Funniest moments: Jon picking up a
few of the leis thrown on stage,right during one of the last
songs b4 the encore. Runs over to Chris, puts one on him.
Runs over to Steve...notices that Steve is heavy into
playing. thinks twice about it...then goes over to Rick and
throws one around his neck. Takes the last one and rushes up
behind drum riser and drops it around Alan's neck. Alan
playfully swats at him with a drum stick...
I have to say that out of the 24
times I've seen the band (since '87), this was the best they
have sounded. The crowd was so warm and so into it, that by
midway through, the whole front of the stage was crowded
enough for Jon to declare it the "Moshpit!" Of course, our
seats were awesome, and then obscured by the throng, so we
joined in and ended up right in the thick of it in front of
Jon and Chris. People were throwing or laying leis on the
stage between songs, and Jon kept putting 'em on the other
members, and he even ended up with about 12 on by the end of
the show! The setlist was amazing.
Okay, I'll list it:
Give Love Each Day Symphony
Close to the Edge
I've Seen All Good People
In The Presence Of
And You and I
Steve: To Be Over; then Freight Train intro-Clap
(happy birthday song)/ Show Me - Jon and Rick
Rick- excerpt of all 6 of the wives of Henry VIII
We Have Heaven
South Side of the Sky
Don't Kill the Whale
Heart Of the Sunrise
Owner of a Lonely Heart
Long Distance Runaround
Encore: Roundabout (short version)
The first half was orchestra-accompanied, starting with the
beginning of "Give Love Each Day." We got treated to about 3
hours and 15 minutes of show, with a 15 minute intermission.
Chris and Rick were in such high spirits during the show,
constantly joking with each other, Jon was in an ultra-good
place, Steve even smiled a couple times at Rick's antics.
It was during "Siberian Khatru" the first song after the
intermission and Jon and Rick's solos that the crowd started
getting up. This totally gone guy, wearing a sarong/dress
and a flower in his hair and a goofy smile on his at least
forty-something face just got up front and started getting
crazy. This hot-ten-years-ago blonde then joined him for
some dirty dancing and exhibitionism and another older fan
guy joined in. That's how is stayed for most of Siberian,
but when they started "Don't Kill the Whale" afterward, more
joined in. And I couldn't help but rock to it in the front
row, so the first guy up grabbed me and made me dance (he
even gave me a really extended hug, which was warm but a bit
odd...almost turned me gay, but not quite). Quickly though,
the ten-to-fifteen feet in front of the stage were packed
with people--from about fifteen up to sixties--one girl even
had her 4 or 5 year old daughter in tow up there! It was
warm, raucous and really fun. The band loved it--especially
Squire, who made a habit of giving out picks to the hotties
After Heart of the Sunrise, Jon said how amazing the crowd
was, and you could tell it wasn't just the usual concert
speak--they were more knocked out than I've ever seen--and
then said, "Alright, we're gonna do something, but only if
you promise to sing along with the chorus." Then, Steve
launced into "Owner of a Lonely Heart!" I couldn't believe
it--never thought this line-up would do it. It was really
different--no usual 80's hit-sounds, just really open and
almost classic--Rick sounded like Rick and Steve never made
any intention of sounding like Trevor, so Chris's bass
thundered through like never before. It was wild--about ten
of us in the front (certainly filled with the hardcore fans)
spent the first minute of the song with our hands up, going,
"Wha'???" That was wild and ultimately very cool. My fiancee
said she loved what they did with the song.
All during the second half--from Siberian Khatru, Don't Kill
the Whale, Heaven/South Side of the Sky, Heart of the
Sunrise, Owner of a Lonely Heart, Long Distance
Runaround/Whitefish, some of the crowd was into it like a
Who show. During Heart, a young guy with long blonde hair
just jumped up on stage and was rocking out like he was in
Nirvana or Pearl Jam or something.
