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1999
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Source: Beyond Sound
http://www.beyondsound.com/part1.html
http://www.beyondsound.com/part2.html
Interview with Steve Howe
By Mike McGlinn
The following Q&A are an interview conducted while Steve was on tour, and
from the forthcoming BeyondSound CD-ROM "Steve Howe Interactive."
Mike McGlinn of BeyondSound (MM) - 30 Yes Years ... pretty incredible. What
do you think keeps this band keeping on and the fans along with it?
Steve Howe (SH) - I think there are a number of reasons for our longevity.
But perhaps the most important is the music and who is playing it. From a
live performance standpoint, it is Jon, Chris and I kind of out there in
the front, and have been, through some of the key periods of the band. You
add Alan--and now Billy and Igor--and it's the stamp that says Yes. I
believe the fans are comfortable with the lineup and the sound we're
making. I guess you could say we're like an old pair of jeans, we just fit
right.
MM - Yes has been actively touring for close to a year now. How is the
current tour going?
SH - I think it's going pretty well. Songs like Close to the Edge and
Wonderous Stories and Yours is No Disgrace, which we haven't done in some
years, are taking shape. They get more comfortable as we continue to
perform them. The challenge to touring lies in keeping your energy level up
and we seem to be able to do it from night to night.
MM - Tell us about the occasional appearance of the Long Distance Runaround sombrero?
SH - (Laughs) When we were touring in Mexico City in the Spring, Chris,
Alan and I went to see Steve Winwood who was also playing in Mexico City.
After the show, Steve's sax player and I got talking (he had worn it during
the show). I said that it looked great. He gave it to me and said that at
the end of your tour to pass it on to another musician. So when we play
Florida at the end of the tour I might be looking for a fellow kindred
spirit musician in which to pass it on.
MM - What did the guys think the first time they saw you wearing the sombrero on stage?
SH - The first time I wore it was in Mexico City and the crowd went crazy.
They understood it to be in appreciation of their culture. When the guys
first saw me they just fell about. We could hardly get through Long
Distance. It was a really great time. When I get the inspiration, I pop it
on. So look for it in your town, I might just come out playing with it on.
MM - The band recently taped a VH1 concert in New York City. How did that go?
SH - I was really pleased with the spirit of that performance. I think we
captured a good vibe that day. We did it just prior to starting the summer
tour so we had nothing to do with the editing or final sound mix. I believe
it will air on VH1 in late July so I hope it comes off well.
MM - How would you compare this Yes line-up to previous Yes rosters in
which you have played?
SH - Each genre of Yes has its own feel and personality. I would say that
there are advantages and disadvantages to every line-up. It seems that we
are playing well together currently. If we can carry that momentum into the
studio next year it will be a positive thing.
MM - Is there any time along the tour to begin writing new material?
SH - On a personal level, I am always thinking and working on pieces as I
travel through life. Touring, although more difficult, is no exception when
it comes to my desire to compose. In terms of a collaborative effort,
that's a bit more difficult. On this shed tour we are typically playing
different cities each night. By the time we travel from venue-to-venue it's
hard enough to find time for a soundcheck let alone writing music together.
But Jon and I have been getting closer together and occasionally we get a
chance to work on new musical ideas together. It's not necessarily a formal
thing but more a catch as catch can. The main thing is that we are on the
same page together. The key is finding the time to get to that page.
MM - The tour concludes in early August. Beside a well-deserved break, what
are your plans moving into 1999?
SH - We'll take a bit of a break, then tour in late September through
October, dates to be released.
MM - Here we are in Chicago and for the first time Yes has just played a
concert live over the Internet. Are you finding more and more roads are
merging music with computers?
SH - That seems to be the case. I haven't heard any feedback yet regarding
the internet performance but I hope it went well. Anytime your performance
just goes out without even a checkpoint it's a bit scary. I'm usually
guarded when it comes to things like this because you never know how the
final product will sound. It's not so much in the actual playing and
performance but rather it's all the things that accompany the performance
that we can't control. The sound, the lighting, the camera work, etc.
Without a chance to have a final sign off, you just have to cross your
fingers and hope the final product is true to the band.
MM - Between the web pages, emails and online concert performances, do you
find yourself closer to the fans then ever before?
SH - I think so. In the 70's I had a woman named Chrissie working for me;
she was responsible to answer the many letters that I had received. Now
with my internet site, the CD-ROM project, and Mike Tiano (who helps me
communicate online), it's truly a small world out there. It feels at times
to be quite empowering. So the answer is yes, I probably feel closer to the
fans than ever before.
MM - Do you enjoy that new found intimacy?
SH - I do. It's a way of letting my friends and fans know what's happening
on a regular basis. It keeps the circle alive and together in a positive
way. I'm feeling very positive these days.
