#Yes #YesReaction #YesAwaken In this episode of #TheDailyDoug, I'm reacting to Awaken by Yes. It's such a fantastic composition! I thoroughly enjoyed this listen. Grab a beverage and join me! Reference Video: • Awaken (2003 Remaster)
The bass that he uses sounds like no other because of him.......AND he's using a custom triple neck... Guitar on top, fretted in the middle and lined fretless on the bottom. 😊
what I find amazing as a yes fan is back in the 70's I was so out of the mainstream as a fan listening to what I considered the best, mom and dad listened to classical ,but I listened to "classical" rock
My favorite song by Yes is "And You and I" I started following in the hopes you may someday do a video on it. In the meantime I'll be watching your other videos. I love your content!
Thanks for doing this Doug. Very impressed that you spotted the complete cycle of fifths at its first appearance, and I agree with you too about the final guitar lick: I always cringe a little at this point - a compositional error indeed. I would be interested in your thoughts on "And you and I" from the Close to the Edge album which I think is their greatest short(ish) song with a melody that seems to never end - more like something out of Brahms (e.g. 2nd movement of the 4th symphony) than rock music.
FYI: That's a 12 string Rickenbacker ripping through the first part, for those who think such a guitar is only for playing the likes of "Turn Turn Turn"(which is another great song).
The little Steve Howe lick at the end - that is where your feet come back to touch the earth after going on this journey with them; that's settling back to reality, ready to live what you have learned. Welcome back.
@@tambourvideo I have said that many times about the best musical pieces. Yes, Joni Mitchell, Pat Metheny, and Radiohead have given me that feeling more than any others thus far.
I think Howe's ferocious fast playing perfectly expresses the angst of someone struggling to come to terms with the realities of the ruthless world around him. The song is about Awakening from this state into another perspective, another way of being. The song does not work without this raw passion. There's a great story about a clarinet player rehearsing a new Stravinsky piece under the baton of the composer himself. "Maestro," he said. "I can not possibly play this part correctly. It's physically impossible." Stravinsky replied, "I meant it to sound incorrect." Music is not about perfect technical execution. It's about expressing the many facets of existence.
Yes. I like Doug’s videos, but I think he is wrong about Steve Howe playing too fast. Steve is playing EXACTLY the perfect parts, speed, notes, tone, inflection, all the way through Awaken. There is a very strong case to be made that Steve Howe may be the greatest guitarist ever in rock music. Maybe Doug needs to put down the bourbon when listening to great musical art like this? 🤔😳😂 YES. 👏🏾🙌🏾❤️
I generally agree with our host that Howe often plays too many notes where a few would suffice (one of the reasons I tend to prefer Steve Hackett), but I'll disagree on the closing riff; it adds a dissonance that completes the otherwise cleanly-resolved piece, an element of the imperfect among the perfect, just as there is randomness in nature. The band has built this beautiful heavenly construct, and now here is this human element injected into it.
Part of the issue is Howe's guitar tone got more shrill across the albums. Contrast this to the crunchy tone of Close to the Edge. The shrill and fast kind of grates where it didn't before. Howe might have been the master of guitar, but his tone got more and more annoying over his career.
One of the most beautiful songs ever written, Jon's voice is so crystal clear, Steve guitar work is brilliant and Rick's organ work just soars.. also some of Alan and Chris's best work, super tight.
The "Live at Montreux" version is especially good, with the way Alan slows down the tempo at that one key moment, and Howe's steel guitar leads to the climax. One of the most transcendent two minutes of music I've ever heard.
I am agnostic but I totally get where Jon was reaching for , the realisation that we can be here in the present and be divine, we can be here , here we can be, its not religious its humanistic to my sensiblility . we are all one and we care , or if we dont we are doomed x And yes hearing it live is something I will never forget be it 1977 1983 Yes Symphonic or whatever
Steve Howe’s choices are to me more questionable in the middle of Sound Chaser (too dramatic and ‘shreddy’). I’ve always been good with him tearing it up in Awaken, and I’m indifferent to his last little bit here. Works either way.
