Author Topic: Yes: Keys To Ascension DVD (Read 678 times)

kmh364 · « **Reply #15 on:** August 12, 2005, 06:08:53 AM »

As far as getting Squire to play an Alembic...I can't understand why he doesn't. He'll play a Lakland parts bass along with his ubiquitous Ric. Maybe someone should let him take a whirl on their Alembic? I'm betting he'd like the like the midrange punch of a set-neck Alembic, like the EMW Special. Anyone who knows Chris can send him to me and I'll let him try my Custom Orion, LOL!

gare · « **Reply #16 on:** August 12, 2005, 06:45:11 AM »

Chris can stop by my house too and try my Excel ;-)
Of course he will have to tolerate my 'hey, how'd you do that' questions.

kmh364 · « **Reply #17 on:** August 12, 2005, 07:11:44 AM »

Hell, I'd be so much in awe of the guy and his playing that I probably couldn't speak, nevermind ask him how he did that, LOL!

jacko · « **Reply #18 on:** August 12, 2005, 09:30:49 AM »

I could never get into King Crimsons' early stuff. The only album I have that I can listen to more than once is Three of a Perfect pair, bought more for Tony Levins playing than anything else.

As far as Chris playing Alembic goes, I just wish they'd turn him up in the mix. The last few gigs in scotland I've been to, you could hardly hear the bass so it wouldn't have mattered what he played.
And as for Jon setting the Bible to music, i heard that 'gates of delirium' is his interpretation of War and Peace and was originaly meant to be another 4 side piece until the rest of the band sorted him out.

graeme

kmh364 · « **Reply #19 on:** August 12, 2005, 12:09:00 PM »

Well, when Wakeman got fed-up and left after Tales, they hired Swiss Patrick Moraz and did Relayer. Even Jon admits that the album cover reflected the somber mood of the band (i.e., gray, gray, and more gray) during that recording.

David Houck · « **Reply #20 on:** August 12, 2005, 07:19:26 PM »

I still think the middle section, in 6/8, of Twenty First Century Schizoid Man is wonderful and amazing, (though I'm not particularly crazy about the song's vocal ); and I think that first album as a whole is quite wonderful as well.

Graeme, if you haven't listened to the middle section of Shizoid Man in a while, you might want to go back and give it another shot. Greg Lake's bass lines, Michael Giles' drumming, all of it is superb. The contrapuntal lines, the use of full stops, how all the parts are woven together; not only is it great playing by the individual players, but it's great ensemble writing and playing. If it's the vocal that you don't care for, you can skip over that part .

beelee · « **Reply #21 on:** August 13, 2005, 01:34:14 AM »

A Rick was the first bass I learned to play on.

Drama was the Yes record that Jon Anderson didn't sing on, Tempus Fugit recieved much radio airplay when that record came out, I never realized Jon wasn't on that record till many years later, it was Trevor Horn singing....he does sound like Anderson.

Squire was using that MPC Electra bass with the interchangable plug -in FX modules on Fugit and on the Big Generator record he used a custom made Tobias 5 string, tuning the low B string down to an A for some things.

I use to cover 21st Century Schizoid Man in a band about a year ago, it was a version from Greg Lake on the King Biscut Flower Hour CD, it had Gary Moore on gtr. it was recorded 11/5/81 at the Hammersmith Odeon

yeah that middle section is something

there is a really cool live version of it done by Talas ( as a trio) with Billy Sheehan on bass from their If We Only Knew Then What bWe Know Now CD

B.

(Message edited by beelee on August 13, 2005)

David Houck · « **Reply #22 on:** August 13, 2005, 06:00:35 AM »

Bee; I would imagine that was great fun playing that song. I've never heard the King Biscuit version or the Talas version.

kmh364 · « **Reply #23 on:** August 13, 2005, 06:06:12 AM »

I'm with you, Dave. Crimson King turned me on to Crimson. I was actually disappointed by later releases...compositionally, not playing-wise that is. The timing tricks used to perfection in Schizoid Man really are sublime. I don't even mind the distorted vocals either, LOL! It is Greg Lake's voice through a fuzz box after all, LOL!

David Houck · « **Reply #24 on:** August 13, 2005, 07:10:25 AM »

Kevin; I just sat down and listened to it again. I have the remastered release, which supposedly is a big improvement over the original. The mix is really nice and that wonderful drum part is placed in the mix such that you can really tell how it compliments everything.

kmh364 · « **Reply #25 on:** August 13, 2005, 07:19:45 AM »

I gotta ck it out...I have it on vinyl that's at least 25yrs old, so I haven't listened in a while. My original listen was an original pressing LP that was so worn out, I had to clean it for about an hour just to make a tape dub, and it was still full of rice crispies, LOL!

Is your version the current re-mastered CD commercial release or is that one of the Mobile Fidelity Original Master Recordings (regular or Ultradisc 24K Au)?

David Houck · « **Reply #26 on:** August 13, 2005, 07:57:29 AM »

Mine is the 30th Anniversary Edition that was a 24 bit remaster by Fripp in 1999 and released on Virgin in 1999.

Inspired by this thread, I've been spending the morning reading up on the original Crimson and it's members and ran across something interesting. There is a DVD by a band called the 21st Century Schizoid Band, filmed in 2002. The players are Michael Giles, Peter Giles, Ian McDonald, Mel Collins and Jakko Jakszyk. The first four are all former Crimson members.

kmh364 · « **Reply #27 on:** August 13, 2005, 08:19:26 AM »

Cool, I'l be sure to ck it out!

David Houck · « **Reply #28 on:** August 13, 2005, 09:05:05 AM »

Let me know if you decide to get it.

rogertvr · « **Reply #29 on:** August 13, 2005, 10:58:56 AM »

I used to work with Alan White's cousin, from the early 80's to the mid-90's. Consequently, I got a few free tickets to various Yes gigs, along with backstage passes.

I have the 90125 cover from Alan's dressing room door from the NEC in Birmingham. It's got A.W. written on the bottom in felt tip pen and I got him to autograph it. A really nice bloke Alan was, I met him a few times.

Being a bass player, I wanted to meet Chris Squire but there was no way he was talking to anyone any of the times I got backstage.

I also remember being ushered away from the keyboards by a large security man saying You don't need to know what is hidden under the stage - this was the early days of MIDI and it was all top secret obviously!

Jon Anderson was under a big marquee in his dressing room with two Oriental ladies. He was happy to meet people but what a bizarre setting!!!!!!

Happy memories :-)