projects in later years.) It's a tasteful
completion, keeping Banks' playing to the fore, but nicely filling in
the gaps in the recording.
Together
the first 3 PBME releases (that's 8 discs, obtainable for about £36
in total) present a glorious picture of nearly three decades of
Pete's work, neatly and nicely packaged, back in print at affordable
prices. I think Peter would be happy that his music is available and
being heard. The hope is now that PBME will move on to Pete's last
couple of decades.You can buy the anthology here: http://geni.us/PBME3
Sunday, 25 February 2018
REV: Peter Banks, The Self-Contained Trilogy
The 3CD The Self-Contained Trilogy is out 2 March 2018. I was kindly sent a preview. This is a straight re-release of the three '90s solo albums – Instinct, Self-Contained and Reduction
– to bring the material back into print, again at a budget price. If
you've already got all three, there is nothing you need here. If you
have two, one or (and be ashamed!) none of these, this is a convenient
and cheap way of completing your collection.
If you don't know this material, you have missed out on some of Peter Banks' best work. The three showcase an extraordinary guitarist, both someone just about recognisable from Yes or Flash days, but also a musician who has come a long way from those years, making intricate and lyrical guitar music. All three are instrumental guitar albums. They are distinctive works – I can't think of releases by other artists that are quite the same – and offer a broad musical palette even though largely played on electric guitar.
The music is full of riffs and ideas, but these are pieced into larger musical journeys. I thought of Jon Anderson's comments on how we wants to present his music as a journey (as we heard before both the Anderson Ponty tour and the Anderson Rabin Wakeman tour), something he has never quite realised across various projects live. I wonder whether what Banks delivers on these albums is what Anderson had in mind?
There is some influence from the different collaborators – Gerald Goff initially, Gerard Johnson later – but the albums are all Banks' vision. If you had asked me, looking back on these albums, which was the best, I would have said Instinct. Re-visiting the material, I have changed my position. Instinct stands out because it was the first, its music exploding on the scene after years when Banks had been forgotten, surprising many. There is an exuberance, as if Banks has been uncaged.
Yet, while all three are broadly similar in style, Banks then developed and refined his approach on Self-Contained and Reduction, so I think the best music lies on these. It is also on these later albums that Banks emerges as a collagist, splicing together and contrasting the music and found samples.
To buy The Self-Contained Trilogy, http://geni.us/PBME2
If you don't know this material, you have missed out on some of Peter Banks' best work. The three showcase an extraordinary guitarist, both someone just about recognisable from Yes or Flash days, but also a musician who has come a long way from those years, making intricate and lyrical guitar music. All three are instrumental guitar albums. They are distinctive works – I can't think of releases by other artists that are quite the same – and offer a broad musical palette even though largely played on electric guitar.
The music is full of riffs and ideas, but these are pieced into larger musical journeys. I thought of Jon Anderson's comments on how we wants to present his music as a journey (as we heard before both the Anderson Ponty tour and the Anderson Rabin Wakeman tour), something he has never quite realised across various projects live. I wonder whether what Banks delivers on these albums is what Anderson had in mind?
There is some influence from the different collaborators – Gerald Goff initially, Gerard Johnson later – but the albums are all Banks' vision. If you had asked me, looking back on these albums, which was the best, I would have said Instinct. Re-visiting the material, I have changed my position. Instinct stands out because it was the first, its music exploding on the scene after years when Banks had been forgotten, surprising many. There is an exuberance, as if Banks has been uncaged.
Yet, while all three are broadly similar in style, Banks then developed and refined his approach on Self-Contained and Reduction, so I think the best music lies on these. It is also on these later albums that Banks emerges as a collagist, splicing together and contrasting the music and found samples.
To buy The Self-Contained Trilogy, http://geni.us/PBME2
REV: Empire, The Complete Recordings
The Peter Banks Musical Estate is working to get Pete's music back in print. Empire's The Complete Recordings was released late last year and following in early March are The Self-Contained Trilogy, with his three '90s solo albums, plus Be Well, Be Safe, Be Lucky... The Anthology, with all sorts of rarities and extras. I was kindly sent previews, so I'll post reviews of the forthcoming releases soon, but first some thoughts on Empire.
