Trevor! Such a phenomenal talent. I feel the fun and see why they got together in the first place. It’s great to hear something that I’ve never heard before. It makes me a Chris so much more.
Very awesome! So wish this was on an album or that I could download a cleaned-up copy of this. It's a song I could play over and over again without getting tired of it.
Trevor is quite an enthralling talent, and what a wonderful spirit to add to the Yes legacy, and I always thought the harmonies between he, Chris, and Jon were very complimentary. “Carry On” gentlemen.
In 1984, I had been a YES fan for 13 years. So when 90125 was released, I was enthusiastic. You have to accept that the music you have spent time and enjoyment on can change at almost any moment. So that was my thinking. I couldn't do it with Genesis. I think the Talk tour shows were the best because the 90125 era or YES WEST had really jelled despite Jon leaving in 1988, and the Union period- which I also loved. Trevor's recent album, " RIO-" Do you have it? You should!
I wish they had continued on as Cinema. I think the Yes fans would have supported it more. And as much as love Jon Anderson, Rabin and Squire could have carried it.
Agree. And it would have defanged the whole "no Jon, no Yes" thing. They should've become a different band -- it would have helped build upon their identity as a new band, too.
To be very successful they needed Jon to give it that extra something. It worked, but it's not to say that Cinema wasn't hugely powerful, they smashed it and some. Turn it up and be in the room. 🙂👍
The story goes that Trevor Horn was pressured to put out a hit single, and he didn't think Trevor Rabin had pop hit quality. So Trevor Horn being a huge Yes fan, and former singer asked Chris to send a demo to Jon to see what he thought and if he would sing. Jon said "Then it would be Yes wouldn't it." Chris said "Yeah I guess so." But I agree Cinema was a great band and could have put out million selling albums. But they probably would not have a series of MTV hits like that on 90125.
This has all the hallmarks of Trevor's solo stuff including his very straight-forward lyricism, but with the added element of additional stellar Yes virtuosity...and then Trevor Horn and the later addition of Jon Anderson created a total je ne sais quoi... It's a real drag there's no ARW work forthcoming...
Tony got temporarily sacked by Trevor Horn and that's when Jobson joined. Tony had been with Cinema since it's inception, then he came back when the album was done to do the tour. As far as I know, Rabin play most of the keys on 90125.
Tony Kaye was back in the band in 1982, when it was called Cinema. He disagreed with Horn and left the band temporarily in 1983, after they were called Yes again (Jobson didn't record anything, but appeared on the "Owner of a Lonely Heart" video). Then Horn apologized to Tony and he returned to complete the 90125 album and the subsequent tour.
No, this was Tony Kaye. Jobson was never involved with Cinema. He was only briefly a part of the line up after it became Yes, and never recorded with the band.
The opening reminds me of the Asia song Sole Survivor a little. I wonder how much cross pollination these bands had in terms of writing. I mean Alan and Chris had been playing with Steve Howe and some of the other guys. I’m not saying it is copied but there are similarities in where these bands were going. I think it all worked out great. Trevor breathed new life into Yes. Steve Howe went to Asia and that was his way of doing 80s progressive rock which at the time also sounded modern.
This isn't a Demo. This is a live rehearsal caught on a cassette tape recorder. The band working out an unrecorded song. "Demo" should be deleted from the title. This is probably from the Cinema days, i.e. before Anderson was bought onboard.
You're exactly correct: live rehearsal caught on cassette. And I'm leaving the title exactly as is, because most people are not that picky and just happy to hear a kick-ass rare track.
Anderson was brought in last minute and had about a month to record parts & change a few words. "Change a word, get a third" as the songwriter's joke goes
Hi there - I’m the person who recorded this track when I was visiting the band during their rehearsals. The band called it ‘Carry On’ in the rehearsal studio that day.