Chris and Rick were very amused and even kept the band
security from kicking him off for a while--Chris even went
right up to him and they were rocking together like he used
to with Rabin. It was really fun. Then, after what seemed
like a couple minutes, with this kid going all around Chris
and Rick, the security guy, with a smile on his face,
gestrured for him to leave, and the kid did a stage dive! He
went right into the crowd, but no one caught him!!! I
thought he probably broke his face, but he was immediately
up and being escorted out by the big bouncer off to the side
on the floor.
By the time Awaken rolled around, I thought the crowd was
too hyped and drunk to enjoy it, but to my surprise, they
were amazingly respectful and went right along during the
quiet middle of the song--it was magical! Back out for
Roundabout with a last note that they kept going for about
ten minutes! and it was over.
Oh, one of the best highlights was Steve's solo rendition of
"To Be Over." It was amazingly masterful. He arranged the
entire song, too--it was flawless and played with more
conviction than I've ever seen him play a solo piece. Truly
I hope they release this show soon on their touted "Official
Bootlegs," It was a special, memorable, magical night that I
got to share with the love of my life--definitely a dream
The Honolulu Advertiser
Founded: 1968 in Birmingham,
Friday, September 26, 2003
Progessive rockers touch down at Blaisdel for the first time
By Derek Paiva
Advertiser Entertainment Writer
with The Honolulu Symphony
8 p.m. Saturday
(877) 750-4400, 792-2000
Twenty-minute opuses about lost civilizations and
topographic oceans. Instrumental solos rivaling the entire
length of a 50 Cent show. Majestic choirboy-on-psychedelics
vocal acrobatics soaring high enough into the stratosphere
to meet and greet alien visitors.
Oh, yes, children. Yes, that most underrated collective of
progressive rock behemoths this side of Emerson, Lake &
Palmer, is bringing its eternally cosmic musical spaceship
back to Honolulu. After riding out the 15 years since its
last visit somewhere beyond Mars' Valles Marineris, the
pioneers of '70s arena rock will jam with the Honolulu
Symphony Saturday at its first orchestrally backed concert
Bring something caffeinated, a soft pillow and some
Dramamine. It's going to be a loooong ride.
• • •
Drummer touches on 'Lonely Heart,' Lennon memories
We reached longtime Yes drummer Alan White at his home in
Seattle earlier this month, a day away from leaving for
shows in Japan, Australia and, eventually, Hawai'i.
Why Honolulu for the only symphony show Yes is doing on
Well, it's on the way back. (Laughs.) And we haven't played
there for such a long time. The ... (Honolulu Symphony)
offered themselves and we thought, 'How great! We've got all
the music for everyone. Why not perform some of these songs
with the orchestra?' We'll do some ... with the orchestra
and some without them.
Do you listen to bands like Radiohead or the Flaming Lips
and think, 'Man, that's prog rock!'
Yes. ... We were having a (band) meeting or a conversation
somewhere in Europe ... and saying, 'Well, look at
Radiohead. They would handle it this way.' And they were
actually eating around the corner from us. So we went and
said hi to them, and it was kind of a very funny chance
meeting. My son listens to Radiohead a lot.
I'm a member of the generation that discovered Yes with
"90125" when "Owner of a Lonely Heart" hit No. 1 and the
band's videos were all over MTV. So I've got to ask, why
doesn't the band play anything from "90125" on tour? Do you
guys hate it that much?
You had to ask that question, huh? (Laughs.) Well, I think
you might find our visit great because I think we're
actually going to do 'Owner of a Lonely Heart" on this tour.
We're planning on it right now. We didn't play it on the
last couple of tours, but we're planning on doing it in Asia
After 30 years together and recognition as one of the
bona fide pioneers of the art- and progressive-rock
movements, Yes has yet to be inducted into the Rock and Roll
Hall of Fame. How difficult has that been for you guys?
Oh, it's a sore subject. (Laughs, a bit wearily.) A lot of
fans are really, really upset about that. I do think
eventually, the band will end up there. ... I've been there
many times and actually know the director. Ahmet Ertegun,
who had the band for years on Atlantic Records, is one of
the guys that (inducts) people in there. I think one of the
main guys is ... Jann (Wenner) the editor of Rolling Stone.