In summary, The Complete Recordings does what it says: a handy and low priced collection of everything Empire did, lovingly put together, bringing the material back into print, and allowing one to appreciate this neglected period of Peter Banks' career. Empire was formed by Banks with Sidonie Jordan (initially his partner, latterly his ex) on vocals, then performing as Sydney Foxx.
Jordan helped assemble this 3CD release which has everything on the band's four albums – Mark I, Mark II, Mark III and The Mars Tapes – remastered and in a different order. There are extensive notes and photos from Jordan and others in a 40-page booklet. There is also an additional track: "Who", a 1975 demo for a proposed post-Empire project with Banks and Jordan. This was previously included on a compilation from Flash's Ray Bennett, who's on bass. (The one Empire-related song missing, I presume for rights issues, is a 1974 recording of the Jordan-penned "All God's Morning" by Jordan, Banks and Pete Townshend from With Love, one of Townshend's Meher Baba albums.)
None of the four Empire albums were actually released when the band was active. Banks and Jordan tried to get the band off the ground several times without success. Jordan met Banks in 1972 (her sister was dating Mike Hough, Flash's drummer) and they were married in 1974. She had been a recording artist for 10 years, with a publishing contract with A&M, and Empire was as much her band as Pete's. The first album was built around Jordan's back catalogue of A&M songs. Banks was coming out of Flash: indeed, the original plan had been for the new band to be called Flash until they found out they didn't have the rights to the name.
The first Empire line-up, recording in 1974, has some familiar names to prog fans. John Giblin (bass) and Preston Ross-Heyman (drums) were both later in Brand X, while keyboardist Jakob Magnusson later worked with Kevin Ayers. The most notable guest, on one track, is Phil Collins. Shortly before Empire, Collins had been playing in a live outfit called Zox and the Radar Boys with Banks, and they'd worked on some of Banks' ideas. Collins would then help the nascent Empire, lending them Genesis' rehearsal room.
However, Empire failed to secure a record deal. Jordan and Banks separated in 1975 (they didn't divorce until 1986), but ended up sharing a flat in Los Angeles. Empire tried again and this time got an album deal with Tattoo, a Warner subsidiary. Mark II was recorded in 1977, with a line-up including Jeffrey Fayman (later to work with Robert Fripp). Magnusson guested on the new sessions, the only other musician from Empire's first incarnation. However, Tattoo dropped them, complaining there wasn't a single on the album. The band dissolved and Jordan and Banks went their separate ways.
Until late 1979, when Banks found some backing for a third go at Empire. It is from this period that Mark III and The Mars Tapes comes. However, when the backing was withdrawn, the Mark III material was hastily completed, with Jordan apologetic for the production standards in the liner notes. Again, no record deal was forthcoming. None of the Empire material would be released until Mark I came out in 1995.
So, some of the Empire material is a bit rough, unpolished, and there's some repetition in the tracks ("Sky at Night" was carried over from Mark I to Mark II, "Destiny" from Mark II to Mark III), with the quasi-live Mars Tapes mostly covering material from the other albums, as well as reaching back to Yes' version of "Something's Coming". But in all I found re-visiting this material and having it all together to be revelatory. There was some magic here. The band sits – often successfully, if occasionally less easily – between Banks' progressive stylings (familiar from Flash and early Yes) and Jordan's American white soul. They could groove, they could be romantic and they could deliver 12-minute epics.
Jordan is a great singer. Delicate on "Sky at Night", romantic on "Destiny", sexy on "Soul Empire", and downright dirty on "Do What You Want". Banks is superb, and his key role in the Yes guitar sound apparent. Stylistically diverse, bringing a range of genre approaches that prog needs. However, the proggier Empire sometimes lacked a broader base of instrumentalist input or maybe they just needed some tighter arranging? "Foundation" goes on and on, in need of some keys or bass virtuoso playing. Although the rest of the band could deliver too, as on the 17-minute "Something's Coming".