@@vfrbore1728 you're absolutely right. I had lunch a few times with Chris after this and he still called it 'Carry On'. But some Yes fans will still argue even after hearing it straight from the horses mouth :)
Calling this a "demo" is enough of a stretch to actually be pretty funny. Let's be real, musicians operating at this level, especially, setting out to record a demo of a tune, would have taken care to do a well recorded, if plain and simple, recording. These guys, if they wanted a real demo to play for serious people (management/label/et al), would have knocked out a pretty good recording that many would consider good enough to release as-is. More than likely by spending an afternoon or evening at some humble, cheap, but decent little 8 track (in those days) "demo" studio in SoCal, running through maybe a few takes playing live together in the room, a quick simple mix, and out. What we have here is something that will be very familiar to loads of musicians, at least of a certain age range... the sound of a little sketch documentary recording from a cheesy little portable cassette machine sitting in the rehearsal room there to grab a rough recording for review and discussion, catch little improvised bits and variations so they don't forget, all that stuff. Given the way CZcams commentary goes nuts with people getting their panties in a bunch, understand that isn't a criticism. (Watch somebody go nuts anyway.) That's just the realistic perspective of what this actually is. I think this is a pretty good piece that I think should have been recorded in earnest, even if they decided to leave it off 90125 in the end. (We know how that can go, it might have then ended up on some later compilation or "expanded deluxe version" re-release of 90125 or something. ) It's cool to be able to hear it, even in such rough form.
Depends on where the source of this recording comes from. For all you know, there is a full stereo version in the vaults. Because this isn't a "cassette recording", there's an obvious mix to it, the song has definitely been worked on, everyone knows their parts. Obviously a song that was rehearsed a number of times before this recording. So I'd question the source of this audio, rather than the musicians who did it. Maybe this is the best someone could get, who has no true access to the vaults. "the sound of a little sketch documentary recording from a cheesy little portable cassette machine sitting in the rehearsal room there to grab a rough recording for review and discussion" That's not what this is. And i doubt Chris, Alan, Trevor or Tony said, hey get out that cheesy little portable cassette machine we all love, and lets nail this version of the song. All in one take. This is the best version the public has access to. There's no doubt in my mind this exists as a full stereo version.
@@DrTomoculus I don't know where you get any notions about questioning the musicians who did this. So never mind that. It is pretty obvious that the band had the parts and arrangement pretty much worked out, and had, no doubt, played it a few times. We are talking about people who were top notch musicians with high standards and ability and well known for the amount of work they put in. There very possibly might be a proper recorded version of this on tape tucked away somewhere. This would not be that. You can imagine whatever you might, but don't be silly. This is, very clearly, exactly what I had said; a rehearsal recording captured simply with no particular fuss with whatever they had in the room. This is something recognizable in the first few seconds to any musician familiar with capturing rough recordings of rehearsals... if not yer basic boombox in a corner, then, at best, maybe whatever basic cheap mic was laying around plugged into some home stereo cassette deck. The "obvious mix" idea is hilarious. I don't think you understand, what you have is just the sound made by good musicians playing in a room together who are not going to proceed very far into rehearsals without getting a general decent balance among the elements involved. i.e., balancing themselves in the room... and then captured for working purposes in some simple and fairly cheesy manner. Believe this, or not; this is just something captured in rough form by the band for purposes of musical review (and/or even simply documenting as a memory backup reminder of parts and arrangement) and not particularly caring about the recording quality. To put it simply, for musicians of this caliber at their level of professionalism, something as sonically bad as this could not be anything other than what I describe. It's that simple.
@@JohnEaganMedia I'm still waiting for the obvious tape drop outs and warbles that you'd hear on an over 40 year old boom box recorded cassette. Just stop.
@@JohnEaganMedia How about try straight into a mixing board to 2 track reel to reel. Because if you think theyre going to go KACHUNK (which every boom box recorded performance is preceded by) , and then the shaky start all tape cassettes have as they pass over the spools, and then the drop outs and noise reduction working its ass off trying to handle the amount of sound hitting its small little microphone, and then listen back to audio this quality (as you're stating) and say this was worth going through the entire song to listen back to this, you must be kidding. This is something that escaped the vaults, probably without their knowledge. Huddled around a boom box listening back to this while theyre possibly spending money already putting this stuff together. For real?
