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Plus the new instrumental track, 'Torrents' from Young's forthcoming YMT Guitar Trio have lined up the following live dates. Opens within waves of pedal-steel and harp-like acoustic guitar then morphs into a tuneless pop song. "Lift Me Up" (from 's Union). I really like how she does the old songs, so yeah, I've been toying with the idea that we might dig up some of the older stuff on the next tour. MORISOD TROISTORRENTS VS Value: Secure or. You can help are trainings where were sold in. MetaTrader 4 offers by using the I would have Figure 8.
Olzon, on the other hand, was genuinely upset and took to her official website to air her feelings. She made it clear she thought the band was wrong to go ahead without her. On October 1st the band released a statement announcing Olzon's departure and that Jansen would be filling in for the rest of the tour. Nightwish haven't elaborated on the reasons for firing Olzon and it's doubtful they ever will, even as they move on with Jansen.
Suffice to say, there's a certain amount of bad blood still floating around. The documentary begins with a disclaimer stating that "due to the circumstances surrounding her departure, the former vocalist insisted that she would not be seen or heard in the documentary. Jansen has fronted Nightwish since October and has had a much easier job winning over the band's legion of fans than Olzon did.
Take a cruise through the library of live footage on YouTube and you can watch her grow into the role of being front and center on the Nightwish stage. Asked if he remembers when the band came to the conclusion Jansen should be fronting Nightwish permanently Donockley's confirmation as a full band member may seem odd considering he's "only" been a backing musician on tour. Holopainen will tell you different. Taking nothing away from Donockley, Jansen is the focus for the moment and has been since she stepped foot on the Nightwish stage.
Her vocal range gives them the chance to perform old material from the Tarja-era, something that was hit-and-miss with Olzon up front. For this ambient doodle, Anderson reprises some dumb gags from the Tormato era, like sound effects storms!
Generic hard-rock riff, squealing lead lines, a dreadful section with hilariously dated dance remix-styled breakbeats. Not even Tony Levin's slap-bass tone can rescue it. And if I was Steve Howe, I would have been ticked off if someone came in and replaced my parts, too. But I did try to be sensitive to his sound and style. Jon Anderson sounds worryingly strained on this acapella folk ditty, which he later reworked for his solo LP, Song of Seven.
Tormato is a strange album to pick apart: It's full of compelling songs ruined by perplexing arrangements, murky production, and the claustrophobic feel of overplaying. Anderson's "Circus of Heaven" checks every box: Like many tracks on the LP, it opens with an accessible melodic structure that Yes proceeds to slowly tarnish. When the frontman's young son pops in for a wide-eyed spoken-word cameo, you know the wheels have fallen off.
Standard Yes-in-arena-mode affair, with Tony Kaye's intricate organ work elevating a generic blues-rock riff. File under "adult-contemporary Yes. Then enters the plodding New Age chorus, highlighted by one of the flimsiest drum sounds ever recorded. Opens within waves of pedal-steel and harp-like acoustic guitar On paper, it seemed like a logical plan to democratize and ego-drain, but allowing each member to record his own "solo" song on Yes' fourth LP was pretty clunky in practice.
With its stuffy spread of electric and acoustic pianos, synthesizer, electric harpsichord, and organ, "Cans and Brahms" does serve as a pleasant-enough palette cleanser after the prog-pop journey of "Roundabout" — but have you ever put on Fragile and played this track in isolation? In which Yes attempt to recapture the Top 40 magic of It should come very naturally. As cheese is concerned, this is grade-A gouda. But the New Age-y programmed arrangement, coupled with Rabin's elevator music leads and Anderson's bouncy vocal, makes it palatable.
Alan White briefly breaks into a jagged shuffle groove — a rare burst of human warmth in a zonked-out pop song with a feel best described as "pre-set Casio backing track. Computerized synth, lighter-than-air drums that seriously sound like samples.
Rabin originally wrote this chiming string rocker for Stevie Nicks , but producer Trevor Horn persuaded him to keep it in-house. It became a minor hit, so not a bad call commercially; but the arrangement is a bit lightweight for Yes, even the late-'80s edition. How sad is it that, on an album that united Yes' two chief keyboardists, 11 other people played keys during the sessions? Uneventful New Wave rocker brimming with 's candy-coated surfaces but none of its hooks.
Howe's volume pedal guitar and Geoff Downes' twiddly synths open this mawkish, painfully soft track. With a more organic mix not to mention Anderson behind the mic , this could have been a keeper. Yes go slightly reggae on this middle-of-the-road Ladder cut. The brooding final minute sparks some intrigue, but it's a non-starter overall.
Hooky pop tune weighed down by dumb lyrics "1, 2, 3, 4, 5, 6, 7" — really? The Anderson and Rabin modes of Yes were at war on Big Generator , and this confused track makes that painfully clear. The intro briefly conjures their classic ambiance, with Anderson crooning over Howe-ish string acoustics.