The whole release has been put together with care. The one choice you might question is the break from chronological order. Instead disc 1 is labelled the 'Best of Empire', disc 2 is most of The Mars Tapes set, and disc 3 is the 'Rest of Empire'. But this works. I think the distinction is more between the 'Best' being an Empire as a successor to Flash or Yes, a proggier Empire, and the 'Rest' being a soul Empire aiming at the the late '70s clubs. In other words, disc 1 is full of guitar solos and freak outs, while disc 3 is more direct. Disc 2 sees the band stretch out with a quasi-live set.
But I suggest Empire was most successful when combining Banks' and Jordan's styles, e.g. with tracks like the Mark I "Sky at Night" (the one with Collins guesting), "More Than Words" or "Shooting Star". The multi-part "Shooting Star" is a stand out for me, with Jordan's voice, Banks' playing, and good support from the others (including some strong keys from Magnusson).
Sometimes overlooked compared to Flash before or Pete's '90s solo resurgence, Empire has plenty to offer and you can find it all here.
To buy The Complete Recordings, click through http://geni.us/PBME1
To buy The Self-Contained Trilogy, http://geni.us/PBME2
To buy Be Well, Be Safe, Be Lucky... The Anthology, http://geni.us/PBME3
In summary, The Complete Recordings does what it says: a handy and low priced collection of everything Empire did, lovingly put together, bringing the material back into print, and allowing one to appreciate this neglected period of Peter Banks' career. Empire was formed by Banks with Sidonie Jordan (initially his partner, latterly his ex) on vocals, then performing as Sydney Foxx.
Jordan helped assemble this 3CD release which has everything on the band's four albums – Mark I, Mark II, Mark III and The Mars Tapes – remastered and in a different order. There are extensive notes and photos from Jordan and others in a 40-page booklet. There is also an additional track: "Who", a 1975 demo for a proposed post-Empire project with Banks and Jordan. This was previously included on a compilation from Flash's Ray Bennett, who's on bass. (The one Empire-related song missing, I presume for rights issues, is a 1974 recording of the Jordan-penned "All God's Morning" by Jordan, Banks and Pete Townshend from With Love, one of Townshend's Meher Baba albums.)
None of the four Empire albums were actually released when the band was active. Banks and Jordan tried to get the band off the ground several times without success. Jordan met Banks in 1972 (her sister was dating Mike Hough, Flash's drummer) and they were married in 1974. She had been a recording artist for 10 years, with a publishing contract with A&M, and Empire was as much her band as Pete's. The first album was built around Jordan's back catalogue of A&M songs. Banks was coming out of Flash: indeed, the original plan had been for the new band to be called Flash until they found out they didn't have the rights to the name.
The first Empire line-up, recording in 1974, has some familiar names to prog fans. John Giblin (bass) and Preston Ross-Heyman (drums) were both later in Brand X, while keyboardist Jakob Magnusson later worked with Kevin Ayers. The most notable guest, on one track, is Phil Collins. Shortly before Empire, Collins had been playing in a live outfit called Zox and the Radar Boys with Banks, and they'd worked on some of Banks' ideas. Collins would then help the nascent Empire, lending them Genesis' rehearsal room.
However, Empire failed to secure a record deal. Jordan and Banks separated in 1975 (they didn't divorce until 1986), but ended up sharing a flat in Los Angeles. Empire tried again and this time got an album deal with Tattoo, a Warner subsidiary. Mark II was recorded in 1977, with a line-up including Jeffrey Fayman (later to work with Robert Fripp). Magnusson guested on the new sessions, the only other musician from Empire's first incarnation. However, Tattoo dropped them, complaining there wasn't a single on the album. The band dissolved and Jordan and Banks went their separate ways.
Until late 1979, when Banks found some backing for a third go at Empire. It is from this period that Mark III and The Mars Tapes comes. However, when the backing was withdrawn, the Mark III material was hastily completed, with Jordan apologetic for the production standards in the liner notes. Again, no record deal was forthcoming. None of the Empire material would be released until Mark I came out in 1995.