@@DrTomoculus Dude. You really are funny. A few things are apparent. You're not a musician (at least not a serious professional or semi-pro, maybe you mess around on something now and then and maybe even take part in a garage Dad Band for fun on weekends... if so, cool, have fun), or a recording engineer, and have evidently never been in a rehearsal room with musicians doing serious work. You're not really listening, a bad start to making public comments on the topic. Just for a start- the comments about what funky noises and glitches you expect at the start. Listen and pay attention. Notice that the item we're talking about here is a recorded piece that starts immediately right on bar 1, beat 1 of the song. (If we really want to be exact about this, it isn't absolutely crisp... I checked this out, bar 1 beat 1 comes in 300 ms in.) This is a big clue. It tells you the obvious, that somebody who put this into a video to upload to CZcams, or perhaps someone before them, took the original source recording and extracted this in an edit for the kind of thing we have here that we're all listening to (whatever failures in listening some might have going). To spell this out a little more and belabor the point; if the band only wanted to grab a recording of this one song at the time, the tape was probably rolling for some time before they went into it. But, for that matter, this was probably somewhere in the middle of a tape that was just rolling continuously (cassettes were cheap)as people would do in rehearsals when people were capturing rehearsals on cassettes. Did you notice you didn't hear a count in? Again... what band ever just launches right into it without a count to set the tempo and sync up? (But then you might keep at this and say something silly like "you almost never hear bands count it off on songs on records"... Yes. Because professional recording edits.) Moving on; try to pay attention to the sound quality, quite apart from whatever warbles of wow and flutter and expected dropouts you think would be there. There is massive distortion throughout, frequent hard clipping, and just overall, we have the sound of some cheesy cassette machine with AGC circuitry just extremely overloaded at all times dealing with what's pumping into probably a small room from a loud rock band and reducing everything to "full squash" of dynamic range at all times. Also, notice in particular how the low end and low midrange is just crushed and mangled in the frequencies where there is the most energy (and with monumental amounts of that from a loud rock band in a small room). Stepping aside from the sound quality a moment, while it's a decent performance, again, actually try to listen, and notice Rabin goofing around... the silly Tarzan yell, the maniacal laughter hamming in the middle. Probably trying to crack each other up getting a little loopy after a few hours in the practice room. Seriously, do you really think this was supposed to be an even remotely serious recording? Repeating the fairly obvious to people who understand what we have here- it a band grabbing a rough working sketch for reference and critique in a practice room.
Intoxicating sound. Alan White lives on.
Bashing those drums like there`s no tomorrow! Alan ❤
Trevor! Such a phenomenal talent. I feel the fun and see why they got together in the first place. It’s great to hear something that I’ve never heard before. It makes me a Chris so much more.
Very awesome! So wish this was on an album or that I could download a cleaned-up copy of this. It's a song I could play over and over again without getting tired of it.
Trevor is quite an enthralling talent, and what a wonderful spirit to add to the Yes legacy, and I always thought the harmonies between he, Chris, and Jon were very complimentary.
“Carry On” gentlemen.
The vocal harmonies were at their best during the Rabin era
Wow never heard this before.... heavy, classic stufffff
Really great!!!!!!!!!!!!
I LOVE 80s ❤ YES 90125 💛💙❤
I sure wish I could get my hands on a recording of this! Awesome!
Fabulous ❤
If this were polished up with Jon on lead vocals, it would have made a great track on "90125." They should have carried it over to "Big Generator."
I'm in touch with Rabin, and suggested they add this song to the ARW album, which sadly never happened.
Give trevor R another nod.
I recently saw a picture with him withn jason bonham
Absolutely love this song! ❤💯🖤🤘
In 1984, I had been a YES fan for 13 years. So when 90125 was released, I was enthusiastic.
You have to accept that the music you have spent time and enjoyment on can change at almost any moment. So that was my thinking. I couldn't do it with Genesis.
I think the Talk tour shows were the best because the 90125 era or YES WEST had really jelled despite Jon leaving in 1988, and the Union period- which I also loved. Trevor's recent album,
" RIO-" Do you have it?
You should!