And what is even *stranger* is that in 1985 my current girlfriend and I did exactly what that line says in her home town of Port Austin, Michigan. We were messing around in front of an ice cream shop and this exact same thing occurred. We eventually broke up and went our separate ways, had families with other people, etc. On Halloween 2014 I put a post on Facebook about how my friend and I were partying up in Port Austin that weekend. My ex girlfriend saw it and called me up. The next day she drove from Buffalo Grove, Illinois to Port Austin, Michigan (like a 9+ hour drive) and we've been together ever since. She had just gotten divorced and my divorce was just beginning. Fate.
It’s quite a special feeling when some you don’t know feels the same about something so beautiful. Can you imagine somebody caring for you so much that they follow you when you run away. And there they are when you need the most. Thanks for your comment.
This may have been mentioned already, but if not, Jon Anderson's version with the Icelandic band Todmobil along with a symphony and full chorus is absolutely jaw-dropping. I weep every time I watch it. Seeing Jon get utterly lost in the music is so heartwarming. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-yE1pnDERWU0.html
YES " The Revealing Science Of GOD" 22 Minutes of pure heaven...! One thing is for-sure... You can not share these songs with most of your friends... They just don't get it...!
@@marinhrabric6162 yeah apparently this album is yes it's fantastic tells the tropographic oceans it can't stand next to the 1976 going for the one the whole album listen to the whole album every song on it are you crazy man strap yourself in and hold on
As a total package it was knocked down a bit by another (imo dumb) cover by Hipgnosis. Most fans unfairly dissed the album art for Tormato, but this one felt like it was retrieved from the bottom of the idea barrel. Just dumb.... (interestingly, there is a bootleg of GFTO demos that replaces the guy with a shapely young woman... much much better! 😉)
OK, NOW you're ready for Tales. :-D Also, check out Todmobile's live performance of this that Jon joined them for. They pulled out all the stops, with orchestra and choir on stage with the band. They're ruthlessly faithful to the recording and Jon's delivery was perfect.
Yeah, but the guitarist helps to show just how good Steve Howe is. He nerfs some of the hardest, but to be fair, Steve has to do the same. In fact, it may be that Tod's guitarist was basing his performance on Steve's most current ones.
I agree with you about Todmobile and Jon Anderson on Awaken. I think it is sensational. However, I have really, really tried to like Tales from Topographic Oceans since 1973. I know four pieces well, but I have given up on it and agree with those who say with drastic editing, it would have made a very good single album.
@@Martin2153 I agree on both points. As wakeman said, “Tales was a meeting place of high ideals and low energy”. It would have made a great single album. I think they could have released an edited single album but the general public, (a “Short Stories from Topographic Puddles”, if you like), and then released the full double album version a few months later for hardcore fans. Yes would have been much more known in the mainstream today, like Pink Floyd, if they had done that.
Amazing to think that this album came out in the eye of the punk storm, at least in England. I started university when this came out. All the posh kids from private schools were going to punk gigs. The working class kids invited me to see Yes live. I've seen Yes live many times over the years and this is always the highlight. Great reaction.
Yes was the octomom to all kinds of retaliatory genres. Griel Marcus railed at his children to NEVER come home and tell him they'd listened to a Yes album.
You and I must be of a similar age Donald? (62) Now I am not posh but went to a private boarding school, my dad was RAF so convenient. My introduction to prog was at school, ELP and it grew from there. As you can imagine I never got Punk! :-)
Personally I loved Yes, Mozart, Weather Report, Bowie, Parliament, the Stranglers and Kraftwerk all at once: they were all amazing. I still don't really understand how tribal loyalty deafens people to great music. I used to get a lot of grief for my tastes, but I still think I am lucky.
When I saw Awaken performed in concert I truly felt that if my life ended then and there that it was complete. This song has always had a mystical effect on me and to see it live was absolutely one of the most profound moments in my time seeing musical performances.
"Turn of the Century" from the same album is (imo) on a similar level as Awaken, though "only" about 8 minutes long - and it has the best guitar outro of all time (for me).
This is Yes masterpiece . There is no other song by them that brings me back in time , affects more than this one. If all they did during their tenure was this track, it would have been enough. Magnificent.
Because at this point the music had become a competition and the band ended this song about 5 or 6 times before it actually ends then Steve gets the last word in. It's pretty funny actually. Very Spinal Tap
I see Steve Howe's ending as an awakening in a way (as in the title). We can be spiritual here, so he brings us down from the dream-like hights of Jon's voice and organ/choir heavenly parts down to earth. As such it makes sense with the narrative of the lyrics and music. Great video Doug, thank you!!