For some reason, somebody at some time turned him off ...
and he's one of the main influences. I don't know if there's
a problem there. ... We'll see what happens. I know the
wheels are turning.
You played drums on "Imagine" and "Instant Karma." Any
stories from three years of drumming with John Lennon in
Plastic Ono Band?
Yeah. I was a very young guy at the time. ... He saw me
playing one night (in a club in London) and basically
invited me to play in Toronto with him. And at the time, I
really thought that was the way rock 'n' roll was — that it
was a natural step. I didn't think about the fact that I was
actually playing with John Lennon in his first (band) since
the Beatles. Only years later (did) I look back at what it
was, (see) it as part of the history of rock 'n' roll (and
start) thinking, 'Wow! Did I really do that?' (Laughs.) So
it was great. It was very much a family-oriented thing — a
family with John and Yoko and Eric Clapton. Eventually I
played on 'All Things Must Pass' with George (Harrison). ...
Once you were part of the family you were just accepted and
it was great atmosphere to have around you. I'm just
thankful it happened to me.
• • •
Yes, Yes and more Yes
Music: Progressive rock, art
Current membership: Jon
Anderson (vocals, 1968-80, 1983-88, 1991-present); Rick
Wakeman (keyboards, 1971-74, 1976-80, 1991-1994, 1996-97,
2002-present); Steve Howe (guitars; 1970-81, 1991-present);
Chris Squire (bass, 1968-present); Alan White (drums,
Membership over the years has
included: Peter Banks (guitars, 1968-70), Tony Kaye
(keyboards, 1968-71, 1983-94), Geoff Downes (keyboards,
1980-81), Trevor Horn (guitars, 1980-1984), Patrick Moraz
(keyboards,1974-76), Bill Bruford (drummer, 1968-72,
1991-92), Trevor Rabin (guitars, 1983-94), Billy Sherwood
(guitars, 1994-99), Igor Khoroshev (keyboards, 1997-2000).
5 best-selling Yes CDs (year released, units sold in
"90125" (1983, 3 million-plus)
"Fragile" (1971, 2 million-plus)
"The Yes Album" (1971,
"Close to the Edge (1972,
"Yessongs" (1973, million-plus)
Yes on the Billboard Top 40 (peak position, year):
"Your Move" (No. 40, 1971)
"Roundabout" (No. 13, 1972)
"Owner of a Lonely Heart" (No. 1,
"Leave It" (No. 24, 1984)
"Love Will Find a Way" (No. 30,
"Rhythm of Love" (No. 40, 1988)
5 music acts spawned by Yes (and the Yes members we can
Asia (Howe, Downes)
Anderson Bruford Wakeman Howe (all
Jon and Vangelis (Anderson)
Flash (Banks, Kaye)
5 weirdest Yes song titles:
"Arriving UFO" from "Tormato"
"The Revealing Science of God:
Dance of the Dawn" from "Tales from Topographic Oceans"
"The Remembering: High the Memory"
from Tales from Topographic Oceans"
"Cans and Brahams" from "Fragile"
"Dangerous (Look in the Light of
What You're Searching For)" from "Union"
5 truly bizarre Yes song lyrics:
"As the silence of seasons on we
relive abridge sails afloat ... As to call light the soul
shall sing of the velvet sailors course on." — From "The
Remembering: High the Memory"
"Tell the Moon-dog, tell the
March-hare ... We ... have ... heaven. To look around, to
look around. Yes, he is here; Yes, he is here." — From "We
"A seasoned witch could call you
from the depths of your disgrace. And rearrange your liver
to the solid mental grace. And achieve it all with music
that came quickly from afar. Then taste the fruit of man
recorded losing all against the hour." — From "Close to the
Edge Part 1: The Solid Time of Change."
"I could not take it oh so
seriously really ... When you called and said you'd seen a
UFO. But then it dawned on me the message in writing. Spelt
out a meeting never dreamed of before." — From "Arriving
"I see a man in a white car ...
Move like a ghost on the skyline. Take all your dreams ...