It's always nice to hear new old stock. This was worth one good listen. I can hear parts of the finished product on it.
Damn! Why was this never recorded properly and officially released??? What a track!
Trevor Rabin saved the band!
Yes he did. If it weren't for Trevor, Yes's back catalog (as great as it is) would have vanished from the bargain bins at Sam Goody in the early 90s.
His solo album can't look away is so awesome I love it's one of my favorite
No he didn't.
No he didn't.
Eu já penso q sem o Jon Anderson essa banda não existiria...
1982 I was there at sandstone amphitheater, a Bonner Springs Kansas
Me too, but it was September 1984
@@cheesechannel7154 Me three, and yeah, 1984. It rained... Didn't matter though. Made the lasers look cool.
What a great song!!
Great tune… love these guys…Squire played the coolest parts…
I wish they had continued on as Cinema. I think the Yes fans would have supported it more. And as much as love Jon Anderson, Rabin and Squire could have carried it.
They could have. I agree.
Agree. And it would have defanged the whole "no Jon, no Yes" thing. They should've become a different band -- it would have helped build upon their identity as a new band, too.
To be very successful they needed Jon to give it that extra something. It worked, but it's not to say that Cinema wasn't hugely powerful, they smashed it and some. Turn it up and be in the room. 🙂👍
The story goes that Trevor Horn was pressured to put out a hit single, and he didn't think Trevor Rabin had pop hit quality. So Trevor Horn being a huge Yes fan, and former singer asked Chris to send a demo to Jon to see what he thought and if he would sing. Jon said "Then it would be Yes wouldn't it." Chris said "Yeah I guess so." But I agree Cinema was a great band and could have put out million selling albums. But they probably would not have a series of MTV hits like that on 90125.
steve howe does itt for me ///still admire the whole thingggg.....
Strong
Tout simplement magnifique!🇨🇦
This has all the hallmarks of Trevor's solo stuff including his very straight-forward lyricism, but with the added element of additional stellar Yes virtuosity...and then Trevor Horn and the later addition of Jon Anderson created a total je ne sais quoi...
It's a real drag there's no ARW work forthcoming...
中々いい曲ですね、リフがカッコイイ！
Triste mas é a vida dois dos que estão na foto já faleceram.
Really was Eddie Jobson in keys. Tony joined after Anderson because they need another original member for retain the name Yes.
Eddie Jobson never recorded with Yes . Tony Kaye is on Keybords
Tony got temporarily sacked by Trevor Horn and that's when Jobson joined. Tony had been with Cinema since it's inception, then he came back when the album was done to do the tour. As far as I know, Rabin play most of the keys on 90125.
Pablo, I was at this rehearsal and recorded this song. It was Tony Kaye on keyboards here. Eddie Jobson didn't record with Yes on the 90125 album.
Tony Kaye was back in the band in 1982, when it was called Cinema. He disagreed with Horn and left the band temporarily in 1983, after they were called Yes again (Jobson didn't record anything, but appeared on the "Owner of a Lonely Heart" video). Then Horn apologized to Tony and he returned to complete the 90125 album and the subsequent tour.
No, this was Tony Kaye. Jobson was never involved with Cinema. He was only briefly a part of the line up after it became Yes, and never recorded with the band.
Very nice. I can also hear a tiny bit of Eddie Van Halen influence.
The opening reminds me of the Asia song Sole Survivor a little. I wonder how much cross pollination these bands had in terms of writing. I mean Alan and Chris had been playing with Steve Howe and some of the other guys. I’m not saying it is copied but there are similarities in where these bands were going.
I think it all worked out great. Trevor breathed new life into Yes. Steve Howe went to Asia and that was his way of doing 80s progressive rock which at the time also sounded modern.
Sounds like something Toto would have done around then.
I can feel no sense of measure
This isn't a Demo. This is a live rehearsal caught on a cassette tape recorder. The band working out an unrecorded song. "Demo" should be deleted from the title. This is probably from the Cinema days, i.e. before Anderson was bought onboard.
You're exactly correct: live rehearsal caught on cassette. And I'm leaving the title exactly as is, because most people are not that picky and just happy to hear a kick-ass rare track.