I actually feel that last guitar part as going from an awakening crescendo to return to every day life in spiritual simplicity in stark contrast against the chaotic opening piano part. So the timeline is: - a soul starts in chaos, rapid piano almost thunderous - a quiet voice calls upon the higher vibrations for clarity, “where can I be?” - a powerful spiraling energy lifts the soul to higher and higher consciousness, - a spiritual journey through the cosmos ensues-the soul reaching for understanding - a quiet passage allows a reborn, simple understanding but increasing in complexity - analysis of “workings of man” within a different context marks a new spiritual awakening punctuated by drum fills and organ swells - invocation of very specific spiritual entreaties to various “masters” and affirmations of purpose “oh closely guided plan, awaken in our hearts” - another sonic vortex rises toward a second crescendo this time with a celestial choir as the soul has become one with the universe and one with the understanding “here we can be” spoken this time as a confident assertion, not a question as before - the grounding guitar lick signals return to every day life, with new enlightenment It seems significant that they repeat the opening lyrics then also repeat the closing lyric, “Like the time I ran away, turned around and you were standing close to me.” Ran away from who, or what? I always thought it meant God, but it could refer to anyone or thing that always stood by, even when resisted or denied, and from the tone and vocal performance, a benign and supportive presence.
@@JohnLRice Hey JLR, fancy meeting you here! I just wanted to chime in and say that I completely agree with Ar Ti. The little countrified Howe lick at the end is completely intentional, and is meant to bring us back to the everyday, to bring the end of the song back to human proportions. It reminds me of the story of the Zen master who achieved enlightenment, and when one of his disciples asked what it was like, he said "it's nothing special." Also, I wanted to add that, as much as I enjoy these "reaction" videos to Yes music, I would like to hear less about what key the song is in, and more about form and structure. There is a lot of classical form in Yes music, and it is manipulated for maximum emotional effect. Another song I'd like to see Doug react to is "Starless" from the album "Red" by King Crimson (which seems to be one of the purer examples of sonata allegro form in rock music).
It’s not CTTE, it’s good and was a nice return after Tales and Relayer. I also liked that you had some criticism about some of Howe’s guitar and the end riff. End riff never bothered me, but it’s a good note. Thx!
I think that little lick at the end is to make the point that when you have touched the infinite grandeur of ...the Divine...Enlightenement...God....the 'great kablooey of transcendental smashingness', all there is left is to return to the everyday, there isn't anything else, even though you have been profoundly altered by the experience. After the Ecstasy...the laundry. It's so good to see you listen to a piece of music that means so much to many people and to get it, to understand what touches our hearts and minds in it. Anyway, now you're ready for some real hardcore Yes, Topographic Oceans. It's been an epic week, thank you Doug, stay well.
I agree completely, I've always felt that the awakening is a grand, overwhelming experience but at the end of the day, it's contained in the simple everyday existence which we are reminded of by the simplicity of the final guitar. I think I've just repeated what you already stated perfectly clearly lol. Just wanted to say, I concur.
That was exactly my thought and you phrased it perfectly. I remember hearing the song for the first time and I had Dougs same reaction, and now after hearing it hundreds of times I wouldn't want it any other way. Thanks Sian.
What it really was, was Steve getting the last word in (these guys hated each other). Awaken is good, but totally overrated by the "I ate 5 grams of mushrooms and GOT IT" crowd. (That's CTTE, man..) This issue became more apparent on Tormato, which is largely bleh, because of extraneous stuff. The busy for busy's sake side of Prog rock.
