Someone on the Hoffman forum has figured out that the track in question is by Terry Reid. Another “win” for Rhino.
Someone on the Hoffman forum has figured out that the track in question is by Terry Reid. Another “win” for Rhino.
Doesn't any of the surviving members of Yes bother to listen to this stuff before it's too late ? I wouldn't expect Wakeman or Anderson to care, but Howe ?
But yes, the level of incompetence that leads to include a track that sounds nothing like Yes (or ELP) is staggering.
This being said, wasn't Alan White Terry Reid's drummer around that time ? That would at least make the song vaguely Yes-related if it's Alan on drums... (Doesn't particularly sound like him though.)
Calyx (Canterbury Scene) - http://www.calyx-canterbury.fr
Legends In Their Own Lunchtime (blog) - https://canterburyscene.wordpress.com/
My latest books : "Yes" (2017) - https://lemotetlereste.com/musiques/yes/ + "L'Ecole de Canterbury" (2016) - http://lemotetlereste.com/musiques/lecoledecanterbury/ + "King Crimson" (2012/updated 2018) - http://lemotetlereste.com/musiques/kingcrimson/
Canterbury & prog interviews - https://www.youtube.com/channel/UCdf...IUPxUMA/videos
Has anyone noticed a "skip" at 8:14 on the alternate version of 'Heart of the Sunrise'? It is occurs when Jon starts to sing "Straight light moving..." My copy is the digital download from Qobuz.
"It was a cruel song, but fair."-Roger Waters
Man, I hope the “Close to the Edge” deluxe box will have a great ‘76 version of “Supper’s Ready!”
Given Warner/Rhino own all the rights, I don't know how much effort they put into running this stuff past the remaining band members. That said, rights or not, the surviving Yes members could take more interest in what Warner are doing.
The Reid session is probably with Offord producing and White on drums, but hard to confirm.
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
Calyx (Canterbury Scene) - http://www.calyx-canterbury.fr
Legends In Their Own Lunchtime (blog) - https://canterburyscene.wordpress.com/
My latest books : "Yes" (2017) - https://lemotetlereste.com/musiques/yes/ + "L'Ecole de Canterbury" (2016) - http://lemotetlereste.com/musiques/lecoledecanterbury/ + "King Crimson" (2012/updated 2018) - http://lemotetlereste.com/musiques/kingcrimson/
Canterbury & prog interviews - https://www.youtube.com/channel/UCdf...IUPxUMA/videos
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
Wilson doesn’t do work with tapes or archival research. He is sent digital files of the multis for the tracks he is mixing.
"It was a cruel song, but fair."-Roger Waters
My best guess is that the track probably happened to be on the same tape with the other “rough/early/alternate” type vintage mix type tracks that appear on the set and the Rhino folks just assumed it was Yes and stuck it on there. It’s crazy how regular music fans on the internet can hear the song, realize it’s not Yes at all and then figure out who it really is within a day of the release while Rhino had months and months to figure out their error and never did, but there ya go. Maybe they need more people working for them who listen to music.
Hopefully they can unearth some Zeppelin for us for the Close To The Edge box.
"It was a cruel song, but fair."-Roger Waters
This thread is making me appreciate Mark Powell of Cherry Red, he's been doing the classic Nektar catalog and the band is involved as much as possible and he welcomes input and seems to actually listen to suggestions
I had some sky high hopes for some new bonus material when the Tales release in this series happens, but based on the way Talk and this one rolled out I'll temper those expectations till I see the track list
"It was a cruel song, but fair."-Roger Waters
I've always wondered if the multitracks Steven Wilson is given to mix are raw/dry or with all the effects like reverbs, echoes, EQ printed. Back in the 70's there wasn't really a 'proper standard' to leave all the multitracks 100% dry and a lot of times, producers would bounce stuff to tape with all the effects baked in. Heck, recording stuff like vocals or bass with heavy limiting/compressors on the way in before the signal even went to the 1st generation tape was common practice.
I recall reading his commentary in the booklet in his remix of the first ELP album. Regrettably, I no longer have my physical copy of this release. IIRC, he talked about the end of Knife-Edge and how he was unable to reproduce the slow-down, since it had originally been done in some analog manner. I always found what he did with the end of the song in his remix (more or less, nothing) a bit unsatisfying.
Alright. So, I isolated the vocals with UVR, fed the output into my favorite reverb VST and mixed it with the "official" version. IMHO this experiment really shows how big of a difference can a reverb make.
https://www.newgrounds.com/audio/listen/project/5832331
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