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By ProgBlog, Mar 19 2017 10:50PM

Brighton is a progressive city, including the constituency of the only Green Party MP in the UK. Under normal circumstances, much less than an hour away from Croydon by train with a regular scheduled service without changes, it boasts good coffee shops, good pubs, countless record stores selling both new and second-hand CDs and vinyl, and some excellent musical instrument shops. The University of Sussex is located just outside Brighton so it’s fitting that there are also a number of venues for live music. The Brighton Centre entertains political parties, record fairs and all sorts of other things including scientific meetings (I was there for the joint British Society for Histocompatibility and Immunogenetics/European Federation for Immunogenetics congress in 1995) but, more pertinently, I went to see Yes performing Yes Symphonic at the Brighton Centre in 2001.



The Komedia is an all standing venue not unlike the Electric Ballroom in Camden or the old Astoria in Charing Cross Road, with a high ceiling giving the impression of a large space. My two visits there were both for Steve Hackett gigs, in 2010 and 2012, pre-dating the Genesis Revisited tours but both very enjoyable featuring a range of material from his repertoire.



Straying outside of the run-of-the-mill progressive rock fare, I’ve also been to see Pat Metheney and the Esbjorn Svensson Trio in Brighton, at the rather impressive Brighton Dome. This Grade I listed building has a history going back over 200 years during which time it’s been a stable block, a temporary hospital, a roller skating rink and, in the words of the Dome’s website but a description I’m not going to argue with, now the south coast's leading multi-arts venue.






The Dome was commissioned by the Prince of Wales (later King George IV) and built between 1803 and 1808. His taste for flamboyant fashions and outlandish architecture is well documented, as was his predilection for mistresses. He used to stay at a small lodging house on Old Steine but alterations and additions to these lodgings meant that the original stables needed to be replaced so the Prince commissioned architect William Porden to draw up plans for a vast new stable block and riding house. The new stables could be viewed as an Oriental version of the Pantheon in Rome, devoted to George's love of horsemanship; the five-year build incorporated 61 stalls, 38 for hunters and other saddle horses and 23 for coach horses, and cost the not inconsequential sum of £54,783, almost bankrupting the Prince in the process so that his father, the King, had to appeal to Parliament to clear the debt.

The exterior of the Dome was inspired by the great Jami Masjid (Friday Mosque) in Delhi, as there was a widespread interest in all things Indian at the time, whereas the interior was influenced by the design of the Paris Corn Exchange, whose segmented glass ceiling was copied in the original dome construction. The dimensions of the domed roof (24m in diameter, 20m high) made it one of the largest constructions of its type in the world and there were severe doubts about its stability once the scaffolding had been removed, though Porden himself had absolute faith in the engineering. The dimensions of the riding house (54m x 18m), with a 10m high unsupported roof were also ambitious, incurring significant delays searching for sufficiently large single spans of roof timber.

Compared to the new stables and riding house, the Regent’s Marine Pavilion made relatively poor accommodation, so he undertook the task of converting his modest dwelling into the much grander Royal Pavilion. An underground passage, still in existence, was built between the stables and the Royal Pavilion. It was said that the tunnel was built so that the Prince could move undetected between the Palace and the stables in order to meet his mistress Maria Fitzherbert but by the time of its completion, George had fallen out with Mrs Fitzherbert.

Queen Victoria, the Prince’s niece, disliked Brighton and the Royal Pavilion Estate so the town bought the stable building in 1850 for use as a cavalry barracks up until 1864. Its interior was remodelled by architect Philip Lockwood before reopening in 1867 as a concert and assembly hall, holding 2500 people. The riding house was also restored and opened as the new Corn Exchange in 1868; a market was held every Thursday until December 1914 when the building was repurposed as a military hospital. Between December 1914 and February 1916 over 4000 wounded Indian soldiers were nursed at the makeshift hospitals set up inside the buildings of the Royal Pavilion estate, which included three operating theatres, one installed inside Brighton Dome itself. The India Gate, on the south side of the Pavilion Gardens, added in 1921, was a gift from the people of India to commemorate their fallen soldiers.

