Forgotten Yesterdays
Concert |
 | Yes |
Date
| Saturday, June 29, 1991 (28 years and 17 days ago) |
Location
| London, England, United Kingdom |
Venue
| Wembley Arena (12,000 capacity) |
Lineup
| Jon Anderson (Vocals) |
| Bill Bruford (Drums) |
| Steve Howe (Guitars) |
| Tony Kaye (Keyboards) |
| Trevor Rabin (Guitars) |
| Chris Squire (Bass) |
| Rick Wakeman (Keyboards) |
| Alan White (Drums) |
Setlist
Videos |
Yes Live: 6/29/91 - London - And You And I | Yes Live: 6/29/91 - London - Changes (recording #1) | Yes Live: 6/29/91 - London - Changes (recording #2) | Yes Live: 6/29/91 - London - Drum Duet (recording #1) | Yes Live: 6/29/91 - London - Drum Duet (recording #2) | Yes Live: 6/29/91 - London - Introductions | Yes Live: 6/29/91 - London - Shock to the System |
Memorablilia | Total: 3 |
 Ticket Stub Mark Watterson |  Ticket Stub Terry Martin |  Ticket Stub Terry Martin |
Reviews |
Saturday, April 6, 2013 1:04 AM
The first and second nights at Wembley were the strongest in this leg of the Union tour, and I was fortunate to have good, side-on terrace tickets for both of them. Though the sound in a large arena like this can be a little more ‘boxy’ further up, you get a good view of the in-the-round set up.
This evening the big band Yes squeezed every bit of musical emotion out of a take on ‘Awaken’ that clocks in at around 19 minutes, as against the 15-minute album version.
The spacey harp and keys middle section provides both a breather and a contrast to the growing tension and release of the main themes in this expanded arrangement – particularly the fabulous climax on synthesised organ, augmented by Howe’s almost trumpet-like guitar counterpoints and Rabin’s quiet but fast background figuration that provides a come-down into the conclusion.
Sometimes Rabin’s manic and mannered style, seemingly alternating bits of Mahavishnu, Vai, di Meola and blues, grates with me. But tonight, outside his stand-out ‘moments’, he seemed to blend better with the ensemble sound.
The overall power and energy of tonight's concert was wonderful, perhaps aided and abetted by the knowledge that they were recording – though in the end, the hoped-for live album did not emerge.
This evening the big band Yes squeezed every bit of musical emotion out of a take on ‘Awaken’ that clocks in at around 19 minutes, as against the 15-minute album version.
The spacey harp and keys middle section provides both a breather and a contrast to the growing tension and release of the main themes in this expanded arrangement – particularly the fabulous climax on synthesised organ, augmented by Howe’s almost trumpet-like guitar counterpoints and Rabin’s quiet but fast background figuration that provides a come-down into the conclusion.
Sometimes Rabin’s manic and mannered style, seemingly alternating bits of Mahavishnu, Vai, di Meola and blues, grates with me. But tonight, outside his stand-out ‘moments’, he seemed to blend better with the ensemble sound.
The overall power and energy of tonight's concert was wonderful, perhaps aided and abetted by the knowledge that they were recording – though in the end, the hoped-for live album did not emerge.
Joe Shelby:
A note on the bootlegs: The radio show was broadcast in America on Westwood One's Superstars Concert Series, hosted by former MTV VJ J.J. Jackson. I have official copies of the original discs (2 discs, with the original commercials and rap sheet). Fortunately, he only talks over the audience applause. The three single-disc boots are all likely unofficial copies of that radio show recorded off-air. Even on the original, the sound mix gets increasingly "muddy" on the second disc.
The 2-disc Say Yes boot is an audience recording, and as is typical of battery-driven cassettes of the day, the songs tend to get slightly higher and faster (as the tape heads slow down). Its not all that noticeable until one compares to the SSC show or really knows the original pitch.
The 2-disc Say Yes boot is an audience recording, and as is typical of battery-driven cassettes of the day, the songs tend to get slightly higher and faster (as the tape heads slow down). Its not all that noticeable until one compares to the SSC show or really knows the original pitch.