So, some of the Empire material is a bit rough, unpolished, and there's some repetition in the tracks ("Sky at Night" was carried over from Mark I to Mark II, "Destiny" from Mark II to Mark III), with the quasi-live Mars Tapes mostly covering material from the other albums, as well as reaching back to Yes' version of "Something's Coming". But in all I found re-visiting this material and having it all together to be revelatory. There was some magic here. The band sits – often successfully, if occasionally less easily – between Banks' progressive stylings (familiar from Flash and early Yes) and Jordan's American white soul. They could groove, they could be romantic and they could deliver 12-minute epics.
Jordan is a great singer. Delicate on "Sky at Night", romantic on "Destiny", sexy on "Soul Empire", and downright dirty on "Do What You Want". Banks is superb, and his key role in the Yes guitar sound apparent. Stylistically diverse, bringing a range of genre approaches that prog needs. However, the proggier Empire sometimes lacked a broader base of instrumentalist input or maybe they just needed some tighter arranging? "Foundation" goes on and on, in need of some keys or bass virtuoso playing. Although the rest of the band could deliver too, as on the 17-minute "Something's Coming".
The whole release has been put together with care. The one choice you might question is the break from chronological order. Instead disc 1 is labelled the 'Best of Empire', disc 2 is most of The Mars Tapes set, and disc 3 is the 'Rest of Empire'. But this works. I think the distinction is more between the 'Best' being an Empire as a successor to Flash or Yes, a proggier Empire, and the 'Rest' being a soul Empire aiming at the the late '70s clubs. In other words, disc 1 is full of guitar solos and freak outs, while disc 3 is more direct. Disc 2 sees the band stretch out with a quasi-live set.
But I suggest Empire was most successful when combining Banks' and Jordan's styles, e.g. with tracks like the Mark I "Sky at Night" (the one with Collins guesting), "More Than Words" or "Shooting Star". The multi-part "Shooting Star" is a stand out for me, with Jordan's voice, Banks' playing, and good support from the others (including some strong keys from Magnusson).
Sometimes overlooked compared to Flash before or Pete's '90s solo resurgence, Empire has plenty to offer and you can find it all here.
To buy The Complete Recordings, click through http://geni.us/PBME1
To buy The Self-Contained Trilogy, http://geni.us/PBME2
To buy Be Well, Be Safe, Be Lucky... The Anthology, http://geni.us/PBME3
Monday, 19 February 2018
Poll: What was the best Yes-related album of 1986?
After 55 votes, the results were...
1. GTR: GTR (w/ Howe, Downes): 35 votes (64%)
2. Frankie Goes to Hollywood: Liverpool (w/ Horn, Howe, Rabin): 7 votes (13%)
3. Rick Wakeman: Country Airs: 5 votes (9%)
4. Tangerine Dream: Legend (w/ Anderson): 3 votes (5%)
5= Akira Inoue: Tokyo Installation (w/ Bruford): 2 votes (4%)
5= The Moody Blues: The Other Side of Life (w/ Moraz): 2 votes (4%)
6. Rick Wakeman: Crimes of Passion: 1 vote (2%)
Much criticised to this day, but GTR sweeps to an easy victory over the rest of the 1986 competition. As chance would have it, while the poll was on, Steve Hackett released a digital single of a new recording of "When the Heart Rules the Mind". Perhaps the album is due a re-evaluation? Frankie's Liverpool was a very distant second.
1. GTR: GTR (w/ Howe, Downes): 35 votes (64%)
2. Frankie Goes to Hollywood: Liverpool (w/ Horn, Howe, Rabin): 7 votes (13%)
3. Rick Wakeman: Country Airs: 5 votes (9%)
4. Tangerine Dream: Legend (w/ Anderson): 3 votes (5%)
5= Akira Inoue: Tokyo Installation (w/ Bruford): 2 votes (4%)
5= The Moody Blues: The Other Side of Life (w/ Moraz): 2 votes (4%)
6. Rick Wakeman: Crimes of Passion: 1 vote (2%)
Much criticised to this day, but GTR sweeps to an easy victory over the rest of the 1986 competition. As chance would have it, while the poll was on, Steve Hackett released a digital single of a new recording of "When the Heart Rules the Mind". Perhaps the album is due a re-evaluation? Frankie's Liverpool was a very distant second.
