Lots of groups
appears and disappears. What, in your opinion, caused such
many years of successful existence "Yes"?
We have always paid close attention not only to music, but also to sound. I would say that "Yes" has always been a visionary group and gave enough the meaning of the little things. I spent many hours in the studio trying to desired drum sound for each particular song.
If you take a look at all the notes you've made, which ones which, in your opinion, are the most significant and extraordinary?
Me it seems, if we consider the group's albums from the point of view inventiveness and creativity of the rhythm section, you can to say that "Topagraphic Oceans" (1973) started this plan. Also "Relayer" (1974) is full of very inventive and original moments in the game of drums and bass - but already in a few different musical plane.
On albums like "Relayer" (1974), "Drama" (1980) and "Talk" (1994) - to name but several - You have played quite a few intriguing rhythmic "grids". How would you decide your style of play?
Already in the earliest when I was young, before Yes, when I played quite a few sessions around London, worked with John Lennon and George Harrison, I have has always had its own group, focused on playing in odd sizes, which gave me considerable satisfaction, because that I could come into the studio and play something very simple, but at the same time, I always had the opportunity to develop my abilities and deepen my skills and knowledge by playing with my own group - that is, it was always interesting for me to work. Searching for new rhythms and styles, listening to both ethnic and contemporary music, specific attempts to develop it into even more modern - "Yes" has always been a great "testing ground" for such kind of ideas. So for me, as a musician, there has always been interesting to play something unpretentious, such as, for example, some rhythm and blues rhythm and then try to play the same in other rhythmic meters. Let's say play some "grid" with a good swing feel, but in such a way that the listener was ready at any moment to naturally perceive this "grid" by 5/4 or 7/8.
You have made a huge contribution to music as drummer and artist. Which of the "Yes" albums do you like the most? soul?
(Laughs). We've been asked this question a lot and it looks like all members of our group respond to it in the same way. "Yes" group for for many years of its existence, it was possible to develop its own, so to speak, "signature", inherent only to her, sound, which painstakingly and consistently polished on each album, but, at the same time, in my opinion, none of our albums are like other. All of them are unique. There have been many times in our life when music became literally an integral part of existence. Choose any most favorite album for me not easy, because I like all our albums. If you ask which one I think is not very successful, I think that In this case, I will call the album "Tormato" (1978). However, when we moved to America, it turned out that it was this album that finds the greatest response from the fans, which confuses me a lot.
Could you tell us about the Reunion Tour and how how did it come about?
We usually call that tour "Yes East and West" as John worked with Bill Brafford and Rick Wakeman. Steve, Tony, Trevor, Chris, yours truly, and a number of others guys were working on our next album. record label the company decided that we needed to get together as a single team, to make something together and in the future to continue to work in this composition. It took us many weeks to clearly figure out who, what, where, when and how to play. It was very conceptual. program. Bill and I had to sweat a lot trying to prove which of us is more worthy to wear the "leader's jersey" in this show. Think, everyone received considerable satisfaction from this work and realized that we are all able to work together. It was a great tour and we had a great time.
Do you think it has changed? music industry over the years?
I don't think she has changed a lot, because Yes in this business has developed the reputation of a group that never compromises, does not pursue for rapid popularity through, say, the release of hit singles. Although there were still attempts in this regard - "Open Your Eyes" (1997), because our group is like a chameleon, constantly changing its color. Whenever we had the feeling that we were doing more commercial album than usual, we were not embarrassed and continued it do, however, at the same time, we have always been capable of any moment to sharply turn 180 degrees and release the conceptual an album that is radically different from the previous one. I think for a long time years of work we have accumulated enough opportunities, experience, knowledge and performance so that we can afford combine commerce with conceptualism and cutting-edge ideas.
How do you feel about this statement: "The group "Yes" in has recently surpassed itself in terms of self-sales on concert venues around the world, trying to "snatch" in the end?
On the one hand, such a statement is surprising and confuses me, but, on the other hand, not too much, because I know very well how selflessly all the members work of our collective, wholly and completely giving himself to music and perfecting our sound. Turning 30 soon the existence of our group, and our group is still alive, efficient and full of new ideas. We are currently preparing material for our next album, which we will start recording as soon as the end of the world tour.
You have achieved almost everything something a drummer can only dream of. And what do you think you don't did you achieve musically?
(Laughs). After "Ramshackled" (1976) I still have not released a second solo album. I have already accumulated entire cabinets of DAT cassettes recorded by me for all these years, and now I dream of finishing this work. Perhaps I will be able to do this in the year 2000, or, in extreme case, in the third millennium.