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Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius
This week, Mark and I have been enjoying listening to Night After Night, the live album from UK in our quest to discover why Yes wanted Eddie Jobson. Hear our views in a few moments’ time and add your own to the comments in the show notes for this week’s episode.
Did you see UK in either of their incarnations? What do you think of the 3-piece lineup without Bruford and Holdsworth but with Terry Bozzio? Did it work? Let us know.
- How does the 3-piece UK sound?
- Is the guitar missed?
- Is it all prog?
Take a listen to the episode and then let us know what you think below!
Facebook has just changed how pages work which means that I’ve had to establish a new place for us to post and discuss Yes-related happenings. It’s a new group entitled, rather creatively, YMP Discussion Group. For the moment it’s open to anyone to join but I’ll be adding rules and joining requirements when I have time. One of the advantages of the new format is that all members of the group have the same ability to post content, so it’s a bit more egalitarian, or somesuch. Please do search for the group and join in.
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- Ken Fuller
- Jeffrey Crecelius and
- Wayne Hall
|Mark James Lang||Paul Tomei|
|Paul Wilson||Martin Kjellberg|
|Bob Martilotta||Lind||Michael O’Connor||William Hayes|
|Lobate Scarp||Miguel Falcão|
|Neal Kaforey||Rachel Hadaway|
|Craig Estenes||Dem||Mark ‘Zarkol’ Baggs||Paul Hailes|
|Fergus Cubbage||Scott Colombo|
|Fred Barringer||Gary Betts||Geoff Bailie||Simon Barrow|
|Stephen Lambe||Guy R DeRome||Steve Dill|
|Henrik Antonsson||Steve Perry|
|Hogne Bø Pettersen||Steve Rode|
|Declan Logue||Steve Scott||Todd Dudley||Jim|
|John Parry||Keith Hoisington|
|Alan Begg||Terence Sadler||John Holden||Barry Gorsky|
|Michael Handerhan||Tim Stannard|
|Joseph Cottrell||John Thomson|
|John Cowan||Tony Handley||Robert||David|
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The music I use is the last movement of Stravinsky’s Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert – I put it together from: archive.org
8 replies on “Why Did Yes Want…Eddie Jobson? – Part 2 – 557”
With Eddie Jobson in place for the 90125 tour, I suspect that YES would have made the violin part in “Leave It” (played on the album by Graham Preskett) more of a feature in a live setting, giving Eddie a chance to show his chops in a way fans had never seen from a YES keyboardist before.
According to Wikipedia, Bill Bruford formed the jazz-fusion band “Bruford” in 1976 with keyboardist Dave Stewart, bassist Jeff Berlin (see ABWH – An Evening of Yes Mudic Plus – subbing for Tony Levin) and Allan Holdsworth. Bruford and Holdsworth joined U.K. in 1977. After Bruford and Holdsworth left U.K., Bill reformed “Bruford”. I saw them in May 1979 at The Venue in London.
I was lucky enough to see both UK (July, 1978) and Bruford (July, 1979) at the same intimate venue in Detroit. Both bands featured incredible musicianship! I do think if UK managed to keep the original lineup together, they would have been a true force in the annals of progressive rock – their debut album was a classic!
That’s awesome Bob. I agree that UK’s first album is excellent along with Bruford’s albums. Exceptional progressive rock.
As I said last week, I’m a huge UK fan and have a long history with them back to ’78. I’m old so I did see both lineups, and interviewed them for my radio show on the 1st US tour after the Cleveland, Ohio gig. I knew Bill & John & Eddie having interviewed and met them on previous tours with King Crimson in ’74, Genesis in ’76, and Roxy Music in ’75. You can find that Cleveland ’78 gig on YouTube-when you hear a man yell between songs that’s me! It’s also on cd as part of the big UK box megaset.
I also met them after a gig on the 2nd tour, with Bozzio. I also saw them in the 2000s & 2010s with Bozzio, Mike Mangini, Virgil Donati and Marco Minnemann on drums, all fantastic drummers. I always encourage everyone to get the Night After Night album or cd, especially the extended cd set if they can find it. As Mark has found, it’s expensive. Luckily I have it along with all of UK’s official releases, some from when Eddie was selling them on his personal website. I can also recommend the UK Reunion dvd that Eddie had filmed. It had a lower budget so the filming is darker than you might expect but it’s a great souvenir of Eddie & John getting back together after many years after John stopped drinking. I love both lineups. They are obviously different, but both have musical strengths and great music. Now Kevin & Mark have to check out the 2nd studio album for Eddie’s playing & music. Here’s my signed original vinyl album of Night After Night.
This review was fascinating. I’ve tried to order the cd through my local and fabulous independent record shop “Badlands” in Cheltenham but am not yet sure if they can get it.
Great to hear YMP covering Eddie Jobson and UK. I first heard them, I think in the winter of 79/80 when Phil Easton played the live “Nothing To Lose” from “Night After Night” on “The Great Easton Express” on Liverpool’s Radio City.
Thereafter, I treasured a C90 a friend made for me of “UK” and “Danger Money” and I cited the later as my favourite album for years afterwards. He had to omit “Nothing To Lose” for space which was painful to me.
That tape was taken in a house burglary but a few years later I found a second hand copy of “Night After Night”. And then the studio albums were released on CD, and all was well.
Having seen John Wetton play “Rendezvous 6.02” and even Dream Theater play “In The Dead of Night” in person I thought that was the closest I’d get to seeing UK like, so I was delighted to see the reformed version in 2012 and 2015. They were incredibly good, and Eddie Jobson played with a real economy, and nothing ostentatious about his gear or manner, but he faultlessly reproduced the studio songs.
If you can, definitely get the extended “Night After Night”. You can listen to it on Amazon Music. Not only are there more songs, but “As Long As You Want Me Here” is longer, with a hypnotic coda.
I remember hearing that Eddie had joined Yes but I wasn’t sure then how he’d fit in. His sound seemed at odds with Yes to me, but then so would that of the previous replacement keyboardists. Of all the other Yes keyboard players, the most helpful precedent is Patrick Moraz, who may not have been involved in the pieces on “Relayer” but who stamped his mark on them indelibly. We don’t know what a second Moraz album would have sounded like, and it’s hard to guess what a Jobson “Big Generator” would have been, depending on how much of an originator he’d have been. I think it’s the most interesting “what if?” timeline in all of Yes history.
Did I miss “Why did Alan and Chris choose Trevor Rabin” or are you being ultra-orthodox and insist that this series only covers up-and-running bands called Yes?
I bought the UK night After Night deluxe edition when it came out. The Blu Ray has a multi-channel mix of the album. UK sound great in surround sound. The listener becomes completely immersed in the performance. It is too bad that fans can only pick it up now if they are willing to shell out hundreds of dollars to purchase it.