"Awaken" High vibration go on To the sun Oh, let my heart dreaming Past a mortal as me Where can I be? Wish the sun to stand still Reaching out to touch our all being Past all mortal as we Here we can be (He can be here) (Be here now) Here we can be Suns | High | Streams | Through Awaken gentle mass touch (Gentle mass touch) Awaken gentle mass touch (Gentle mass touch) Strong | Dreams | Reign | Here Awaken gentle mass touch (Gentle mass touch) Awaken gentle mass touch (Gentle mass touch) Awaken gentle mass touch (Star | Song) Star | Song | Age | Less Awaken gentle mass touching (Gentle mass touch) Awaken gentle mass touching (Gentle mass touch) Awaken gentle mass touching Touching... Touching... Touching... Workings of man Set to ply out historical life Reregaining the flower of the fruit of his tree All awakening All restoring you Workings of man Crying out from the fire set aflame By his blindness to see That the warmth of his being Is promised for his seeing His reaching so clearly Workings of man Driven far from the path Rereleased in inhibitions So that all is left for you All is left for you All is left for you All is left for you NOW... Master of images Songs cast a light on you Hark thru dark ties That tunnel us out of sane existence In challenge as direct As eyes see young stars assemble Master of light All pure chance As exists cross divided In all encircling mode Oh closely guided plan Awaken in our heart Master of soul Set to touch All impenetrable youth Ask away That thought be contact With all that's clear Be honest with yourself There's no doubt No doubt Master of time Setting sail Over all our lands And as we look Forever closer Shall we now bid Farewell farewell... High vibration go on To the sun, oh let my heart dreaming Past a mortal as me Where can I be Wish the sun to stand still Reaching out to touch our own being Past all mortal as we Here we can be Like the time I ran away Turned around and you were standing close to me Like the time I ran away Turned around and you were standing close to me
Can someone explain: in the studio version they sing “and as we look forever closer”. Live they sometimes sing those lyrics, and sometimes they sing “and as we hear them forever closer”. Why is that?
Critique of the critique: you talked over the spectacular Steve Howe contributions. Did you miss some of the virtuosity? A little sloppy playing was in vogue in that time period (Page, Beck etc) and since there were no computer grids to snap / correct , the beauty of live studio performances was to let it fly Part of this composition’s power is each players’ voice. Also, the last little guitar part is as opposed to an “!” , it’s more of a “…..” IMO
Totally agree. It brings us gently back down to earth whilst reminding us that, above and beyond the greatness of the composition, this is still a rock band!
It's the perfect ending. A little "XOXO" sign off, as it were. Or maybe, "yes, all of this that just happened was real - you are free to feel it all unhindered." Sometimes, it is the guitar lick ending that causes my eyes to well up.
Doug doesn't seem to know shit about the guitar and any guitarist talking Steve down is plain old Jealous. Steve isn't a boing same shit shredder, , Steve paints a picture, a tire artist, even Chiris Squirt said so ,Chris also said Steve was the anchor and the missing piece they needed and they took off after Steve joined and never looked back, o and super easy to work and just get along with
@@sandycohen9862 Steve Howe is a great guitar man. I do not think Doug is taking Steve down, he's just diggin' into the music and analysing chord progressions, rhythm and bars.
Steve howe’s lick at the end may be out of place for the song itself but not the album. The lick is a callback to the albums opening track “going for the one” which also deals with spirituality and higher being. The last lick offers a bookend effect to the album, connecting the beginning and the end together, spiritual it it’s own way really.
The circle of fifths sections - I always get the feeling they were writing this and Jon asked "what chords shall we use for this section" and as one voice, the band said "All Of Them!"
About the "circle of fifths" sections: if you listen a little closer, you'll find them to be a circle of FOURTHS! Starting with E, followed by A, then D, then G, then C, then F, then Bb, then Eb, then Ab, then Db, then Gb, then Cb (=B), then Fb which = E, & the circle is complete. BRILLIANT!
The ending guitar is essential. It is the awakening from the dream. The spiritual journey that this piece pursues is, ultimately, a running away from this world. But a return is not an end. Also, the earlier racing desperation played on 12 string guitar is a clue... the journey isn't just a calling to understand, it is a driving need to find answers. Try listening a few more times. Don't miss the emotional forest for the structural trees.
Yes! I wanted to say this! Listen carefully as the guitar parts change from chaotic at first to structured later. It is almost as if Howe’s guitar is the human spirit, the harp is the journey through spiritual darkness and the organ is the “Master of Images”, the omnipotent that the human spirit Awakens to.
When I heard this song as a young man of 16, I didn't like that ending guitar lick - AT ALL. But later on, I GOT it. Like some people are saying here, it's landing back on earth.
Exactly. Like descending to the ground with a parachute or a bird swooping down to land. I was surprised to learn it was on his telecaster. Doug, I think it was the bourbon speaking there.
Yes, I find myself exhausted by the ecstatic glories of the music by that point - we are mere mortals, and at some point we have to come back to earth. It's like Sam's prosaic return to Hobbiton at the end.
You're correct, I think the correct term is asshole. Arrogant might also fit. First hand experience. At the core of much of the personnel problems in the band. To bad.