Thursday, 4 January 2018
2017 in review
2017 was a bumper year for Yes-related releases. The complete list is, I think, in a rough chronological order:
The biggest seller of all those was probably "Bridge Over Troubled Water", a charity single for the survivors of the Grenfell fire disaster, co-produced by Horn. It made #1 in the UK for one week (replacing and being replaced by "Despacito") and the top 40 in Austria, Finland, Flanders, Hungary, Ireland, New Zealand and Switzerland. The biggest selling album was Wakeman's Piano Portraits, which made #6 in the UK, hung around in the Progressive Albums chart for ages, and achieved a Silver certification (60,000 sales). In terms of audience, the other contender would be Horn's soundtrack for The Reflection Wave One given it was broadcast on Japanese TV.
Lots of good releases, depending on what you like. I'd probably recommend Anthology 2 and Empire's The Complete Recordings first, particularly to Yes fans, but I also very much enjoyed Chaptersend, We Dissolve, The Reflection Wave One—Original Soundtrack, Seems Like a Lifetime Ago, Skyscraper Souls and Topographic Drama, of the 15 that I heard. Nexus was another good release, sadly cast in a memorial role following the unexpected death of Virgil Howe.
What did you enjoy last year?
- Rick Wakeman: Phantom of the Opera (archival, some previously released)
- Rick Wakeman: Piano Portraits
- Mogador: Chaptersend (w/ Davison on 1 track)
- Light Freedom Revival: Eterniverse Deja Vu (w/ Sherwood, O Wakeman)
- Chrysta Bell: We Dissolve (w/ Downes on 2 tracks)
- World Trade: Unify (w/ Sherwood)
- Asia: Symfonia - Live in Bulgaria 2013 (w/ Downes)
- Artists for Grenfell: 'Bridge Over Troubled Water' (single) (w/ Horn)
- Steve Howe: Anthology 2: Groups & Collaborations (w/ Yes, ABWH, Downes, O Wakeman, archival, some previously released)
- Alpha Lighting System: 836 (w/ Sherwood)
- Trevor Horn: The Reflection Wave One—Original Soundtrack
- Rupam Sarmah: A Musical Journey: Together in Peace (w/ White)
- Glass Hammer: Untold Tales (w/ Davison on 2 tracks, archival)
- Dave Kerzner: Static (w/ Sherwood)
- Bruford: Seems Like a Lifetime Ago (box set) (archival, some previously released)
- Legacy: 3 Chord Trick (w/ Horn)
- Carrie Martin: Seductive Sky (w/ O Wakeman)
- Virgil & Steve Howe: Nexus
- Downes Braide Association: Skyscraper Souls (w/ Downes)
- Empire: The Complete Recordings (w/ Banks, all previously released)
- Yes: Topographic Drama
- Mabel Greer's Toyshop: The Secret (w/ Banks on 1 track)
- The Fizz: 'Home for My Heart' (single) (w/ R Wakeman)
- Alfie Boe & Michael Ball with the Rays of Sunshine Children's Choir & Friends: 'Bring Me Sunshine' (single) (w/ R Wakeman)
The biggest seller of all those was probably "Bridge Over Troubled Water", a charity single for the survivors of the Grenfell fire disaster, co-produced by Horn. It made #1 in the UK for one week (replacing and being replaced by "Despacito") and the top 40 in Austria, Finland, Flanders, Hungary, Ireland, New Zealand and Switzerland. The biggest selling album was Wakeman's Piano Portraits, which made #6 in the UK, hung around in the Progressive Albums chart for ages, and achieved a Silver certification (60,000 sales). In terms of audience, the other contender would be Horn's soundtrack for The Reflection Wave One given it was broadcast on Japanese TV.
Lots of good releases, depending on what you like. I'd probably recommend Anthology 2 and Empire's The Complete Recordings first, particularly to Yes fans, but I also very much enjoyed Chaptersend, We Dissolve, The Reflection Wave One—Original Soundtrack, Seems Like a Lifetime Ago, Skyscraper Souls and Topographic Drama, of the 15 that I heard. Nexus was another good release, sadly cast in a memorial role following the unexpected death of Virgil Howe.
What did you enjoy last year?
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