MM - The vibe online seems to strongly support the KTA 2 studio tracks. Can
you envision the band performing any of those tracks in the future?
SH - I'm fond of the KTA 2 studio work. I think it's the best work Yes has
done in many years. I'd like to see us follow that path as we look to
record in the future. Whenever it comes to playing new material live, it's
always a complicated thing. Each of us has our own thoughts about what we
should be playing and why. When it comes to KTA 2, I think if we're going
to get serious about it and do it right, we should address Mind Drive.
That's the main piece on the album. It's not something that will happen on
this tour but I definitely think it can happen in the future. It's a strong
piece of music and I believe it would work well in a live setting. Perhaps
on the next tour we can make it happen ... we'll see.
MM - Well, we've been talking about doing this CD-ROM project together
since 1994. Does it seem like it's been that long?
SH - It's hard to believe it's been that long. It reminds me of when I was
doing my guitar book. It took a while but in the end it was worth the
effort. It's a matter of timing, vision, desire and working with the right
people. And like the guitar book, I think we've got everything coming
together on the CD-ROM project.
MM - How does it feel to finally get a glimpse of yourself on a computer screen?
SH - My first thought was probably relief. Like wow, there I am playing. I
can see the light at the end of the tunnel. But my overall thought was that
I was quite pleased. I think the title holds a lot of promise.
MM - We had a chance to give the world a sneak preview of the Steve Howe
Interactive title to about 1,000 people at Yestival. The Yestival crowd
seemed to really enjoy what they saw. Have you gotten any feedback from the show?
SH - The things I've heard about the title preview have been very positive.
It's good to hear.
MM - At Yestival, you provided a highlight of the show by performing a
moving rendition of Pleasure Stole the Night from your first solo album.
What made you choose that piece?
SH - Yeah, that was quite unexpected to be honest. I originally came there
to do a Q&A and give a few gifts away. I really had no intention of
performing. During the Q&A, someone sent a request to do Pleasure Stole the
Night. Yestival had a guitar there that was not set up for me to play at
all. But when the request came up, I thought, maybe I can play this one
piece on the guitar. So I gave it a shot. Pleasure Stole the Night is
special to me in that my wife Jan wrote the words to it. So playing it kind
of took me home in a way.
MM - We've recently decided to include the complete book "The Steve Howe
Guitar Collection" in the title. How do you think the book will translate
to the CD-ROM format?
Steve Howe (SH) - Really well. What I've seen in the early going tells me
that the fans will enjoy it, whether they have the book already or not.
MM - Your guitars are so much a part of you and your playing, how important
to you was it to incorporate the book into the title?
SH - I think it's quite important. It should round out the title really
well. The more I think about it, the more natural it is to include it. It's
a way of giving added longevity and accessibility to a book that was well
done. It's a strong addition to the title.
MM - You've brought the Guitar Collection Book on tour with you, after a
few years has your perspective on it changed?
SH - I've decided to bring the book on tour really as a reference for me to
have. It helps to remind me what guitars were used at various times and on
different pieces, etc. It also allows me to answer many questions that
arise while on tour and share it with people. After a few years, I'd
probably not be as critical of a few guitars that I had been when making
the book. But overall, it's a reminder of just how great these guitars look
and sound. I enjoy having it on tour.
MM - Fans want to know if Roger Dean's artwork will be a part of the title?
SH - Yes. The album artwork and interesting backdrops will be used to color
and texture the title. I think everyone will be very pleased with the look
and feel.
MM - One component of the title will be a personal Master Class with you.
Do you do any teaching through music schools or to the public?
SH - From time-to-time I have done a few Master Class type sessions through
music schools in England and the US. With my schedule, it's always hard to
find the time to do it, but I really do enjoy the opportunity when it
arises. I hope to do a few more in the future.
MM - So other than those few opportunities, this is the only place that
guitar players can get this kind of one-on-one insight from you?
SH - That's right. I think the Master Class component of the CD-ROM is
about as personal as it gets when it comes to my playing and music. On a
one-to-one basis, I'm demonstrating how to make the sounds that I've been
playing for years.
MM - A lot of music software on the market deals with playing in the style
of the artist. That is, the artist and his music typically have nothing to
do with the title. How important is it to you that you, and only you, play
on this title?
SH - It seems that it is a necessary ingredient to getting it right. I
wouldn't want to put my playing into the hands of someone who may simply
play it differently. I originated the pieces so it's very comfortable to my
way of playing. That's what I want to communicate to everyone who buys the
title ... it's the real thing!
MM - Between your Guitar Book, the Master Class, Interviews, Concert
Footage, Slide Show, goodies, etc, what part of the title do you think fans
will most enjoy?