Saw then in 8 tours One of the best bands ever never failed ... The very best version of this composition was when Jon Anderson was featured with Todd mobile orchestra with orchestra and choir. On RU-vid live ... the best performance ever The live mix is perfect. If you get a chance listen to it watch the video ... you will not be disappointed ..... 👍🏻👍🏻👍🏻👍🏻love your impressions of these works
I saw this Live in 1977 at the Spectrum in Philly. After Awaken ended, the crowd was stunned by what they just saw, and sat silent for a few seconds. Then let out the smoked filled Philly roar of approval.
En 1977 tenía 14, 15 años y era fan de Yes desde Close to the Edge en 1973 en mi país. Comprar este disco y escuchar Awaken fue casi una experiencia mística para mí, aún si entender las letras en Inglés en ese entonces. Gracias Yes por onocer su música, haber conocido a Jon Anderson en 2014 en un teatro de mi pequeña ciudad Mar del Plata, cantando esto solito, con su ukelele...pura emoción y sentir que un círculo se cerraba maravillosamente en mi vida. Gracias, muchachos.
This is the greatest piece of music, from the greatest band.....ever. Makes me cry every time. I've seem Yes and solo Yes shows over 130 times. This song is absolutely the best ever. Also that last lick is supposed to bring you back from the flight.
The little lick at the end is definitely to provide a bookend to the album, as it provides a reference to the opening of the record. I think that's the reason.
I think I agree with Doug. Steve Howe's playing ranges from the sublime to the ridiculous in my mind. That lick is totally out of place in this sublime song. Siberian Khatru is both the greatest and worse guitar licks in history for that reason as it is over-embellished in the final phrase...IMHO
I do like the little guitar lick at the end. It gives this big piece of music a sweet, light hearted and comforting little finish. Necessary? Maybe not, but most appropriate certainly.
With a work of art on this level it's hard for me to nit pick something like that. It certainly never felt wrong to me. Still, I am always impressed by Doug's ability to appreciate songs like this that it took me, even as a Yes fan, many listens to appreciate.
The circle of fifths (fourths really) is knitted together by the bass line doing descending triads - so while the chords are E, A, D, G, C etc, the bass is playing E, Csharp, A, G, E etc. Listen again, as there are modulations to minor chords (in the first iteration) and a beautiful modulation in the instrumental/choral/organ recap before the opening theme comes in again. Other reiterations to listen for are how some of the opening piano flourish is echoed during the harp/organ middle section, and how the simple (8 string) bass figure there is repeated at the end (under 'like the time I ran away). My first reaction to the finishing guitar figure was the same as yours - like an easy-listening major 7th flourish. I have become reconciled to it, after these last 45 or so years. Thanks for another great journey of vicarious (re)discovery!
No offense, but there isn't any such thing as a "modulation to minor chords." A modulation is a change of keys, and just using a minor chord (diatonic or not) doesn't necessarily involve a key change. A composer can use brief tonicization or borrowed chords from a relative major or minor key, for example, without formally changing keys. Did you mean to say "modulations to minor keys"?
@@Ken5244 Fair enough. What I mean is that this whole section, which has no root key (although phrasing suggests E major as a starting point) is a sequence of major chords that, at two points changes to sequences of minor chords.
Fourths and fifths are equivalent by inversion. If you prefer to think of the chords as moving up by fourths, that's fine, but it's exactly the same as moving down by fifths. "Circle of fifths" is perfectly accurate here and doesn't need to be corrected.
That little guitar bit at the end is the camera slowly pulling back from a close-up of an open book on the lap of a figure sitting in a comfy chair next to a warm fire in the hearth. Hands gently close the book and rest folded upon the cover, feeling the high vibration go on as the scene fades to black.
The only thing about Howe’s lick at the end is that it’s definitely a retread of the Siberian Khatru intro. It seemed obvious to 12 year old me when the album came out but who was I to question? After 35 years it’s just become part of the song I expect to hear.
It definitely reminds me of that now that you mention it. I understand Doug’s point that it doesn’t need to be there but if his interpretation of the lyrics is accurate (being spiritual where we are now / not just waiting for a “promised land”) then maybe the intention of it is to bring us back down to earth somewhat after the ethereal, “heavenly” section just before it.