Steve Meston:
Strange the odd things one remembers..........Before the gig started and whilst the auditorium was filling up, a voice came over the P.A. 'Would Nina Wakeman please go directly to the backstage area, Rick's clean underpants are in your handbag!!!'
Koldo Barroso:
I remember the round stage would stop spinning for all over the Chris Squire solo, so we were in front of him and were very lucky!!!.
Moonlit Knight:
Well, folks, back from another bootleg foray to the vicinity of NYU in New York City. Having heard so much good stuff about it, I got Say Yes, the Union bootleg and it is as good as everyone says it is. Listening to it, I was sort of reliving that whole Union thing. In some songs Bill isn't as quiet as you would think, like Yours is no Disgrace -- especially in the introduction. You can always hear him because his whole kit except the snare is electronic. Alan really is over-thunderous. As a matter of fact I am hearing the 'other' musician more and more (Trevor is quietly arpeggiating in the quiet section of Awaken, etc.) The drum duet is pretty good, better than I remembered it. Maybe it's the recording but Lift Me Up doesn't sound so good to me live, but Awaken sounds great.
Announcements |
before 'Shock To The System'
transcribed by: Immo Hagemann
Jon Anderson:
Thank you so much! Thank you for being here this evening. It's great to be with you. We're just gonna loosen up a bit and you know, get into some sort of, you know, stuff. Here's a song from the new album. The song is called 'Shock To The System'. Shock to the rights of mankind. Shock to the politician.
Thank you so much! Thank you for being here this evening. It's great to be with you. We're just gonna loosen up a bit and you know, get into some sort of, you know, stuff. Here's a song from the new album. The song is called 'Shock To The System'. Shock to the rights of mankind. Shock to the politician.
before 'Heart Of The Sunrise'
transcribed by: Immo Hagemann
Jon Anderson:
Thank you. From a very new song to a song that we always seem to have to play as we travel around. Still trying to figure out all the lyrics. Sharp. Distance and then you wake up and dream.
Thank you. From a very new song to a song that we always seem to have to play as we travel around. Still trying to figure out all the lyrics. Sharp. Distance and then you wake up and dream.
before 'Clap'
transcribed by: Immo Hagemann
Jon Anderson:
I think we actually wrote that song somewhere down in Devon and it made us feel that sometimes the city can be a bit overpowering sometimes. It's a pleasure to be with you this evening. It's also a pleasure to introduce, on acoustic guitar, maestro, Mr. Steve Howe!
I think we actually wrote that song somewhere down in Devon and it made us feel that sometimes the city can be a bit overpowering sometimes. It's a pleasure to be with you this evening. It's also a pleasure to introduce, on acoustic guitar, maestro, Mr. Steve Howe!
before 'Make It Easy'
transcribed by: Immo Hagemann
Steve Howe:
Thank you! Great to be back in London. Thank you very much!
Thank you! Great to be back in London. Thank you very much!
before 'And You And I'
transcribed by: Immo Hagemann
Jon Anderson:
Thank you very much, thank you! As the old saying goes, you're never alone. As the old saying goes. I'm trying to think of it, folks! You can lead a horse to. Everything improves with age! Especially trying to get this next song right. Really a wonderful piece of music to play. It's been with us for a long time.
Thank you very much, thank you! As the old saying goes, you're never alone. As the old saying goes. I'm trying to think of it, folks! You can lead a horse to. Everything improves with age! Especially trying to get this next song right. Really a wonderful piece of music to play. It's been with us for a long time.
before 'Changes'
transcribed by: Immo Hagemann
Jon Anderson:
Hear it to the thunder machine, Mr. Alan White! On the electronic drums, Mr. Bill Bruford! The unbelievable, the original, the very naughty, the man who never says no. Mr. Tony Kaye!
Hear it to the thunder machine, Mr. Alan White! On the electronic drums, Mr. Bill Bruford! The unbelievable, the original, the very naughty, the man who never says no. Mr. Tony Kaye!
before 'I've Seen All Good People'
transcribed by: Immo Hagemann
Jon Anderson:
We're get to some sort of audience participation turn. We are recording tonight! We are recording. Yes! [???]. This is going straight down the hall onto vinyl. One track! Actually we are recording a million tracks of digital, so all you need to do is just sing along to this next song, okay? To the key of E!
