Why Did Yes Want Trevor Horn – As Producer – Part 1 – 562

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!

Trevor Horn and his dog
Trevor Horn and his dog

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Not final artwork or title – just me messing about with one of Jeremy North’s photos

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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:

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.

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