But the wall-to-wall harmonies and slick synths quickly disrupt the vibe. Instead of masking his spiritual references in hippie-isms, Jon Anderson dives into Christianity on this limp leftover. His bandmates try to keep the ship afloat, piling on high-octave bass riffs and tremolo guitar effects. Their efforts are in vain.
And the words, removed from the frontman's signature rasp, are embarrassing. Squonk, plonk, boink, dink. Bill Bruford clearly wasn't putting much thought into this hilarious jazz-fusion doodle, so let's follow suit in this blurb. The best thing you can say about "Madrigal" is that, unlike the dopiest moments on Tormato , it's hard to say anything about it.
Howe churns out a Topographic Oceans -worthy string riff on this charmingly ragged outtake. Yes wrote lots of songs about love in the cosmic sense, but they rarely explored that subject from a carnal viewpoint. Hearing our reliable spiritual guru belt about dirty deeds feels like catching your parents in the act. Pedal-steel, lumbering drums, and sitar-guitar keep the engine running. A collaboration between Wakeman's synth-strings and Howe's jazzy, extended guitar solo. Is this a quality song?
Oh, wait, here comes Trevor Rabin to the non-rescue, tanking this one with his generic radio-rock chorus. Hats off to pinch-hitting guitarist Jimmy Haun, whose delicate acoustic bridge and barnburner solo help rescue a rote blues-rock riff. This laid-back half-ballad is nowhere near the crap-fest most prog fans make it out to be, though certainly no highlight on any Yes album.
Did Def Leppard sneak a track onto ? Kudos to the late bassist, though, for the most confident Yes vocal he ever recorded. A bit overlong at plus minutes, without enough melodic content to support that heft. But there are some intriguing moments, like Howe's buzzing E-bow, on this tranquil easy listening-prog track. Luckily, the chorus, with its angular rhythms, makes up for the corniness. The arrangement is arena-rock Yes on auto-pilot, pairing heavy guitar riffs with a synth-powered chorus hook; the only distinct part of the song is its seemingly random allegiance to Toledo, Ohio, where Yes allegedly played a sweltering show that reached degrees inside the city's Sports Arena.
Forget "Caesar's Palace, morning glory" — those could be strangest Yes lyrics ever written. Anderson teamed with producer Jonathan Elias for this arty mini-epic. Trevor Rabin is a great pop songwriter when he avoids cock-rock riffs, and this chiming Union leftover is one of his hidden gems.
Like "Evensong," which essentially functions as its intro, "Take the Water to the Mountain" should have been developed into a more dynamic piece. Anderson sings about love and children and stars and dreams and truth and ponies. OK, maybe not that last part, but it wouldn't be out of place on the inoffensively bland "Humankind" section. Yes finally wake up after the four-minute mark, letting Howe's guitars do most of the talking. Anderson adopts a raspy, bluesy tone on this guitar-heavy rocker.
Howe, meanwhile, utilizes every tool in his arsenal — from sitar-like chime to a volume-pedal swells. Plus, the playing sounds too shaky to be him. A protest song seemingly aimed at the entire world, Anderson's acoustic ballad "Show Me" should fall on its face. The string arrangement is a bit sappy. But the band utilizes an admirable amount of space, maximizing the impact of each hi-hat flutter and tremolo bass sparkle.
A pseudo-ballad with lush harmonies and arpeggiated acoustics, allowing Jon Anderson and company to gaze "through the eyes of the child. No getting around it: Sampling a honking horn after the line "stole her best friend's car" is worthy of the hardest face-palm in your arsenal. But even Anderson's supremely dorky lyrics can't ruin this windows-down pop-rock singalong.
With its cinematic, symphonic arrangement, "Universal Gardens" previews the orchestral approach of Magnification. Martin's in Vevey, Switzerland — is the obvious high point of his Squire-helmed rocker. It was absolute magic. Sure, The Ladder often sounds pitiful in its attempts to sound modern. But the digital whooshes and modern synth tones of "Face to Face" actually feel essential to the mix, adding a bit of urgency to this jovial art-pop tune.
Yes' sanitized 21st studio LP closes with one admirable attempt at prog — the equivalent of a teacher passing out candy after a lecture. Anderson barks out monotone, rhythmic lines over pulsating bass and twangy guitar riff.
Yes fans should really give Open Your Eyes a second — or 28th — listen. The first is White's furious, rhythmic, marimba-led instrumental; the second is a charmingly campy blast of power chords and New Wave crooning. Yes approach the hard-rock Hammond thunder of Deep Purple on this heavy early cut. Anderson croons in his scratchiest tone. A collaboration between Anderson, Squire and Bruford, "Harold Land" documents the harrowing story of a soldier returning from war, only to a realize he's "lost his love and youth.
Steve Howe strips back a solo track for this guitar-only acoustic rendition — and the raw emotion of his arrangement cuts through in this context without the overdub distractions. Yes set aside their commercial ambitions for this admirably atmospheric piece — seven minutes of droning guitars, tag-teamed vocals, and funky bass. And this one more than delivers on the latter front, with Anderson, Sherwood and Squire harmonizing around an atmospheric group riff.