And you throw them away. Man in a white car." — From "White
3 bizarre quotes from Jon Anderson, Yes vocalist, lead
esoteric lyricist and spiritual true believer:
"The angel said he was happy with
the work I was doing and prophesized that in the 21st
century I would still be singing the same songs." — To
London's Independent in August, referring to a 1977 meeting
with a large Jamaican man and a little girl he decided were
"In the early '90s, a lovely lil'
lady from Hawai'i came by who was able to ignite my third
eye." — To London's Guardian, in July.
"There are evolved people on this
planet. I don't doubt that there is a universal people out
there living on different kinds of levels. I've been lucky
enough to appreciate nature and to understand there is a
devic world. There is a fairy kingdom. That's what I know
and what I believe in. That's my life." — To Melbourne's
Sunday Age, in January.
12 things you might not have known about Yes:
Original vocal inspirations were
the harmonies of Simon and Garfunkel, and pop/soul vocal
group The 5th Dimension. The band's first American hit was a
1972 cover of Simon and Garfunkel's "America," which peaked
at No. 46 on Billboard's Hot 100.
The band's first big break was an
October 1968 gig at London's Speakeasy Club, filling in for
Sly & The Family Stone.
Opened for Cream's November 1968
farewell concert, and Janis Joplin's April 1969 show, both
at London's Royal Albert Hall.
First American tour was as opening
band for Jethro Tull, 1971.
The angelic-voiced Anderson's
falsetto/soprano is self-trained.
Yes still holds the record for most
consecutive sold-out nights at Madison Square Garden: 16. In
second place: Led Zeppelin.
MTV-era Yes mates Trevor Horn and
Geoff Downes were former members of The Buggles, whose
"Video Killed the Radio Star" was the first video broadcast
The title of the band's
largest-selling album to date, 1983's "90125," was taken
from the disc's Atco/Atlantic Records catalog number.
Yes has won only one Grammy Award —
for 1984 Best Rock Instrumental for "Cinema" from "90125."
In spite of key member comings and
goings over the years (in particular Wakeman and Anderson),
Yes only "officially" broke up once — in 1981, for a year
and a half. The band split into two factions in 1989, when
Anderson, Bruford, Wakeman and Howe formed their own
supergroup called, uh, Anderson Bruford Wakeman Howe.
Litigation ensued over use of the name Yes, which Squire and
White (who with Rabin and Kaye were actually touring as Yes)
owned. Both sides eventually made nice, joining forces again
Bass player Chris Squire is the
only founding member of Yes who has never left the band.
A "Lord of the Rings" fanatic, Jon
Anderson told Entertainment Weekly in 2002 that he'd written
six songs with a musician specializing in 17th-century music
and submitted it to "LOTR" producers for inclusion in "The
Two Towers." Alas, they were submitted too late for
consideration. Don't hold your breath for them in "The
Return of the King."
Yes was last in Honolulu ...
On: Wednesday, March 30,
1988, 8 p.m., at Blaisdell Arena, as part of the Big
Members: Jon Anderson, Tony
Kaye, Trevor Rabin, Chris Squire, Alan White
Yes with the Honolulu Symphony, Sept. 27, 2003:
Saturday evening's Yes orchestral
show will be the band's first with our symphony, but not its
first symphonic gig. Touring behind its symphonic studio
album "Magnification" from July through December 2001, the
band performed 69 shows in the United States and Europe with
full orchestra. One of the shows was recorded for the DVD
"Yes Symphonic Live."
Our favorite Yes fan sites:
Forgotten Yesterdays: A
Comprehensive Guide To Yes Shows.
Pete Whipple's amazingly detailed Web site lists the dates,
locations, Yes players and, most importantly, set lists of
every Yes show since 1968. Yes fans worldwide have also sent
Whipple photos of ticket stubs, programs and posters, and
offered synopses of shows, detailing everything from
audience reactions to the quality of that evening's
rendition of "Don't Kill The Whale."
