Page 4
The Battalion
Tuesday, June 18,1931
New and old Yes members fail to unite on latest
| Tu<
By Timm Doolen
The sappy liner notes explain
‘PPY
how it all happened basically,
Anderson heard that the Rabin-
Squ ire group was abou t to do some
songs, and wanted to add his vo
cals to them. In return. Squire put
his vocals on the ABWH tracks.
Yes
Union
Arista
First off, let's get something
straight. Yes' most recent album is
anythingbuta "union"oftheeight
artists listed on the cover. The al
bum is being billed as a collabora
tive effort of all eight, and Arista
should be sued for its false adver
tising.
The truth is that there are really
two Yes bands and the only artists
to a ppea r in both a re Jon Anderson
and Chris Squire, both with vocals
only.
Of the 14 songs on the album,
nine are from the Anderson, Bill
Bruford, Steve Howe and Rick
Wakeman version of Yes; four are
from the Tony Kaye, Trevor
Rabin, Squire and Alan White ver
sion; and the last is a beautiful
guitar solo by Howe, called
"Masquerade."
And, quoting the mushy liner
notes, "It followed that, in the light
of all the ideas and action, they
should all aim to do one album,
one album of enormous effort and
creation. A 'Union.'"
With that out of the way, I must
say the album is actually pretty
good. It's a step up from the 1989
self-titled creation by Anderson,
Bruford Wakeman and Howe. And
while itcannotcompare with some
of the older early-'70s Yes, it is on
par with 1983's 90125 and 1987's
Big Generator.
It surprised me, but the four
Rabin-Squire tunes are the better
songs on the album. The two songs
that have received airplay, "Lift
Me Up" (Rabin-Quire) and "I
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Would Have Waited Forever"
(Anderson-Howe), are both good
rock songs, while the best song on
the album is "Saving My Heart"
(Rabin), a light-hearted love song
with a melody superior to any
thing else on the disc. This song
has also recently received some
airplay.
On some of the songs, it is obvi
ous the ABWH group is trying to
regain some of the mystique or :he
old Yes songs ("Angkor Wat,"
'Take the Waterto the Mountain"),
but it just doesn't work as well as
the old stuff. Anderson's mysteri
ously meaningless lyrics prevail
while some great guitar and key
board parts are overshadowed by
the vocals and occasional
obstrusive ethereal sound.
As far as the past is concern;
several of Yes' old albums hat;
been released on compact disci;
the past few years, including Ve
Time and a Word, Yesterdays
Drama.
All are superb, though^
warned that Yesterdays is a comp
lation primarily of material{ro:
the first two albums plus a unit);;
version of Simon and Garfunkei
"America" that originally at
peared on an Atlantic compilafe
album.
S t
It ha
rainfoi
not on
Incidentally, the European ver
sion contains an extra track, "Give
and Take," which I have not heard.
The album is pretty good over
all, and I just wonder where Yes is
headed in the future.
Yes is Yes' first album,andco:
tains a remake of the Beatles'"Ev
ery Little Thing" that is nothit;
like the original, and soundsgm
Drama is the only Yesalbumnotl
have Anderson singing.
All that is left to be released';
Tormato and two live albums
Yesshozvs and 9012Live, nonet
which has been released domes:
cally on compact disc, thoughjapt
nese versions areavailableforom
jseconc
official
Ever
rainfoi
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can do
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John V
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Samiri
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Broadway titles
change at whim
Texas <
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NEW YORK (AP) — What's in
a name? A lot, if it's the title of a
Broadway musical.
Over the years, there have
been some interesting changes
from first inspiration to opening
night for many shows.
Take "The Will Rogers Fol
lies," this year's Tony Award
winning best musical. At various
times during its long journey to
Broadway, tne show was known
as "Will Rogers," "Ziegfeld Pre
sents Will Rogers" and "Will
Rogers at the Ziegfeld Follies,"
before the producers and crea
tive team settled on "The Will
Rogers Follies."
The creators of "Once on This
Island," the charming Caribbean
fairy tale now at the Booth The
ater, considered 67 other titles
before settling on a name they
felt best captured the fable-like
S ialities of their show. Among
e rejected candidates were:
"Island Girl," "Song for a
Stormy Night," "Caribe,"
"Daughter of the Sea," "Voices
in the Wind," "Out of the Blue,"
"Turquoise," "Spirits of the
Heart," "The Human Heart"
and "Hearts of the Caribbean."
Broadway's best-known title
change involves "Oklahoma!"
whicn played out-of-town in
New Haven and Boston as
"Away We Go!" That title,
which neither composer Richard
Rodgers nor librettist and lyricist
Oscar Hammerstein liked very
much, apparently came from the
old square dance call, "do-si-do
and away we go."
In Boston, the team was asked
to write a new duet for the
young lovers, Laurie and Curly.
Producer Theresa Helbum sug
gested to Hammerstein that he
write "a song about the earth —
the land." Out of her idea came
"Oklahoma," and instead of it
being a love song, the number —
without an exclamation point —
became a large choral piece. It
stopped the show and also be
came its new title —with an ex
clamation point.
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You t
Title changes were not uncor
mon in the 1920s. "Deaie I"*"® 1
ire a
tartl
the 1920s. ''Dealt;
Enemy," the Rodgers and Lc
renz Hart hit, once was "Swee
Rebel." George and Ira Gear
win's "Smarty" became “Furr The ;
Face." Their "Oh! Kay!" hi; brutal <
previous lives as "Mayfair vowed
"Cheerio" and "Miss Mayfair people
Somehow "Perfect Lad? Write t
evolved into "Sweet Lit! Presidt
Devil."
"Tell Me More," a now-forgt
ten Gershwin show, was knew
out of town as "My Fair Lady
long before Alan Jay Lemerar
Frederick Loewe ever thought
it.
The creators of the Rex Han
son-Julie Andrews musical ha;
more than enough trouble nar
ing their own show. They bar
died about titles like “Liza"ar
"Lady Liza," but thought a ma;
quee proclaiming "Rex Harrist
in 'Liza'" just wouldn't loc
right.
Loewe loved the title "Fanfi
roon," a rarely used Engl:
word meaning someone wh
blows his own horn. He eva
liked it after Lerner reminde
him how similar "Fanfaroor
was to "Brigadoon."
ary
the candidates, we decided th
title we found the least indiges;
ible was 'My Fair Lady,' af
with a helpless shrug we agree;
to it," wrote Lerner in his autot
ography. "A few months late
we all thought it was brilliant."
In 1963, when Jerry Hernia
was in Detroit with his new ro
sical version of Thornton Wile
er's "The Matchmaker," th
composer's music publislie
showed up at the Fisher Theate
during rehearsals. The man we
carrying a 45 rpm recording of
song from the show that Lou;
Armstrong had just recordee
During a rehearsal break, there
cord was played through tb
sound system of the theater.
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HOUSTON (AP) - Thi
sun probably is shining in thi
islands, but the weather if
Houston is dark and drizzly
Not only that, but world-fa
mous Blue Mountain coffee i'
$26 a pound, too expensive ti
serve in local Caribbean cafes
Jamaica seems far, fa!
away.
To bring their beloved is
land closer to home, expa
triates sip soursop at the Ca
ribbean Cuisine, where owne
lya Foster speaks with a
lovely lil.
Or they visit with lya a!
Marcus Garvey Records i
Tapes at 4635 Bellfort.
ers.
McG
mines
despite
Americ
U.S. n
heads
and th<
ran, op
and Bo
ice com
buring
within i
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