Anderson was brought in last minute and had about a month to record parts & change a few words. "Change a word, get a third" as the songwriter's joke goes
Got a little OOALH in it
Pop Yes was about all this incarnation was, and a shadow of the greatness that came before.
That became Yes, are you kidding.
This track is actually called Don't You Know Everyone.
Hi there - I’m the person who recorded this track when I was visiting the band during their rehearsals. The band called it ‘Carry On’ in the rehearsal studio that day.
It actually doesn't have an official name, because it was neither registered with ASCAP nor properly recorded.
@AwesomeConcerts I was there in the rehearsal room when I recorded this - Chris Squire and Nigel Luby both called this track “Carry On”
@@jondeedotcom Only in the world of Yes could there be an argument led by a person who wasn't there disputing the account of someone who was!
@@vfrbore1728 you're absolutely right. I had lunch a few times with Chris after this and he still called it 'Carry On'. But some Yes fans will still argue even after hearing it straight from the horses mouth :)
Calling this a "demo" is enough of a stretch to actually be pretty funny. Let's be real, musicians operating at this level, especially, setting out to record a demo of a tune, would have taken care to do a well recorded, if plain and simple, recording. These guys, if they wanted a real demo to play for serious people (management/label/et al), would have knocked out a pretty good recording that many would consider good enough to release as-is. More than likely by spending an afternoon or evening at some humble, cheap, but decent little 8 track (in those days) "demo" studio in SoCal, running through maybe a few takes playing live together in the room, a quick simple mix, and out.
What we have here is something that will be very familiar to loads of musicians, at least of a certain age range... the sound of a little sketch documentary recording from a cheesy little portable cassette machine sitting in the rehearsal room there to grab a rough recording for review and discussion, catch little improvised bits and variations so they don't forget, all that stuff.
Given the way CZcams commentary goes nuts with people getting their panties in a bunch, understand that isn't a criticism. (Watch somebody go nuts anyway.) That's just the realistic perspective of what this actually is. I think this is a pretty good piece that I think should have been recorded in earnest, even if they decided to leave it off 90125 in the end. (We know how that can go, it might have then ended up on some later compilation or "expanded deluxe version" re-release of 90125 or something. ) It's cool to be able to hear it, even in such rough form.
Depends on where the source of this recording comes from. For all you know, there is a full stereo version in the vaults. Because this isn't a "cassette recording", there's an obvious mix to it, the song has definitely been worked on, everyone knows their parts. Obviously a song that was rehearsed a number of times before this recording. So I'd question the source of this audio, rather than the musicians who did it. Maybe this is the best someone could get, who has no true access to the vaults.
"the sound of a little sketch documentary recording from a cheesy little portable cassette machine sitting in the rehearsal room there to grab a rough recording for review and discussion"
That's not what this is. And i doubt Chris, Alan, Trevor or Tony said, hey get out that cheesy little portable cassette machine we all love, and lets nail this version of the song. All in one take.
This is the best version the public has access to. There's no doubt in my mind this exists as a full stereo version.
@@DrTomoculus I don't know where you get any notions about questioning the musicians who did this. So never mind that.
It is pretty obvious that the band had the parts and arrangement pretty much worked out, and had, no doubt, played it a few times. We are talking about people who were top notch musicians with high standards and ability and well known for the amount of work they put in.
There very possibly might be a proper recorded version of this on tape tucked away somewhere. This would not be that.
You can imagine whatever you might, but don't be silly. This is, very clearly, exactly what I had said; a rehearsal recording captured simply with no particular fuss with whatever they had in the room. This is something recognizable in the first few seconds to any musician familiar with capturing rough recordings of rehearsals... if not yer basic boombox in a corner, then, at best, maybe whatever basic cheap mic was laying around plugged into some home stereo cassette deck. The "obvious mix" idea is hilarious. I don't think you understand, what you have is just the sound made by good musicians playing in a room together who are not going to proceed very far into rehearsals without getting a general decent balance among the elements involved. i.e., balancing themselves in the room... and then captured for working purposes in some simple and fairly cheesy manner. Believe this, or not; this is just something captured in rough form by the band for purposes of musical review (and/or even simply documenting as a memory backup reminder of parts and arrangement) and not particularly caring about the recording quality. To put it simply, for musicians of this caliber at their level of professionalism, something as sonically bad as this could not be anything other than what I describe. It's that simple.
