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Produced by Ken Fuller, Wayne Hall and Jeffrey Crecelius
After a couple of weeks of illness I’m delighted to say I’m now almost 100% and back to the YMP. I’d like to thank everyone who has sent kind wishes – they are very much appreciated.
This week we delve into the reasons why Yes might have wanted Trevor Horn back in the fold for 90125.
- Who wanted Trevor back?
- What were his special skills?
- Did he want to go back?
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.
https://www.facebook.com/groups/3216603008606331/
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YMP Patrons:
Producers:
- Ken Fuller
- Jeffrey Crecelius and
- Wayne Hall
Patrons:
| Aaron Steelman | Dave Owen | Mark James Lang | Paul Tomei |
| Joost Maglev | David Heyden | Paul Wilson | Martin Kjellberg |
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| John Cowan | Tony Handley | Robert |
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Theme music
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
2 replies on “Why Did Yes Want Trevor Horn – As Producer – Part 1 – 562”
What makes “90125” sound like no Yes album before is arguably its greater use of the studio as an instrument. The Trevor Horn approach, to involve only some of the band only some of the time, when appropriate, is very evident on “The Lexicon of Love”, and “Welcome to the Pleasuredome”. Here, whatever people and equipment needed to tell the story are used, with the band members drafted in to provide identity and featured performances as needed.
By adopting this approach, at least in part, 90125 isn’t a recording of a band playing together in the studio. It’s a painstaking collage of performances, impossible to individually attribute. Is there actually a drummer on “Owner of a Lonely Heart”? Who plays keyboards on which tracks? How much music was re-recorded when Jon Anderson arrived?
I don’t think they’d ever recorded like this before. The preparation was similar, jamming and rehearsing, but once getting in to the studio I don’t think they’d ever devolved as much authority to a producer before.
It still sounds amazing.
Agree absolutely.