Styx has their own style of music, and I think that's justifiable, the same way that Asia and Yes have had - Yes particularly has a unique style that seems to have transcended all styles of music for 43 years.
The Buggles was much more a studio environment idea, which we never actually took on the road.
Still, we view that old material very much like we view the new material so if this gives us a chance to go out and promote it then, yes we will go out and do that.
With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.
We have always tried to treat every album differently and even from day one I think that each Asia album has been approached with care and thought and hopefully that shines through twenty years later.
I think when you follow a band, you're following a - and I don't like to use the term 'brand,' but you are following a kind of style, if you like. So I think you have to accept that there will be different people involved from time to time.
Now with Pro Tools, you can play with layers and 100s and 100s of tracks. When we used to do it back in the day, you had one shot, or you would have to wipe it and carry on over that track.
To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.
Well, I think that it is complicated in that the first four albums were all with Universal so they have the rights to that and therefore it is a lot easier for them to do that period.
I think that Yes' music is kind of on its own out there, and it goes through different chapters, and that involves different people. I don't think it's a case of 'any year is better than any other.' They can all co-exist quite comfortably.
I've always been fascinated with the juxtaposition of technology in music, not only in recording, but in the keyboard. It's amazing the way you can apply technology to an art form.
Ironically I think this is what sparked my interest in and passion for the NOAH, which is capable of creating all these old weird and wonderful sounds.
Just the actual physics of putting it all together, you know, the latter period is actually quite fragmented in terms of the licenses and all those things so it makes a compilation of the full twenty years really a technical minefield.
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