We're get to some sort of audience participation turn. We are recording tonight! We are recording. Yes! [???]. This is going straight down the hall onto vinyl. One track! Actually we are recording a million tracks of digital, so all you need to do is just sing along to this next song, okay? To the key of E!
before 'Solly's Beard'
transcribed by: Immo Hagemann
Jon Anderson:
Thank you very much, thank you! Thank you so much. And now, of course, the secret is out. This gentleman's hobby, we always wondered what is was and now we know. He makes stools! Very nice, very nice, sort of. Very nice! You got four legs this time! It used to be three-and-a-half legs, you got four legs, you're coming along!
Trevor Rabin:
[???]
Jon Anderson:
He's also a workaholic, like most of us, you know. But spends so much time in the studio. Playing so many kinds of music. He's also an incredible guitar player. Mr. Trevor Rabin!
Thank you very much, thank you! Thank you so much. And now, of course, the secret is out. This gentleman's hobby, we always wondered what is was and now we know. He makes stools! Very nice, very nice, sort of. Very nice! You got four legs this time! It used to be three-and-a-half legs, you got four legs, you're coming along!
Trevor Rabin:
[???]
Jon Anderson:
He's also a workaholic, like most of us, you know. But spends so much time in the studio. Playing so many kinds of music. He's also an incredible guitar player. Mr. Trevor Rabin!
before 'Long Distance Runaround'
transcribed by: Immo Hagemann
Trevor Rabin:
Thank you very much! Great to be back here again! Thank you.
Jon Anderson:
There was a time, there was a time when I could really play the guitar about 20 years ago. In fact I play it, I play it like 20 years ago and at least it got me through one or two songs and here's one song, pardon? [???] I wrote this song after breakfast one morning and in fact, it was a Saturday morning, probably about 20 years ago and it went something like this. In fact, it went like this! Waiting to feel the love, that sort of thing. So, afterwards [???] about two o'clock, cause we always worked every day. Never had a day off! Yes we do! Once a month, great. Went off to the studio, two o'clock, Steve was there. Rick was there. Bill was there. Two o'clock sharp! Then about twentry past two, actually it ws twenty past five. Well we're being friendly, because it's his home town, Wembley. Okay, about twentry past two Chris came. The following day and lo and behold, our silly song like..do you remember that one? We made it sound remarkably like this.
Thank you very much! Great to be back here again! Thank you.
Jon Anderson:
There was a time, there was a time when I could really play the guitar about 20 years ago. In fact I play it, I play it like 20 years ago and at least it got me through one or two songs and here's one song, pardon? [???] I wrote this song after breakfast one morning and in fact, it was a Saturday morning, probably about 20 years ago and it went something like this. In fact, it went like this! Waiting to feel the love, that sort of thing. So, afterwards [???] about two o'clock, cause we always worked every day. Never had a day off! Yes we do! Once a month, great. Went off to the studio, two o'clock, Steve was there. Rick was there. Bill was there. Two o'clock sharp! Then about twentry past two, actually it ws twenty past five. Well we're being friendly, because it's his home town, Wembley. Okay, about twentry past two Chris came. The following day and lo and behold, our silly song like..do you remember that one? We made it sound remarkably like this.
before 'Lift Me Up'
transcribed by: Immo Hagemann
Jon Anderson:
The amazing bass man. Mr. Christopher Squire! Woo! Here's a new song! Lift me up! Lift me up! Lead me on
The amazing bass man. Mr. Christopher Squire! Woo! Here's a new song! Lift me up! Lift me up! Lead me on
before 'Wakeman Solo'
transcribed by: Immo Hagemann
Jon Anderson:
Mr. Rick Wakeman.
Mr. Rick Wakeman.
Fan Recordings |
| Audience 155 min (Audio) |
| Radio Broadcast 90 min (Audio) |
Bootlegs | Total: 5 |
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Official Releases | Total: 1 |
| Union Live (2011 Album) Yes
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