The concert hall and Corn Exchange both underwent further alteration between 1934 and 1935. The Concert Hall was transformed into the venue that exists today by architect Robert Atkinson, including the period art deco styling.

A new period of renovation began in 1999 using a combination of Lottery funding, the support of Brighton & Hove City Council and a host of individual, corporate and trust and foundation supporters. Reopened in 2002, the Concert Hall now has a seating capacity of 1800, much improved sight lines, and upgraded acoustics. Looking down on the stalls from the circle reminds me of some of the seating at the Royal Albert Hall, where rows become oddly truncated due to the curvature of the auditorium; looking up at the ceiling also reveals some fine architectural detail and overall, I’d rate it as a fantastic venue.



I was there again last Wednesday (March 15th) to see Anderson Rabin Wakeman (ARW) performing an evening of Yes music and more, having arrived in Brighton by train with my brother Richard and successfully completed a rendezvous with my friend Jim Knipe. We ate at one of Brighton’s many gastropubs, The Dorset Bar in North Street (recommended), opposite the bright red and yellow Guitar, Amp and Keyboard Centre and a five minute stroll from the Dome. If this isn’t the first time you’ve read the blog, you’ll be aware that 80s Yes is not really my cup of tea and that 90125, Big Generator and Talk are only associated with progressive rock through their historical connections; so why did I go? The opportunity to hear Jon Anderson sing was a major factor and I’ve thoroughly enjoyed his last two mini-tours with Rick Wakeman; including Lee Pomeroy in the band was also a positive move (his rendition of The Fish was truly remarkable, earning him a huge round of applause) and though I’d never heard, or heard of Louis Molino III, he turned out to be an excellent drummer.


It was inevitable that the set would contain a hefty dose of 80s material but I felt that these pieces would be outweighed by tracks like And You And I, Awaken, Heart of the Sunrise and Perpetual Change; with four songs from 90125 (one of them, Cinema, being instrumental and another, Changes, being my favourite track from that album) and only one song from Big Generator (Rhythm of Love), plus the Yes-West Lift Me Up from Union, it really wasn’t too bad a trade-off. The audience response, somewhat surprisingly given that Owner of a Lonely Heart and 90125 gained a whole new audience for the band, was not as enthusiastic for the Rabin-period music. Was this the Brighton effect? I acknowledge that Trevor Rabin’s involvement with the group ensured their continued survival but, fine guitarist that he undoubtedly is, his writing style is not classic-Yes, which is why the Rabin-Squire-White group was originally called Cinema. The songs presented by that trio had far more mainstream construction and content, lacking spiritual depth and sonic diversity, and that’s what came across on Wednesday night. The early Yes material varies dramatically within each number, demonstrating the best use of long-form and it’s far more thoughtful, head-music, if you like, rather than acceding to the demands of a record company for songs that had a wider, baser, appeal. This tendency towards guitar-sound homogeneity was even noticeable in the old material but the musicianship and writing carried the day. Awaken was the highlight for me, rearranged with a really spaced-out middle section featuring some brilliant keyboard work. It was obvious that considerable effort had gone into all the arrangements though I wasn’t convinced by their reworking of Long Distance Runaround.


The show was very, very good and the Brighton Dome made it slightly more memorable than going to the Hammersmith Apollo. They have really gelled as a group; while Anderson, sporting what seemed like some sort of support on his left hand, worked through his announcements, the band provided a short synopsis of what they were about to play laced with quotations from other Yes material, including On the Silent Wings of Freedom and a theme from Tales and demonstrated an obvious pleasure for what they were doing. YES!