@@JohnEaganMedia I'm still waiting for the obvious tape drop outs and warbles that you'd hear on an over 40 year old boom box recorded cassette.
Just stop.
@@JohnEaganMedia How about try straight into a mixing board to 2 track reel to reel. Because if you think theyre going to go KACHUNK (which every boom box recorded performance is preceded by) , and then the shaky start all tape cassettes have as they pass over the spools, and then the drop outs and noise reduction working its ass off trying to handle the amount of sound hitting its small little microphone, and then listen back to audio this quality (as you're stating) and say this was worth going through the entire song to listen back to this, you must be kidding.
This is something that escaped the vaults, probably without their knowledge.
Huddled around a boom box listening back to this while theyre possibly spending money already putting this stuff together. For real?
@@DrTomoculus Dude. You really are funny.
A few things are apparent.
You're not a musician (at least not a serious professional or semi-pro, maybe you mess around on something now and then and maybe even take part in a garage Dad Band for fun on weekends... if so, cool, have fun), or a recording engineer, and have evidently never been in a rehearsal room with musicians doing serious work.
You're not really listening, a bad start to making public comments on the topic.
Just for a start- the comments about what funky noises and glitches you expect at the start. Listen and pay attention. Notice that the item we're talking about here is a recorded piece that starts immediately right on bar 1, beat 1 of the song. (If we really want to be exact about this, it isn't absolutely crisp... I checked this out, bar 1 beat 1 comes in 300 ms in.) This is a big clue. It tells you the obvious, that somebody who put this into a video to upload to CZcams, or perhaps someone before them, took the original source recording and extracted this in an edit for the kind of thing we have here that we're all listening to (whatever failures in listening some might have going). To spell this out a little more and belabor the point; if the band only wanted to grab a recording of this one song at the time, the tape was probably rolling for some time before they went into it. But, for that matter, this was probably somewhere in the middle of a tape that was just rolling continuously (cassettes were cheap)as people would do in rehearsals when people were capturing rehearsals on cassettes.
Did you notice you didn't hear a count in? Again... what band ever just launches right into it without a count to set the tempo and sync up? (But then you might keep at this and say something silly like "you almost never hear bands count it off on songs on records"... Yes. Because professional recording edits.)
Moving on; try to pay attention to the sound quality, quite apart from whatever warbles of wow and flutter and expected dropouts you think would be there.
There is massive distortion throughout, frequent hard clipping, and just overall, we have the sound of some cheesy cassette machine with AGC circuitry just extremely overloaded at all times dealing with what's pumping into probably a small room from a loud rock band and reducing everything to "full squash" of dynamic range at all times. Also, notice in particular how the low end and low midrange is just crushed and mangled in the frequencies where there is the most energy (and with monumental amounts of that from a loud rock band in a small room).
Stepping aside from the sound quality a moment, while it's a decent performance, again, actually try to listen, and notice Rabin goofing around... the silly Tarzan yell, the maniacal laughter hamming in the middle. Probably trying to crack each other up getting a little loopy after a few hours in the practice room. Seriously, do you really think this was supposed to be an even remotely serious recording? Repeating the fairly obvious to people who understand what we have here- it a band grabbing a rough working sketch for reference and critique in a practice room.
'ta :)
Well, you can definitely tell why they needed Trevor Horn and Jon Anderson. 90125 doesn't sound dated NOW, but this sounds pretty dated.
It sounds like a jazz fusion / prog rock mix . Trevor's album before yes was called wolf and it was a rock masterpiece with a heavy sound
らしい曲だが日の目を見ない。洗練されれば…
Fresh air / summer 2022
Barely adequate. Trevor is trying to sing too high. Sounds like someone other than Yes.
It's a demo. Duh.
It's not Yes.
Its Cinema