That lick at the end is the most perfect ending of any song, ever. It's whimsical contrast to the majesty of the preceding music brings us back to earth and in a way shows the human side of the song. Also, IMO, the contrast enhances both parts. I don't know what the musical term for chiaroscuro is, but this is the equivalent: majestic | simple. And, as you were alluding to, the end brings us from the celestial back to earth showing that you can have that on earth, just like the earlier lyrics. Hopefully the end will grow on you. Listen to the end of Rick's intro. After that huge cascading waterfall of notes, he hits two little notes that does the same thing. Listen closely during the quiet part where Rick hits those short sharp notes: you can hear the reverb scurrying around the interior space of the cathedral. I'm sure that's what he was going for. A headphone song for sure. Planar magnetics, of course ;-) Yes really know that the ~mvsik lives the the spaces between the notes.~ I keep dwelling on that because most "prog" these days, IMO, focuses too much on speed. "Be Here Now" is a book by Baba Ram das (spelling?) He was a co-conspirator with Timothy Leary during the early LSD days. "Where are you?" Here. "When is it?" Now. An incredibly unimportant nano-fact: Chris plays a triple neck bass. But I have no idea what the other two are.
Yes, I agree with you. The whole point is that that level of ecstatic awakening cannot last (and frankly, by that point in the song, I'm reaching my point of emotional exhaustion :-). It is the return to ordinary reality, and I personally find it quite comforting after such an exhausting journey to just relax into its homey whimsy. Like the last line of Lord of the Rings, upon Sam's return: "Well - I'm home."
@@DavidHeizer Oh yeah. That is exactly the same idea. I absolutely love that ending. Thanks for point that out. Fave song. Fave book. Fave movie??? Big Trouble in Little China? Galaxy Quest? Did you ever notice on the DVD menu if you select the Omega 13 item, it rewinds the loop with the ship moving by 13 seconds?
Re: the triple neck bass, one neck is a standard 4-string, another is a fretless 4-string, and the final is a 6-string, 3-course neck, with the strings in each course in octaves (like a modern 8-string bass).
Many of their finest musical moments are found in this piece, from the barrage of unison kick/cymbal stabs in the second verse over that filthy Squire bassline (how HEAVY is that?) to the unbridled energy of Howe's hair-raising first solo (backed by off-beat hand claps in 11/8, no less!) which combusts in the heat of droning chords and dirty ascending runs (played on a Telecaster, no less, with its bright, unforgiving tone), the modal changes they navigate to modulate from the first few verses to the organ section, the call-and-response between Howe and White with more stabs over "All awakening / All restoring you", Jon's utterly euphoric "AAAAAAAAAAAAAAA!!!!!!!", that falling-fourths progression (with triads on the bass grouped in threes!!!!) which returns in half-time for the ending - a stroke of absolute genius, and of course that utterly explosive organ climax (or as Rick said, "coming with great power" hahaha). Go and listen to it again, there's so much to take in. I still cry sometimes!!!!
Very nicely stated. One of my favorite little moments in this song that I never hear mentioned is the backing vocal in the second verse. In the first verse they're synced with the lead but in the second verse the first note of every run is in sync and the rest are an eighth note BEHIND the lead. They didn't have to do that, but this band is endlessly creative and it sounds fantastic.
It is centered on a sung part, so it may be called a song, at least in the older meaning of the term, as in Mahler's "Song of the Earth" or even the Song of Roland. It's not a pop song, that much is clear. And I would definitely rather call it a piece myself.
Let me set the scene. It's Sep.1978, we are at Madison Sq.Garden. 'Yes in the Round' and this song comes up. Holy shit!! the light show itself was to die for and you thought you've gone to heaven. Purple, blue and emerald green lighting. Hot ice blowing off clouds of mist. At one point, I wasn't sure if I was dreaming.
The little lick at the end grounds the song after all the epic spiritual transcendence..."Keep your feet on the ground, no matter how high you reach!" it says, and therefore reaffirms that "heaven on earth, here and now" message. :)
Maybe. I remember the pop pressure Yes were under at the time, and remember the post-Relayer expectation Yes fans had. Going for the One introduced new album covers without Roger Dean, and a lot of fans were unhappy about that. Steve Howe might indeed have been « trying too hard » to reach wider audiences-fast solos were in at the time-but his opening solo which unfortunately Doug talked over (hope he listens back) is monumental.
