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Episodes Interview Specials YMP Classic Feed

Interview special 4 – Mark Toner’s view of Yes in concert

Yes fanatic – Mark Toner

Yes fan and Yes Music Podcast listener, Mark Toner, was kind enough to speak to me about the Glasgow Yes concert on the current European tour. Despite being a traditionally difficult audience, the concert went down very well, I understand.

G’on yerself Benoit

If you have a Yes story you’d like to share, please get in touch – I’d be more than happy to speak to you via Skype!

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Episodes Interview Specials YMP Classic Feed

Interview special 3 – Ben Craven, prog rock singer songwriter

Australian one-man prog machine and Yes Music Podcast listener, Ben Craven, talks about his musical influences, his discovery of Yes music and how he managed to get Roger Dean to design the cover of his new album.

Listen to ‘Great and Terrible Potions’ and check out Ben’s website – http://www.bencraven.com

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Episodes Interview Specials YMP Classic Feed

Interview special 2 – Andy’s view of Yes in concert

Yes fanatic – Andy

I had a great chat with the ever-generous Andy about the Yes concert in Birmingham he attended on 11th November 2011. Another top Yes Music Podcast listener, Andy’s reflections give a fascinating insight into the current Yes line-up and their performance at Symphony Hall.

If they came again in six months time, I’d go again – I’d be there!

Coming up in future interview specials – Ben Craven – a real-life, prog rock hero!

If you have a Yes story you’d like to share, please get in touch – I’d be more than happy to speak to you via Skype!

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Episodes Interview Specials YMP Classic Feed

Interview special 1 – MJ Murphy

Guitar guru at work

I was delighted that I managed to speak to Mike Murphy via Skype recently. Mike is a teacher, all-round guitar expert, Yes fan and top listener of the Yes Music Podcast.

Mike writes engaging, expert, guitar-related blog posts at www.twilightguitar.wordpress.com

Who better, then, to help us understand the styles and approaches of the three Yes guitarists, Peter Banks, Steve Howe and Trevor Rabin?

I hope you enjoy the first Yes Music Podcast interview special – there are plenty more to come.

If you have a Yes story you’d like to share, please get in touch – I’d be more than happy to speak to you via Skype!

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Technology and music – always a good thing?

Technology for technology's sake?

I’m looking forward to releasing a great interview I did yesterday with guitar guru, Mike Murphy. He was in the US, I was in England. We spoke to each other via the miracle of Skype. The sound was clear and there was only a slight lag – as you will hear.

This is another example of how technology has revolutionised communications – I couldn’t have done this interview at all only a few years ago.

However, is technology always positive ? Does music always benefit from the latest in technology?

Wood and cat gut or iPad and Animoog?

When Yes recorded their earliest albums, music recording technology was at a comparatively early stage – and so was instrument technology. Of course, all musical instruments are products of the current state of technology and always have been. A Stradivarius violin was ‘the latest thing’ in the 1680s – it was the Animoog iPad app of its day.

However, it sometimes seems to me that more technology can mean less creativity, less need to innovate. I remember hiring the first video camera I ad ever seen when I was about 17 years old. It had no zoom function so to make the film interesting, I had to create the angles and simulate the zoom myself. The result was a slightly bizarre but highly-creative, interesting movie. I wonder if the same is true with studio technology?

I’m no musical Luddite…am I?

Clearly, something like 90125 would not have been possible without the creative use of the latest technology (and the involvement of a genius producer like Trevor Horn) but when it’s possible to create any effect you like easily and quickly in the studio, do musicians come to rely too much on this and too little on their own musicianship and flair?

What about all those ‘manufactured’ acts through the last 30 years, culminating in the X-factor production line – without technology would this be possible – and would it be a good thing or a bad thing?

Let me know what you think.


Creative Commons image credit – iEEEj