By ProgBlog, May 15 2016 08:25PM

You know you’re going to a Yes show when the beer on tap in the local pub (The Queen’s Arms, 30 Queen’s Gate Mews) is called Galaxy Equinox...

I was at the Royal Albert Hall last week for the last night of the UK leg of the Yes 2016 tour and, considering that I’m still one of those people that aren’t fully convinced by the idea of Yes without Jon Anderson, I was pretty impressed.


I was at the same venue, in the same seat two years ago almost to the day for the Yes Album, Close to the Edge and Going for the One albums performance, a concept I am very much in favour of because I’m not a great fan of surprises. When I’m on call I like to know in advance when there’s some work coming in, so I can organise my transport and when to eat, being a creature of habit and routine. It’s the same with music and may explain why I used to be very reluctant to impulsively buy records that I hadn’t heard. When Drama came out in 1980 I was pretty sure the music would be good because it was conceived by 60% of the previous incarnation of Yes, and it was. That’s not to suggest that I wasn’t filled with trepidation when I heard that Geoff Downes and Trevor Horn were replacing the departed Anderson and Wakeman and furthermore, I refused to go to see the Drama tour when they played the Lewisham Odeon, near my university college, on December 12th 1980. I think Drama turned out to be a far more coherent effort than Tormato (1978), returning to some of the heaviness that was evident on Fragile (1971) and making this current tour, pairing Drama with Fragile, such an intriguing prospect.

Apart from the musical emphasis, the major difference between this performance and that in 2014 was the absence of Yes founding member Chris Squire, his death in June last year leaving the band without any original members. During treatment for the leukaemia that ultimately killed him, Squire had passed on his wishes for Yes to continue and with Steve Howe and Alan White who had joined for the third and sixth studio albums respectively, and with Downes who had rejoined the band for Fly From Here (2011) after his earlier very brief stint for Drama, there was sufficient heritage for the name and spirit of the group to continue. Squire had also anointed his successor, sometime collaborator and former Yes member during the Open Your Eyes (1997) and The Ladder (1999) period, Billy Sherwood.

I went to see the Open Your Eyes tour in March 1998 (Chris Squire’s 50th birthday) at the Labatt’s Hammersmith Apollo, and was pretty confused why Sherwood, playing second guitar, was required. I think that album is a bit of a retrograde step after the studio tracks on the two Keys to Ascension albums (1996, 1997) as it appears to be somewhere between the adult techno power-pop of the 90125 incarnation and the more visionary and diverse material that had emerged from the Anderson/Howe axis. One of the reasons that I don’t consider 90125 (1983), Big Generator (1987), Talk (1994) and Open Your Eyes as prog is the sonic uniformity, a lack of light and shade, though the hidden track that commences two minutes after the end of the last track on Open Your Eyes, The Solution, is more than 16 minutes of ambient sounds and features chimes and lines of lyrics from the other songs on the CD. This was used to introduce the live performances in 1997 and 1998 and, with an eclectic set list which included personal favourite The Revealing Science of God from Tales, it was a really good show.



Some of my Yes memorabilia
Some of my Yes memorabilia

Back to 2016 and the Royal Albert Hall gig began with a short set from Swedish support act Moon Safari. Musically they come across as a hybrid of (late 70s) Genesis and Yes with some remarkable vocal harmonies, ending with Constant Bloom, a truly stunning a cappella dedication to Chris Squire. Then before Yes took to the stage we were treated to the rather poignant Squire tribute that’s been a feature of the tour since the bassist passed away; a single spotlight on Squire’s Rickenbacker as Onward was broadcast over the PA accompanied by images of the man himself throughout his Yes career on the screen behind the instruments.

I’ve seen them play material from Drama before of course but it was interesting to witness the entire album in running order, including the very short but amazingly well-formed White Car which somehow manages to fit a whole symphonic suite into one and a half minutes. The bass parts on Drama are typical Chris Squire and it was here that Sherwood showed not just how good a bassist he is but how he’d adopted Squire’s mannerisms, from the prowl to the upright stance and the way he held his instrument. At the end of Run through the Light it was left to Downes to descend from his keyboard rig and announce the special guest for the evening, his former Buggles partner and Yes producer Trevor Horn for probably the highlight of the album Tempus Fugit.