Virtual Jon — Yessongs Big
With just three words (an object, a place, and a person) of
your choosing, a virtual Jon Anderson composes an
existential Yes song just for you or your sweetie. What
follows are a few snippets from the song we were presented
with after entering our object (gnomes), place (Palolo) and
subject (Jennifer Garner):"Sliding under Phebes embracing
softly near happy gnomes. To need to love wondrously inside
Hades ... Angel forever will be light. Easy gnomes being
under Palolo. Jennifer Garner can sometimes be open.
Wondrously Jennifer Garner happily lightly ascending gnomes
to rearrange easily at Palolo."— From "Hearing Slowly Near
Warm Gnomes" by Virtual Jon.
Reach Derek Paiva at 525-8005 or
Honolulu Star-Bulletin Features
Friday, September 26, 2003
Positive on rock
By Tim Ryan
Performs with the Honolulu Symphony
Where: Blaisdell Arena
When: 8 p.m. tomorrow
Tickets: $45 to $65
Jon Anderson, in his continual search for the meaning of
life, is happy to share his thoughts.
Anderson's no longer a wide-eyed hippie but the hardheaded
leader of Yes, a band that has survived 35 years and is
completing its umpteenth world tour, "Full Circle." The
group performs with the Honolulu Symphony at 8 p.m. tomorrow
at the Blaisdell Arena.
"The meaning of life would be this table," says Anderson,
59, who lives on the Central California coast with wife,
Jane. "The coffee table is the world as we know it. There
are mountains, valleys, animals and inter-dimensional
energies that we don't know about.
"Or maybe we do. Actually, I know a lot of people that do.
Inter-dimensional energies are a very powerful thing."
Anderson is a rock star from the by-now alien 1970s era. He
says things like "In the early '90s, a lovely little lady
who lived on Pensacola Street in Honolulu came by and was
able to ignite my third eye" with a deadly seriousness.
In a gentle, friendly tone, Anderson explains that he was
once visited by angels in a Las Vegas hotel room. They told
him to remember William Blake. "It was quite a very sobering
experience," he says.
His personal philosophy -- "I say to my beautiful wife Jane,
I wouldn't have met you if I hadn't gone through my whole
life to get to you when we met" -- can be as inscrutable as
his lyrics, which in Yes's early-1970s heyday spawned a
small industry around explicatory pamphlets.
Then he steps back into 2003 to say that he is still
creating as much today as when he started writing music, and
only an hour ago penned these words to a song he calls
"When I hold you and cup you to my body I am home again
When watching you I forget where I am
When the night light flickers around the room of my soul
When I bask in the warmth of your smile
When every child should dream and sleep the perfect dream
When our food is just enough to satisfy our hunger for more
When we start to tell our friends they are so real and loved
When the clouds celebrate each draft of wind
When our collective voice sings in tune with mother Earth
Then he stops and laughs. "When all that happens I will be a
very happy guy," he says.
IF ANDERSON seems esoteric that's nothing compared to Yes's
music, perhaps the most progressive of progressive rock.
Listen to the early 1970s albums "Close to the Edge" or
"Fragile" and you'll understand that rumors of progressive's
resurrection are premature. No current band bears the
remotest resemblance to Yes -- also featuring Steve Howe,
Rick Wakeman, Chris Squire and Alan White.
The group's songs -- all very long -- are packed with
tricky, neurotic riffs, lurching shifts in tempo and time
signature and keyboard solos that stretch into next week.
That's before you get to the words, which often seem
incomprehensible and portentous.
"Of course it's all metaphors," Anderson says. "You need to
write in metaphors to make it more mystical and through the
eventual realization of what it all means you're brought to
a wonderful realization of a oneness with God."
UNLESS YOU WERE there you might find it hard to believe that
anything this esoteric ever found an audience. It did.
Yes was created in 1968, and by the mid-1970s was enormously
successful, particularly in the United States. The group
last played Honolulu in 1987.
During the progressive music boom of the early '70s, Yes was
rivaled only by Emerson, Lake & Palmer, and Genesis, for a
particular brand of classical-laced rock that initially was
refreshing and innovative.