SH - I think there will be a lot of good things for everyone. I'd hate to
single out any one part of the title. We'll let the people decide.
MM - Are you surprised to hear that many non-guitar players were interested
in the Master Class part of the CD-ROM?
SH - I'm pleased to hear that fact. It just goes back to what I was saying
earlier, the music and who's playing it can be a compelling factor. I hope
non-guitar players will enjoy the Master Class as much as the players.
MM - The title will provide options to see you performing pieces from a
front and center view as well as close-ups of the left and right hand. How
important do you think it is to demonstrate the left and right hands?
SH - I think it's great that guitar players will have choices as to how to
view the performances of the Master Class. Being able to see the left and
right hands will help the overall coordination for making the sounds
happen. I'm all for things that can help guitar players get the music
right. I'm confident that the Master Class will do just that.
MM - It's great seeing you again out on the road. Thanks for sharing your
thoughts on the title and tour with us. We look forward to catching up with
you after the tour as we put the finishing touches on the Steve Howe
Interactive CD-ROM together. Thanks again and we'll see you soon.
SH - It's been my pleasure. Good to see you here in Chicago and we'll get
together soon.
The following are excerpts from the interview section of the Steve Howe
Interactive CD-ROM.
MM - When did you start playing guitar?
SH - At the age of 12, my parents bought me a guitar. I had this blind
belief that I would get it and immediately be able to play it.
MM - Were you able to play immediately?
SH - No. In fact it was a bit embarrassing at first. So I hid myself in a
back bedroom and played for hours a day over the next few years. I spent
much time playing along with records and trying to develop my technique and
feel for playing.
MM - Did you eventually start taking lessons?
SH - No, I never did. When I was growing up in England there were only a
few guitarists that I knew. So I am predominantly self taught. The idea of
using a method book was always a strange concept to me. How do you really
know when you're finished with a certain page and so on. It all seemed
pretty nebulas.
MM - What were your early guitar influences?
SH - When I was young, Rock 'N Roll was just starting. Bill Haley, Scotty
Moore who played with Elvis, the Ventures and the Shadows were all quite
interesting. It's not that what they played was so difficult, but it was
the way the notes sounded that grabbed me.
MM - What would you say was your first big break?
SH - In 1967 I was in a band called Tomorrow which was quite successful.
And in 1969, I did a tour with Delaney and Bonnie which featured Eric
Clapton, George Harrison and Dave Mason. That tour gave me an incredible
feeling that I was going to have an opportunity to really go somewhere in
music. And within 9 months I was in Yes.
MM - Would you consider that period your coming of age as a guitarist?
SH - Yeah, I guess you could call it that. When I joined Yes and we did the
Yes album, there was this incredible realization that we could be
ourselves. We were no longer paying tribute to the influences that kind of
got us there. We were now stretching ourselves to see what we could become
musically. It was quite an awakening.
MM - Do you find people's perception of Yes is one of a classically trained
band?
SH - I have found that to be a common misconception about the band. I'd
like to dispel that notion. Everyone comes into the band with a base of
musical knowledge. The fact is, Rick was the only classically trained
member of the band. As for me, I don't read music. I've always had a block
when it comes to playing while reading notes on a sheet of paper. The two
seem somehow in opposition. It's like, if I follow the notes, I go where
the sheet of paper wants to take me. I'm much more interested in exploring
and going where I want to go. Yes has always provided me that type of
environment.
MM - Has the fact that you don't read music posed any problems for you in the past?
SH - Not really. Luckily for me, I have a very good musical memory. In many
ways I have depended on this ability and continued to nurture it over the years.
MM - Over the years you've built a reputation as a player who uses many
different guitars. What is the motivation behind that approach?
SH - By having many different guitars, it allows me the freedom to create
with each one individually. The ES-175 is very different than a Les Paul,
or Stratocaster, etc. It's the same for acoustic guitars as well. The feel
and sound of different guitars provide me with different emotions that I
can bring to the music. For example, I think of the Yes album as being
about the ES-175, and Fragile highlighting the Switchmaster. Close to the
Edge featured the ES-345, and so on. So, beside the fact that I enjoy
collecting great guitars, there really is a purpose for having them.
MM - What makes Yes the kind of band that brings you back?
SH - Yes is a team of very talented musicians that can get on together,
write together and achieve together. Yes is a tapestry of creative
opportunity. Albums like Fragile, Close to the Edge and Topographics were
the height of the bands creativity. I guess it's that environment and rich
history that continues to call out to you even after you've gone on to
other projects. We're like a strange sort of family, and even though you're
apart (sometimes for many years) you're still a part of the family. You
know when you get back together good things happen.
The Steve Howe Interactive CD-ROM starting shipping October 15, 1999. It is
currently available online from BeyondSound Ltd.
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