I cannot think of a single non-Yes album with Anderson and Squire. Squire appears in a video for a song from Anderson's In the City of Angels solo album, but doesn't actually play on the album. Squire was involved with sessions for the Brian Chatton/Jon Anderson Uzlot project in the 1990s that was never released.Originally Posted by JKL2000
Henry
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Whereas Anderson has multiple projects outside Yes with Howe, and a few with Wakeman and White. And Squire has done lots with White and Sherwood, and a few with Bruford and Wakeman.
Henry
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Have Anderson and Squire often had a contentious relationship?
I've just started wondering, if it was largely Squires wish for the band to forge ahead with FFH without Anderson, has there been friction between them often? Then that got me wondering if they'd worked together on solo stuff at all.
So Anderson wasn't involved with Fish Out of Water at all either?
Not to state the obvious but isnt the idea behind doing solo projects to explore avenues that one's primary act doesn't venture? If i was Squire or Anderson, I wouldnt work with the other either but, instead, use people not associated for a fresh perspective or people in the band that want to take the journey into the paradigm shift with me. (Bruford was already in King Crimson and Moraz was still "new" to Yes)
also: Squire is a good vocalist in his own right - he doesn't need Anderson
Anderson had no involvement in Fish Out of Water, but Bruford (then an ex-member) and Moraz play on it. Anderson and Howe guest on White's solo album, while White, Moraz and Bruford play on Howe's (White on more than half of it). No-one else guests on Anderson's or Moraz's.
As for Anderson and Squire's relationship, it's clearly ebbed and flowed. Dan Hedges' book writes about Anderson and Squire falling out around the time of Close to the Edge and the band nearly splitting. But they stay working together for many years, until the split in early 1980, with Squire happy to leave Anderson behind. Yet then Squire gets Anderson back for 90125, then they're at odds during the ABWH period, then they're back again, but then Anderson's prepared to dump Squire from the Talk tour. By about 2002/3, relationships between the two of them had completely deteriorated. By 2004, while on tour together, they weren't talking to each other, sending messages via their respective managements, Anderson complaining Squire is drunk, Squire complaining Anderson is stoned. So, yes, it was Squire's -- and Howe's -- wish to forge ahead without Anderson in 2008.
Henry
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They get up. They get down. They get uuuppp. They get.... doooowwwwnnnnnnn.
LOL. What children!
Rabin plays on Anderson's 3 Ships, at least according to the liner notes.
Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally
Nevertheless, there are numerous instances where a solo album by a band member includes the participation of fellow band members.
I was just discussing the 1975/6 solo albums. Indeed, on other occasions, various Yes men have appeared on each other's solo albums. Squire and White are on Rick Wakeman's Criminal Record. Anderson and Downes are on Howe's Portraits of Bob Dylan. White, Bruford and Moraz are all on The Steve Howe Album, and Bruford is on Turbulence. And so on.Rabin plays on Anderson's 3 Ships, at least according to the liner notes.
Henry
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I figured I missed something.
Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally
That only happened at Ahmet Ertegun's insistence, AFAIK. He told Squire that Cinema "needed a singer."
Yeah, I'm guessing some serious management arm twisting was needed for both Chris and Trevor. But money ultimately spoke loudest on that one. When things with Jon went sour several years later I'm sure Chris and Trevor were both thinking "Good riddance." And again it took management waving money to convince them to do the Union thing. And the Talk thing.
It seemed like it was only with KTA that Chris realized his fortunes were best secured embracing the classic legacy which meant working with Jon again. I think part of the reason Billy Sherwood was around back then was to act as a buffer so that Chris didn't have to interact with Jon so much. All in all it's probably a wonder the two of them were able to work together again as long as they did.
I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.
Well, in that case it was actually the record label doing the arm twisting. From the Chris Welch book, it sounds like Atlantic was quite enthusiastic about Trevor Rabin's little batch of songs, but not so happy about him being the lead singer.
Money was definitely the issue. It wouldn't surprise me if Atlantic convinced Squire that getting Jon involved was the key to slapping the Yes title on the album cover and thus making everyone a lot more money. Squire doesn't seem to have been interested before that in resurrecting Yes with a new lineup.
Sherwood wasn't significantly around for those first Anderson/Squire writing sessions for KtA. That seems to have been a genuine coming together. I would estimate that the Anderson/Squire relationship didn't sour until some time after. They were on the same page for the OYE sessions. They seemed to be doing fine during The Ladder sessions.
Henry
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
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I don't recall any hints of tension between them until 2003-04. My uneducated guess is that Anderson's lack of interest in going back into the studio had something to do with it. Looking back, it's quite a shame we didn't get one last proper album from the ASHWW lineup during that 2002-04 period.
Alternatively, it could simply have been the result of touring so much from 1997-2004. Maybe they just got on each other's nerves after all that time together on tour.
Sure - it would give any solo project continuity - but, anymore than that, and it may as well be a band project. PLUS, Anderson's voice is very "signature": it makes no sense to include him (especially as I have noted before that Squire is a good vocalist in his own right) unless Squire wants his solo project to sound like Yes - which I didn't get that intent.
If you've got Jon Anderson and Chris Squire on the same record then it might as well just be a Yes record. No real reason for them to work together outside of Yes. It'd be like Jagger and Richards doing a record, but NOT a Stones record.
"It was a cruel song, but fair."-Roger Waters
It must be so strange in those situations to get on stage together and perform as a group. "Ladies and gentlemen, Mr. Chris Squire (under his breath: who I hate and haven't spoken to in a year) on bass guitar!"
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
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The expanded & remastered Going for the One disc has an early version of Turn of the Century that shows the song in development. Various members appear to be trying out bits and pieces to see how well they fit with the song. One of Squire's bits (appearing around the 3 minute mark) would become Silently Falling on Fish Out of Water. Jon is working out scat vocal lines, and this is the very vocal melody that Squire used on the album, and as such Jon appears to be an uncredited contributor to that tune.
That doesn't necessarily mean Jon improvised that melody. Chris could have (and likely did) write it and show it to Jon without having actual lyrics yet. If Jon wrote the melody he almost surely would have asked for a writing credit.
Did anybody hear that Trevor Horn won't be producing the next Yes album?
Horn is definitely not producing the next Yes album. Who is is unknown, but Roy Thomas Baker is strongly rumoured.
Henry
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
Another well known producer with a strong track record but his brief time with Yes in the past didn't exactly go well.
I got into them around that 2003/4 period and I remember them being on top again from a commercial perspective, playing prestigious venues with the 'classic' line-up doing mostly the classic 70s material. Around that time that compilation 'The Ultimate Yes' (which I never had but I remember it coming out) was also doing very well in the UK charts so I believe they could have capitalised on that with new material. Of course it's easy to say all this with hindsight, but it's a shame as you say.
But then again, it's interesting to watch the difference between the 2003 Montreux show and the 2004 Tsongas one, I think the Montreux performance is one of the very finest they've ever had captured on film- the version of 'Awaken' on that and the huge standing ovation near the end of it is magical- whereas for me the Tsongas show is one of the weakest. Now I cannot say whether the Tsongas show was typical, but I only really enjoy the acoustic section on that. There's a loose, relaxed feeling to that bit missing from the rest.
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