Success bred staggering indulgence. Capes were worn on stage
and mansions were bought. Howe reportedly would fly his
Gibson guitar in its own seat on the Concorde. When Yes
could not decide whether to record in London or "in a forest
at the dead of night" -- Anderson says the latter was his
idea -- a compromise was reached: The album was recorded in
an English studio decorated with bales of hay and a
cardboard cow with electrically powered moveable udders.
"Well, we have matured and are quite understanding of one
another after 35 years together," Anderson says, laughing.
"But making music on stage is still an incredible rush, just
as it has always has been.
"We've had two hit records in 35 years, but we've sustained
because we love getting on stage and performing."
The positive message of Yes music helps Anderson to
continually rediscover the spiritual quality of life.
"I've come to realize that all spiritual masters are the
same," he said. "My quest as a musician is to be always part
of that beautiful jigsaw puzzle of life ... and sing about
Asked how the media treat the aging rockers, Anderson says
it has no relevance.
"The media is a very small part of life, but because we're
connected to the media we think that's what life's all
about, and it isn't," he says. "If you start wondering about
birdcalls and, um, why birds are alive and what they seem to
do around us, and trees and nature and so forth, which me
and my wife Jane do ... We're just such bird-lovers ... And
what's wrong with that?
"Well, it was a beautiful moment. And you think life is a
beautiful thing and you've got to live accordingly. You've
got to magnify all your better feelings and better urges and
better conscious ideas and that's your life's evolvement.
There's only one reason we live. It's very simple. To find
the creator. That's just my understanding; I'm still working
But returning to the moment -- again -- Anderson says
everyone in the band wants to be respected by the media.
"We have survived and nobody's dead yet," he says, laughing
again. "I'm amazed at how well we play on stage every night.
It's a continuum of growth."
But back to that "little old woman on Pensacola Street."
"She brought me into the world of meditation; we called her
Divine Mother," Anderson says. "She's gone now but Jane and
I still come to Honolulu every August to meet with a special
group to meditate -- raising of consciousness if you like --
to understand how beautiful we really are and share our
highs and lows."
Anderson's nickname in Yes was Napoleon. "It's like being a
coach," he said. "I have incredibly talented people with me
and they had better listen up or I'm not going to be around
"I believed and still believe that success is only part of
our story. It makes you want to get better and better so as
not to let yourself down and not to let the people down who
like what you do ...
"The audience can be drunk, they can be stoned, but we have
to be so good on stage. I don't want any of us to fail and
have someone say 'Hey, they used to be good.' "
Anderson takes a deep, audible breath.
"The state of things at the moment is incredibly beautiful,"
he says. "I'm just a happy working musician."
Stage configured, more tickets for Yes concer
The stage and sound system at Blaisdell Arena have been
reconfigured for Saturday's concert by Yes and the Honolulu
Symphony, allowing the orchestra to offer three more
sections of seats for the band's only U.S. date on its world
Honolulu Pops Conductor Matt Catingub will lead the
orchestra as it backs up Yes for such compositions as "Close
To The Edge," "All Good People," "Deeper" and
"Magnification" in one of the largest concerts that the
Symphony has ever produced.
The current members of Yes are Jon Anderson, Chris Squire,
Steve Howe, Rick Wakeman and Alan White. Enough people have
played in Yes to fully staff two bands that know the Yes
repertory but this is arguably the best-known line-up.
Vocalist Anderson, bassist Chris Squire and guitarist Steve
Howe have been with the band for most of its three decade
history. Alan White was one of its earlier drummers and has
had more than one tenure with the band. All of them played
on the band's U.S. breakthrough album "Fragile," which
features the hits "Roundabout" and "Long Distance Runaround"
and a realization of an inner movement of the Brahms Fourth
Symphony. Keyboardist Rick Wakeman joined Yes right after
that, and all of the current personnel played on "Close to
the Edge," "Tales of Topographical Oceans," "Tormato" and
"Going for the One."
Rock listeners who only know Yes from the eighties and
nineties, when its biggest hit "Owner of a Broken Heart" was
reasonably conventional and commercial, might be surprised
that in "Fragile," "Close to the Edge" and "Relayer" the
band engaged in what might be termed symphonic rock,
extended compositions with classical architecture, but using
rock band resources rather than adding strings (as Electric
Light Orchestra did) or, the Brahms to the contrary, rocking
actual classical works (as Emerson Lake & Palmer did).