Jon's and Rick's (and my) favourite Yes song. Since 1977. The build up to the climax and the resolution of that build up never fails to start the eyes tearing. Every. Single. Time. Thanks for explaining the circle of fifths. The emotions I feel during this song cannot be put into words, but you came close. Slainte!
@Bookhouse Boy _"Laughing as they danced, highest colours, touching others..."_ _We walk, hands in the Sun. Memories... When we're young, love lingers so..._ {:-:-:}
I agree . I think it’s the most neglected masterpiece of all time. And I’m sure that this guy Doug would not like the two-many guitar notes in that one as well . . .
"The Singer" is the first book of a trilogy re-telling the gospel of Jesus Christ that is fascinating and well crafted. And Awaken is one of the most beautiful songs that's ever been written. It is a masterpiece that will endure for centuries.
You saying Steve Howe played too fast and was trying too hard reminded me of the king who criticized Mozart for using too many notes. And, Steve's closing lick being unnecessary, again, will have to agree to disagree. Rather than unnecessary, his outro lick brought us from a celestial space back to an earthly place where we can Awaken to be better people.
Jon Anderson himself said, “Finally YES has created a masterpiece!”. One of the greatest moments of my life is when I met him in person and I asked him about that quote and he said it was the right piece at the right time.
@@paulniemiec3165 Same here Paul. These guys were really special and always will be. So grateful to have been a teenager then. Looking back on the 70s and all those bands that were around we didn't know how good we had it. Thank goodness for RU-vid! peace my friend...
The first half of Awaken Steve Howe played a 12 string "Rick". The inventivness, intensity and the sound of his guitar playing in that section is like nothing else I've ever heard. Masterful!
At the end of the track, the deep bass and drums as Jon sings, for the second time, "Like the time I ran away, turned around and you were standing close to me", just gives me goosebumps. Yes music moves you, it really does.
Turn of the Century is up there with Awaken and for a small vignette try Madrigal from the Tormarto album. Love your reactions, you can see the joy you get when something special happens
8:05 He did build up to it, while you were talking. My favorite Howe solo ever -- although he does sound like he's struggling a bit on live versions with hardly any overdrive.
It is so rewarding for me to see you, who knows so much about music, discovering this band that I was fortunate to have discovered back in high school in 1983. I've been enjoying their entire catalog for more than 30 years now, and it still speaks to my soul at every listen.
dude! You talked over, and didn't really listen to, the most effective massive emotional development of the piece, and let it get to you!! Not sure Yes and alcohol mix well... but hey, love that you are bringing this music to youtube and give it the love and respect it deserves, thank you
Ok I really like to watch you experience Yes music. I've decided that you don't like guitar solos because you tend to talk through them. The solo in the middle sounds like a blooming flower. The riff at the end is a brilliant Hendrixian type of riff. Steve Howe played it adeptly, with great touch and tone and ended on a first inversion which was a bit imperfect but lovely. Not many rock guitarists can pull off the clean tone that he uses and still conveys power and conviction. Maybe take a few more listens on this one.
On the Silent Wings of Freedom is the longest ~8 minute song I know of. That song feels like an 18 minute epic with how it expresses so much in so little runtime.
i am perfectly fine with that little guitar lick at the end - haha - to me it kinda said "yeah, this masterpiece is finished now, but remember there will always be more music"
On a BBC documentary, Jon Anderson said that "Awaken" was their most perfect song. Real choir, real pipe organ from a Swiss church where Wakeman was playing live while the others were in a Montreux studio...
DIsagree with you about the ending. That little guitar bit is so simple and innocent, and comforting, that it's the perfect ending to the piece. Once you listen to it a few more times, you won't be able to imagine the ending without it. It's a poetic, intimate ending to what was a huge epic piece.
Well put. I think it grounds you after that epic, intense experience. Like you said, it's so innocent and delightful, kinda like a, "See? It's all okay. Take care now!"
“Silently Falling” is a gem. The whole “Fish Out Of Water” album is a gem, and once again there’s some church organ. You might appreciate the 15 minute long “Safe (Canon Song).”
I think that lick at the end is allowing us to feel "the end", its ending the dream sequence-the dream is over. And all of a sudden, you "awake" from this dream and reality starts all over again.
Yes are really superb and have been my favourite band forever.... over 40 years now... The media have been instrumental hiding this music from the greater public by constantly labelling it as self indulgent etc....
