jueves, 26 de mayo de 2016

Yes - DRAMA Sessions, Demos & Associated Recordings

From the Wikipedia:

Drama is the tenth studio album by the English rock band Yes, released on 18 August 1980 by Atlantic Records. It is their only album to feature Trevor Horn as lead vocalist, following the departure of Jon Anderson and Rick Wakeman in March 1980 after unsuccessful recording sessions for a new album in Parisand London. Horn was joined by keyboardist Geoffrey Downes, his partner in the new wave band The BugglesDrama was recorded in a short amount of time as a tour was already booked prior to the change in personnel. It marked a departure in the band's musical direction with songs more accessible and aggressive that featured the use of modern keyboards and a vocoder.

The album opens with the ten-minute "Machine Messiah" which, according to Horn, was written in one day.[13] It features some guitar riffs from Howe that reporter and critic Chris Welch described as "unexpectedly heavy metal".[8] White called the song his "baby", putting together much of its structure and rhythm. Squire found some of its passages difficult to play on his bass and thought it was more suited for keyboards, but was encouraged by White to master his parts. Downes rates the track highly, citing its various sections and mood changes.[14] When he was composing his keyboard parts for the song, Downes was influenced by the fifth movement of Symphony for Organ No. 5 by Charles-Marie Widor, a piece that he was familiar with from his youth.[15]
"White Car", recorded in one afternoon, originated from Downes who wrote the music inspired by watching Horn drive his car at the time, a white Stingray, which was given to him by his record company. Horn proceeded to write the lyrics based on pop figure Gary Numan who used to perform with his face painted white, something which is referenced in the lyric "Move like a ghost on the skyline".[13] Downes only played a Fairlight CMI synthesiser on the recording, to test its sampling capabilities: "I tried to simulate an orchestra using these samples, but it was very early days of digital sampling. The bandwidth was very narrow, but that's what gave it all that characteristic 'crunch factor'. We then added the vocoder and Trevor's vocal to the mix".[16]
"Does It Really Happen?" originated from the 1979 Paris sessions, with White coming up with its drum pattern. A version featuring Anderson singing a different set of lyrics was recorded, but it was shelved until it was developed further when Horn and Downes joined and made additions to the song. Horn and Squire wrote new lyrics.[13]
"Into the Lens" was originally completed by Horn and Downes before they joined the group, but Squire took a liking to it and wished to re-arrange it as a Yes track.[17] The track features Downes using a vocoder, further highlighting the band's new sound.[18] A version recorded by Horn and Downes only was later released on the second Buggles album, Adventures in Modern Recording (1981), with the title "I Am a Camera".
"Run Through the Light" features Howe playing a Les Paul guitar, "in the background being very melancholy" with Squire playing a piano and Horn playing bass, something which Horn did not particularly wish to do but Squire convinced him to perform. "I didn't quite know what to play on it ... one day we spent twelve hours playing and working the final bass part".[17] A different version of the song was recorded with Anderson.
"Tempus Fugit" was another song sketched out by the Squire, Howe and White trio in late 1979. Its title is an English translation of "time flies" in Latin. According to Howe, its name was derived from Squire's habit of arriving late to places.[17]
The group produced additional tracks that remained incomplete, but were performed during their 1980 tour: "We Can Fly from Here" and "Go Through This". Recordings of each were released as part of the live compilation album The Word is Live, in 2005. The former was used and expanded into a 20-minute suite on Yes's 2011 studio album, Fly from Here. A third track, "Crossfire", later included on In a Word: Yes (1969–), was used as part of "That, That Is" (from Keys to Ascension).

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