The Honolulu Symphony, like orchestras on the mainland, has
used its pops programs to reach out to new audiences,
especially younger adults whose exposure to full-scale
classical music may be limited.
Well, what a great night! The
concert started at 8 pm and ended at 11:15 pm. The first
half was with the Honolulu Symphony, the second was without.
The venue is nice and cool! I would estimate a crowd of
about 4000, about a thousand more then I expected. Some of
this could be due to the huge cover story write and up in
the Honolulu Advertiser's Weekend Guide.
The setlist was like seeing the highlights of the Symphonic
tour and the 2002 tour rolled into one concert! The symphony
sounded excellent! The symphony beautifully augmented the
music without overpowering the mix. I wish they stayed for
the entire 3 1/4 hours. There were very few and minor
technical gliches and mistakes. The sound quality was also
excellent for an arena venue!The lighting was excellent! I
think the best lighting I have seen at a Yes Concert so far!
I don't think anything could have bothered the band that
night. They all seemed in high spirits and were enjoying
themselves! (Who wouldn't being here in Hawaii!) They all
had quite a bit of energy! You know I have done the Asia to
Honolulu trip dozens of times, and it takes me 3-4 days to
recover from jet lag!
As you know, Hawaii is a pretty laid back place, and that
was evident in the lack of security (for a Yes concert this
is a good thing). The crowd was allowed to move up to the
stage during the second half of the show. Of course this is
a disavantage to the people sitting in the first 5 or so
rows, but heck, everyone was having a good time!
Oh yeah, something that is probably not seen at too many Yes
concerts. Some long haired teenager must have thought he was
at a Blink 182 concert and had gotten up on stage and
started headbanging. He was up there for some time and the
band actually got a kick out of it. I guess he didn't
realize that the crowd below were bunch of middle ages who
weren't going to sacrifice their bodies to catch him when he
dove off the stage. Anyone know if he is ok?
I am dissapointed I missed out on the Brew Moon preconcert
show, how did that go? I was able to meet Joann and Scotland
at the Concert, which was a pleasure!
Yes delivers a fresh and powerful
By John Berger
No caffeinated beverages, pillows or Dramamine were needed
last night as Yes -- Chris Squire, Rick Wakeman, Steve Howe,
Jon Anderson and Alan White -- teamed up with Matt Catingub
and the Honolulu Symphony for an expansive high-energy
performance in the Blaisdell Arena.
It's been over 15 years since Yes last played Honolulu. The
group, bassist Squire in particular, appeared delighted to
be back. Wakeman was beaming from behind his several stacks
of keyboards. Squire repeatedly broke into impromptu dance
steps during the first few songs, and cut a particularly
impressive figure in his stark black duster and matching
"It's been 35 years and we're still playing -- and we still
have an audience! Thank you," Anderson said when the night
was still young. The crowd -- almost all of it seated
downstairs -- applauded enthusiastically and danced in place
when he indicated he wanted them to rise.
There was a definite sense of deja vu in seeing Yes in
concert -- Wakeman's hair, falling well past his shoulders,
was a particularly classic element in these days of short
and spiky locks -- but the group wasn't back in Honolulu to
entertain as an oldies act.
Anderson introduced several relatively new songs from the
Yes songbook, including the title song from their 2001
album, "Magnification." He explained that it shares the
message that when we magnify the good within us we magnify
the good around us -- an encouraging thought in these days
Anderson also contributed to the band's instrumental attack,
playing percussion and guitar. Howe added a fascinating
touch of high-powered steel guitar to the mix as well.
Wakeman's work on keyboards provided most of the
instrumental bridges as the group moved through its glorious
expansive arrangements -- multi-part vocal arrangements --
primarily Squire harmonizing with Anderson -- became another
musical element in the performance.
Anderson was in great form as the group's lead vocalist and
master of ceremonies.
