Ganz interessante Statements. Auch, weil ich hier zum ersten Mal bestätigt finde,
das Trevor Horn auf 90125 mitgesungen hat, und das es eine Studio-Aufnahme von
"We Can Fly From Here" für DRAMA gab. Gefunden auf:
http://www.bondegezou.co.uk/wnyesm.htm
Horn would be doing lead vocals on the song (with David remaining lead vocalist for the rest of the album), but they may no longer be the case as the piece has been expanded
Schade! (finde ich). Horn als Sänger für dieses (sein) Stück - das hätte mich gefreut.
The album takes its title from a new version of "We Can Fly from Here" (although Squire has been joking the album is called Odyssey Dawn, after The Daily Show joked "Odyssey Dawn" sounds like a Yes album title).
Horn and Downes first approached Yes in 1980 to offer them this song, and Yes recorded a studio version (the nearest to complete version clocks in at 6:24), but the song did not make it to Drama. It was played on the accompanying tour (with a live version available on The Word is Live; 6:46), during which Horn indicated the song would be on the follow-up to Drama, that of course never came. The Buggles subsequently demo'd a two part version; this can be heard as two bonus tracks on the recent re-release of Adventures in Modern Recording (Part I: 5:09; Part II: 4:02). However, on Fly from Here, the piece has now been expanded to be over 20 minutes long. In an interview in the Oct Classic Rock Presents... Prog, Squire is asked whether Horn will contribute as a writer and performer as well as producing. His reply: "He may! We've talked about recording a track which didn't end up on Drama called 'We Can Fly From Here'. We did it on tour and its time might have come.
Plus Trevor did backing vocals on 90125 anyway." At The Buggles show in Sep 2010, Horn said he was going to record "We Can Fly from Here" with Yes in early Oct. A 2010 report suggested
Horn would be doing lead vocals on the song (with David remaining lead vocalist for the rest of the album), but they may no longer be the case as the piece has been expanded. One Mar 2011 interview with White said the preliminary title for the album was Weekend Fly, but this could well be the journalist mishearing We Can Fly. In a Mar 2011 interview seemingly conducted early in the year, David said several titles were under consideration.
A Mar 2011 article (which may be sourced from a press release) quotes Horn and Squire:
The album originated from a conversation between Horn and Yes bassist Chris Squire, who re-discovered the song 'Fly From Here' and realized that it had never been recorded in a studio. "Chris and I were talking one evening about the song 'Fly From Here' that we never recorded," explains Horn. "I said I was prepared to spend two weeks with Yes recording that song. When I arrived in America to record it, I was taken prisoner by the band and only allowed my freedom again in return for producing the whole album. It was an offer I couldn't refuse!"
"Fly From Here" retains Yes' signature brand of mysticism and large-scale compositions. The record contains plenty of the complex arrangements, beautiful harmonies, and heavy riffs the band is known for. "The new album represents the best of Yes from the '70s and the '80s with a current twist," said Squire.
This 30 Mar 2011 interview with Squire has more:
“He [Horn] and I wanted to become involved in doing the newest album together, and so we had this idea to reintroduce a couple of ideas we hadn’t used back in 1980,” Squire said. “But we changed them a lot, obviously, from how they were then to bring them into the current genre of making a record.”
Most of the music on “Fly from Here” is newly written
In a 1 Mar 2011 interview, Howe described the new album:
we’ve just finished it and it’s not mixed, and some of it’s not actually finalised
[...]
th[e] team of Yes and Trevor [Horn] has a certain expectation. [...] the Drama era, obviously, gives him a lot of credibility. [...] Some of [the album] is written by Trevor, so he’s had quite a serious... large involvement in the album. [...]
Basically, there aren’t a lot of songs on it. I mean, what I’m hinting at is that one of them is a very long piece of music. It’s equal to the "Close to the Edge", Topographic, "Gates of Delirium" sort of scale of music that we haven’t done a great deal of in the last 20 years, I guess. So we’re excited about that.
It’s going to be a very vibrant album, it’s going to be very fresh, and, yeah, we’re hoping that people are really going to enjoy it. Because, in some ways, the last three albums didn’t make me very happy. [...] But we’re on a sort of nice thing here. And we think we’re got a really neat, stylish, clever album that is a little bit less expected. It's going to be hard to say if anybody quite expects us to come out with this album.
We’re really ready to mix it [...] [Horn] has tremendous awareness of the value of the musicianship in Yes, the songwriting style that has to come up to match that, and also [...] the production, [...] Yes was always on that leading edge of that technology and when Trevor got involved, it emphasised that.
[...] When the long pieces started [in the 1970s] [...] they used to pull pieces out of [as single releases, e.g. "Total Mass Retain"], and I dare say that the same thing will happen on [...] our new album, is that they will take the big piece and they will try to run with a couple of the short segments from it. I got no real problem with that because we won’t have destroyed the masterwork, if you like, y'know. It will still exist, but you will be able to hear segments from it. I think that’s quite fun. [...] I think one of the worst things that ever happened in Yes is when certain people in the band and certain people engineering and helping started to think if somebody would say this song is a single [...] that somehow the magic would happen and we would have a hit record. And time and time again, I saw people completely lose the heart and soul by trashing a song. Usually this song that was chosen... er... I can give you an example: “Finally” on Magnification [sic], for instance, or […] other songs were chosen on albums. And usually it would just be destroyed. Because of the quest for commercialism, the mistaken quest for commercialism, these songs would get trashed out. In other words, people would edit them, they would play rubbishy things on them [...] I don’t want to cheapen Yes. I don’t want to even say sorry for the 20 minute pieces [...] The hell with it. [...] We were uncompromising [in the 1970s]. [...] The way Yes gets success is through quality, and not necessarily commercialism. “Owner of a Lonely Heart” is a commercial song, there’s no doubt about it, and it’s just like on the borderline. You could say, although it did Yes a great enhancement by getting loads of people to listen to it, it also did a lot of damage because [...] the label want[ed] more and more songs like that [...] Basically, Yes became a kind of trashy pop band, for a moment. I think it’s a great album, 90125, I didn’t play on it [...] but there again it had this ‘sold out’ kind of thing, but it worked, it had a big hit record [...] I’d like to steer away from commercialism. And sure, we could have a number one single, but I don’t want it to be a compromise, y’know, I don’t want it to be a piece of bubblegum that guys of [...] 40, 50 and 60 years old are actually playing into the hands of commercialism. I don't want to do that.