I was expecting a couple of surprises for the performance and the first was Steve Howe paying tribute to his predecessor in Yes, Peter Banks, who died in March 2013. This came out of the blue because according to his biography Beyond and Before (Golden Treasures Publishing, 2001), it seems that Banks held Howe responsible for not being involved in any Yes reunion. To be fair to both of them, Banks didn’t bear any grudges and before they played Time and a Word, Howe acknowledged the uniqueness of Banks’ playing. The next song was the immensely enjoyable Siberian Khatru and the sequence of unexpected numbers continued with Soon, the movement of resolution from Gates of Delirium which was disguised by a few unrelated introductory bars, followed by Howe announcing that this particular version of Yes weren’t frightened to play music from any of the incarnations of the band and ploughing into Owner of a Lonely Heart.

Normal service was resumed with Fragile, in album running order. Roundabout was brilliant; it was odd to see Downes performing Cans and Brahms but this was one of the pieces that turned me on to classical music in the first place; this short piece was followed by the even shorter We Have Heaven with Jon Davison helped out by his band mates and, after a very satisfying rendition of South Side of the Sky, we were treated to Alan White performing the Bruford-penned Five per cent for Nothing which has to be the shortest song in the Yes canon, coming in at under 40 seconds! Following the musically playful art-song Long Distance Runaround, The Fish (Schindleria Praematurus) was another showcase for the talents of Sherwood, complete with audience baiting ending; Howe’s rendition of Mood for a Day was a little hesitant at times and I thought that throughout the evening there were times when the guitar parts ran on ahead of the rest of the ensemble but ending a gig with Heart of the Sunrise and an encore of Starship Trooper is never going to be anything other than deeply satisfying.

Any gripes that I have are inconsequentially minor: The big screen was rather low-tech; the sound wasn’t quite as clear as it was in 2014; Jon Davison sang in tune but occasionally seemed out of key. All this is irrelevant because they recreated the albums with a remarkable degree of precision considering both the complexity of the music and reproducing it in a live setting. I’m grateful for Downes’ ear for accuracy, too, as he uses early 70’s keyboard sounds and not the thin sounds that crept into Yes music when polyphonic synthesizers first appeared on the scene and even continued to be used in the live setting up to and including the 35th Anniversary tour; I certainly don’t envy Davison stepping into the Anderson shoes... No, this was a really enjoyable show.


Is performing material in album running order a reaction to the download-dominated music scene, reimagining the concept of listening to a suite of songs as you would have done thirty or forty years ago, sitting with the album sleeve in your hands and getting up to turn over the LP on the platter? Cynics might suggest that the band are resting on their laurels and deserve their ‘dinosaur’ tag; certainly Yes are appealing to their original fan-base but with the reappraisal of progressive rock that has set it in a favourable new light and seen the iPod generation sign up to the progressive sounds of the 70s, it works for both the band and the fans and it certainly works for me. Bring on the Tales from Topographic Oceans tour!
Is performing material in album running order a reaction to the download-dominated music scene, reimagining the concept of listening to a suite of songs as you would have done thirty or forty years ago, sitting with the album sleeve in your hands and getting up to turn over the LP on the platter? Cynics might suggest that the band are resting on their laurels and deserve their ‘dinosaur’ tag; certainly Yes are appealing to their original fan-base but with the reappraisal of progressive rock that has set it in a favourable new light and seen the iPod generation sign up to the progressive sounds of the 70s, it works for both the band and the fans and it certainly works for me. Bring on the Tales from Topographic Oceans tour!

Oh, the Celt Experience Galaxy Equinox was a pretty good beer, too.






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