The one problem was that the symphony was submerged amid the
sheer volume and electronic power of the quintet. Catingub
could be seen in the background conducting the musicians,
but with Wakeman conjuring up everything from a pipe organ
to computer noises, and White laying down a second wall of
sound on the drums, the symphony could occasionally be seen
but very rarely heard.
Yes could have played solo and still delivered a tremendous
Give Love Each Day (Orchestral intro)
Close To The Edge
I've Seen All Good People
In The Presence Of
And You And I (goodbye Orchestra)
To Be Over
Don't Kill The Whale
We Have Heaven
South Side Of The Sky
Owner Of A Lonely Heart
Heart Of The Sunrise
Long Distance Runaround
Whitefish (drum'n'bass solo)
The Yes Symphonic Live aired last
week Wednesday (09-03-2003) here in Honolulu's PBS station,
this edited special consisted of the following songs:
Long Distance Runaround
In The Presence Of
And You And I
I've Seen All Good People
Basically they were trying to bring some money in for PBS
Hawaii, so a lot of the times, they were pushing for
donations. Here's what you get for donating to PBS Hawaii:
$300 - DVD or VHS of Yes Symphonic Live, The Best of Yes CD
and (2) tickets to the upcoming Yes concert
$175 - (2) tickets to the upcoming Yes concert
$125 - DVD or VHS of Yes Symphonic Live
$100 - The Best of Yes CD
The PBS affiliate here in Honolulu (KHET
Channel 10) will be airing the Symphonic Live concert
(edited to ~90 minutes) on TV this Wednesday night at 8:00
with host Matt Catingub - conductor for the Honolulu
Symphony. Wonder what he'll talk about....
For those who can't view the files that I posted under the
Geocities website, please go to Yesman Lee's great Yes
NEWS HONOLULU SYMPHONY
Samuel Wong, Music Director
YES TO PERFORM WITH THE HONOLULU SYMPHONY IN CONCERT AT
Tickets To Go On Sale Saturday, August 2 At Blaisdell Box
HONOLULU - The Honolulu Symphony today announced that
classic rock band YES will perform in concert with the
Symphony on Saturday, September 27 at 8:00 p.m. at the
The original 1970s YES band members - Jon Anderson, Chris
Squire, Steve Howe, Rick Wakeman and Alan White - will wrap
up their current world tour with a special performance with
the Honolulu Symphony. This will be the only U.S. date on
the tour and will be the first Hawaii performance for the
rock icons in 16 years.
Tickets are $45 and $65 and will go on sale Saturday, August
2 at 9 a.m. at the Blaisdell Box Office.
Tickets are available through all Ticketmaster outlets,
online at www.ticketmaster.com and by phone at
1-877-750-4400. Tickets are also available through the
Honolulu Symphony Box Office by phone at 792-2000 or in
person at the Honolulu Symphony Box Office, located at The
Dole Cannery, 650 Iwilei Road, Suite 202 - the Honolulu
Symphony Box Office is open Monday through Friday, 9 a.m. to
Got another radio commercial. It
didn't mention anything about the Honolulu Symphony:
Les escribo desde Lima-Perú. Soy fan de YES desde hace
quince años. Fue maravilloso verlos y oirlos en vivo cuando
llegaron a este país hace cuatro años.
Sucede que hace unos días una radioemisora local ha venido
promocionando un supuesto concierto de ellos en Lima para
octubre próximo, en una presunta ampliación de la gira hacia
América Latina. Quisiera saber si alguien puede confirmar
esta noticia que sería sensacional.
I went to the venue with my
camcorder and recorded the Yes ad off of their display
It's about time! I always wanted Yes
to come back and play in Honolulu again. So everytime when I
see the guys in the mainland, I told them I flew in from
Hawaii and that they should consider playing in Honolulu. In
a way, I feel they are playing this concert especially for
It is the cheapest Yesshow I've seen since 1996.
Here are the TV and radio commercial for the concert next
A date in Honolulu, Hawaii has been
added where the band will perform with the Hawaii Symphony
Orchestra on September 27 (public on sale August 2 at 9 AM