Mellotronists

>....

> what they did on those two albums. Yes, the two best Yes albums. And while Tormato and Going for the One weren't the best Yes (sort of Yes-Lite for me), they still blow away "Drama" and "Relayer" for those who want to hear the classic Yes arrangement style. Sure, the music wasn't as carefully thought out, but by then, they had been turned into a formula-based product instead of a forward-thinking experimental rock band. And today? I firmly believe there will be a Yes band fifty years from now. Yes has turned into an entity with a life of its own, and I sincerely think Yes music will continue to provide the leadership in the art-prog-classical influences that rock music so benefits by. Yes will change, Yes will live. And as goes Yes, goes the Mellotron...

[Ivens de Carvalho]

Amen! I agree with you entirely. Glad to hear from someone else that holds Tales, Relayer and not least Drama so highly. And I agree that I also found Going for the One to be Yes-lite,

despite the undisputable qualities of 'Awaken'. Honestly, Tales is such a big mellotron-album.

So many shades of the tron sound to be found there. And I am glad they took a chance and stretched it out over two discs. Long live experimentation!

And Relayer continued the tron magic (and didn't Moraz also use an orchestron BTW?). Just the backing sounds at the end of 'To be Over'. It's still magic to me!

Frank Carvalho

> And while Tormato and Going for the One weren't the best Yes (sort of Yes-Lite for me), they still blow away "Drama" and "Relayer" for those who want to hear the classic Yes arrangement style.

and I said:

>Glad to hear from someone else that holds Tales, Relayer and not least >Drama so highly

I just realize that's not exactly what you were saying.....

So I'll stay within the minority here. Drama and Relayer are exceptional albums I think.

Frank

Dear All,

I'm a sucker for most of Yes - I just ignore some of the lyrics...

Norm

> And while Tormato and Going for the One weren't the best Yes (sort of Yes-Lite for me), they still blow away "Drama" and "Relayer" for those who want to hear the classic Yes arrangement style.

and I said:

>Glad to hear from someone else that holds Tales, Relayer and not least >Drama so highly

I just realize that's not exactly what you were saying.....

So I'll stay within the minority here. Drama and Relayer are exceptional albums I think.

Frank

-----Original Message-----
From: Chris Dale [mailto:chris.dale@...]
Sent: 09 May 2002 01:59
To: Mellotronists@yahoogroups.com; JS
Subject: Re: [Mellotronists] YES & Rick

Chris

One thing I do credit Yes with doing is keeping the mellotron flame alive for more than a decade. All the other well known prog bands (except maybe the Moodies) gave up on it during the 80's.

I didn't think they used any tape-replay after Rick's Birotron in '78?

Andy T.
M400 #1145

http://freespace.virgin.net/andy.thompson/

(andy t)
<< One thing I do credit Yes with doing is keeping the mellotron flame alive

for more than a decade. >>

that would be rick, for his work with the band..... and his incendiary 
retirement of the thing afterwards. :-) 

bit of a bad gambler when it came to keyboards, after that; he started so 
brightly, designing the front of the p5 by nicking the front of a minimoog 
and restyling it after bang&olufsen, but then came the birotron, the elcaset 
of keyboards, and then an endorsement or somesuch with cheetah.... 

does moraz still own a machine? what does he do for one since mark glinsky 
left florida? I tried to acquire the moraz-rack once, but I believe it's 
still in germany somewhere.

"yes album" has no 'tron, affirming andy's contention that squire's rick, 
rather than rick wakeman, has provided the band's history with an always 
obvious consistent element, changing the history of rock bass in the process.
 
bruford attributes his development of a very rimmy snare style to having to 
compete with the other rick in the band too; I bought ABWH thinking that the 
four of them ought to be able to make a decent fist of it, especially with 
bruford's work away from the band being pretty strong, but the lack of squire 
ultimately costs the album the few "oh well, it was the 80s" points it might 
have in my house. 
meanwhile a badly recorded bbc sessions set I got on double cd, of "yes" 
album (not "yes album") songs and earlier, stayed in the walkman for weeks. 
but then I am a bassist.  these songs already demonstrate the band's interest 
in strings, though, and "space oddity" was everywhere by then, so making a 
move on rick was obvious.

now, about this new standard set. does it have a name yet?

duncan/1974 rickenbacker 4001s, 1996 rickenbacker 4003/5 and a mellotron. and 
some biros.

In a message dated 5/9/02 9:09:22 PM Eastern Daylight Time, 
ferrograph@... writes:


> does moraz still own a machine? what does he do for one since mark glinsky 
> left florida? I tried to acquire the moraz-rack once, but I believe it's 
> still in germany somewhere.

Last year I visited the studio in Orlando where Moraz is set up.  The studio 
owner gave me the full tour, and I got to check out Moraz's entire setup - 
unfortunately,  he was in Switzerland at the time.  Not a Mellotron in sight. 
 He had a Kurzweil 2500 XS workstation with a CDROM for loading samples.  If 
he uses Mellotron sounds these days, they are samples.  He had some other 
nice midi keyboards there, I can't remember which makes or models.  I took 
some photos, I'll post them to my web site if I can find them.  BTW, the 
studio owner had just about every vintage keyboard ever made there ( it's 
actually a synth museum too ), and he was dying to get his hands on a 
Mellotron.  I think that's why he was so nice to me  - he shot the whole day 
showing me around the place.

Ken M.