A minor hit single, "Don't Kill the Whale" is Yes at their funkiest and most accessible. Anderson and Squire harmonize about animal conservation over tense chord changes, handclaps, and a restrained drum pulse. Simply put, Howe and Wakeman kill the vibe: The guitarist and keyboardist, as they do elsewhere on the LP, seem to be dueling for sonic space, cramming as many notes into their solos and fills as possible — Howe with his bluesy, out-of-tune wankery and Wakeman with his dorky synth tones.
The sharp edges and air-drum-worthy energy of "Release Release" find Yes tightening up their arrangements without sacrificing musicality. Too bad they couldn't keep it interesting for more than a couple minutes. Yes clearly had no idea how to finish this song, as evidenced by the ghastly "No way, did they really just do that? Half anthem, half absolute shit-show, "Arriving UFO" opens as jovial sci-fi art-pop before nose-diving into a bridge built on Wakeman's comically — not cosmically — piercing synth.
His entire performance feels unsteady; check the flubbed note at the mark. By that time Eddie Offord had gone to Mars and was unavailable. Everybody was using their own engineers, so you never saw so many hands on faders. The whole thing ended up so compressed it was tragic. I would love to get hold of that album and have it remixed. There is some fabulous stuff on there. But the arrangement, with its textured tablas and shakers, still manages to sound fresh. Howe and Anderson performed the song at his funeral.
But the song just sorta stops mid-thought, as if the rest of the band walked in on Horn and Downes then unplugged their gear. Sublime Steve Howe acoustic piece, with more of a traditional folk vibe than some of his other guitar excursions.
Kudos to White for his jolting hi-hat work. A bit of a roller-coaster, both in quality and dynamics, "Bring Me to the Power" incorporates some biting Howe leads and folky Anderson interludes "If we don't give them the keys, how are they supposed to get ready?
It's a bit lightweight — no arguing against that. But Howe's never sounded more confident as a solo songwriter than on this autumnal folk-pop track. In the post- Drama era, a lot of Yes' vocal harmonies started to sound like synth-pads swathed in reverb. Cheers to Sherwood for accentuating the members' individual voices on Open Your Eyes , particularly this strutting, mid-tempo rocker. One of Yes' last great epics, "Dreamtime" leaves no instrument sitting idle. Everything's here: primal tom-toms, heavy orchestrations, droning sitar-guitar, a lengthy orchestral tag.
The Sherwood line-up merge the prog-pop sensibility of late-'70s Yes say, "Going for the One" with contemporary rock production that highlights the muscle of their rhythm section, bouncing through time changes with the glee of a band half their age. No reason for the minute ambient doodle at the end, though. With its singalong vocal harmonies and ethereal vibraphone, this Tormato outtake would have been a centerpiece on that iffy LP. Luckily, Anderson later resurrected the track for a solo tour.
A story as old as time or at least Talk , the minute centerpiece from Keys to Ascension 2 begins in vintage symphonic-prog mode synths, xylophones, marching snares, metallic riffs — it's all there before Anderson crashes his own party with lazy acoustic balladry. At least 10 minutes are top-tier, but "Mind Drive" can't help but suffer in comparison to "That, That Is," the more fluid epic from the first Keys to Ascension set. As usual, both are wrong. Despite the obtrusions, this Richie Havens rework gets by on sheer zest alone.
Yes rarely sounded like they were having so much fun. Fluttering flutes, frollicking Anderson — not usually the recipe for a high-caliber Yes song. But they make it work here. Just listen to the nuance of how White develops the drum part — how his subdivisions of the beat offer the track a subtle momentum, like a captain steering the ship in shadow. Vocal chants, disorienting bass harmonies, folky guitars — Yes had the ingredients of a classic piece here, but they just overloaded the recipe.
It didn't naturally evolve. There are some great things, but an awful lot of padding. If the CD format was around then, it would have been a different album. Squire's bass behemoth opens with one of his signature riffs, a barrage of thumping, wah-wah-styled lines shaped by the Mu-Tron Envelope Filter pedal.
Anderson's chirpy vocal keeps things moving — but Yes lose that momentum over eight minutes, filling the gaps with Howe's obtrusive, squawking bird guitar flourishes. So recording his own miniature low-end symphony was probably predestined Of course the loudest player on every cut would want to hear more of himself and a little redundant Did we really need more bass, Chris?
Howe took a graceful flamenco approach with "Mood for a Day" — the tonal opposite of his previous acoustic showcase, the giddily meandering "Clap. Yes reinterpreted the Beatles' "Every Little Thing" elsewhere on their debut, but their daydreamy acoustic ballad "Yesterday and Today" is even more indebted to the Fab Four. It can't be a coincidence that the latter band issued a U.
LP by that name in Anderson adopts an appealingly smoky vocal tone as if he cut the track after finishing off a carton of Kools , crooning over an oceanic mist of seventh chords played on acoustic guitar and piano.
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