Geoff Dunn

Thursday, March 23, 2017 6:02 AM

I wrote the following Yes concert review in April 2012. Only half the article made it on to FY at the time, so here is the complete piece...

43 years, 8 months, and 1 day since their debut gig, YES finally played their first ever concert in New Zealand! Way back in 1973, they had been pencilled in to perform here on the 'Close to the Edge' tour, but it never eventuated -- although Australia did get included that time (and again in 2003 -- check out Brian Draper's 'YES in Australia' book for much more great reading about that). Since the 70s, many albums and tours followed, dozens of line-up changes occurred, capes and beards came and went, hair receded or turned grey... but still Kiwi YES fans had not been honoured with a visit by the band to our shores. The die-hards resorted to travelling the world to catch YES live wherever they could. When a concert date in Auckland was announced for 1st of April 2012, many thought it was some kind of elaborate April Fool's joke. Thankfully, the NZ YES show announcement turned out to be true!

Rock historians sharpened their quills in anticipation -- not only due to it being the debut appearance of YES in "The Land of the Long White Cloud", but it would also be their first performance with new singer, Jon Davison. The history of this band is almost as complex as their music, with many twists and turns, highs and lows, resignations and firings... but stalwart founding member, bassist / vocalist Chris Squire has remained "keeper of the flame". A few years ago when original singer Jon Anderson drifted away from the group (due to serious health issues and resistance to touring), it was either get someone else in, or call it a day. The latter was not really an option for Squire or hard-working Steve Howe (somebody give him a "greatest guitarist on the planet" award) so the group controversially drafted in Benoit David, from a tribute band spotted on YouTube. Benoit's time with YES was notable for his contribution to their excellent Trevor Horn produced 'Fly From Here' album, which broke their ten year studio release drought. He sang well with them for two tours as well, but alas, by the end of their 2011 jaunt, his voice had cracked with the strain of trying to replicate Anderson's alto-tenor. Quick action resulted in the recruitment of another "tribute" vocalist found on YouTube; Jon Davison (of Glass Hammer) so the band knuckled down for a few rehearsals with him before the already scheduled dates in 2012. The conveniently named singer also forced the "No Jon, No Yes" brigade to bite their tongues. As is usually the case with YES, the change did the band some good -- which brings us to the Auckland concert...

The audience of roundabout 1,200 patiently waited. Not only had the original 7:30 start time been knocked back to 8 p.m. but daylight saving had changed over, making it seem that everything was one hour behind. (Although this did ensure that the perpetually late Squire got to the venue on time). At last there was music to the ears -- strains of Benjamin Britten's "Young Person's Guide to the Orchestra" grew in volume as the auditorium lights dimmed. What followed was quite astonishing.

The 13-minute, yet timeless "Yours is No Disgrace" from 'The Yes Album' set the very high standard for the evening, with signature, adventurous arrangements and incredible guitar histrionics from Steve Howe, who was already being worshipped by many in the front rows... "Steeeeeve!" The punchy, concise "Tempus Fugit" followed, full of jaw-dropping bass runs, super-tight structure and rhythm. Squire, Howe, White, and Downes are all on 'Drama', the 1980 album it is taken from -- it would have been awesome if they played "Machine Messiah" too! "Your Move / All Good People" was next, winning the crowd over completely, as it has done at every YES concert since 1970! A favourite from the 'Fly From Here' album, "Life on a Film Set" was delivered with perfect precision, and then it was time for Mr. Howe to display his consummate skills on acoustic, with "Solitaire" and his brilliant showpiece "Clap". The only ingredient noticeably missing from "And You and I" was Rick Wakeman's unique keyboard flourishes, but it was still a great rendition. Being such a grand, trademark YES piece, it is one that most would be expecting to hear. Geoff Downes has a different style, but has remarkable expertise on the keys. He really shone on the new material, especially the epic "Fly From Here" suite which started the second set. Being over 20 minutes long and containing multiple weird time signatures (such as the squiggly "Bumpy Ride" section) it may have tested the attention span of some of the crowd. Come on newbies, pull your prog socks up -- UK audiences in December 1973 were left to sink or swim when YES played the entire 'Tales From Topographic Oceans' double LP live -- before it was even released!

Big ups to YES for performing most of the new album and not resting on their laurels like some nostalgia act. "Into the Storm" also had a whole new dimension to the studio version, with amazing instrumental interplay fleshing out the extended ending. "Wonderous Stories" was a real highlight, capturing the spirit of the original classic from 'Going for the One'. It was probably when "Heart of the Sunrise" kicked in that many realised just how mega powerful YES still are as a rock band. Squire's resounding Rickenbacker set the scene and YES magic ensued -- startling stuff! Alan White may not have all of the youthful energy and precision that he did on the 'Relayer' tour, but for a 63-year-old jet-lagged musician playing a very demanding 150 minute live set, his effort was phenomenal enough. (All you drummers out there -- just try playing "Heart of the Sunrise" once). The hit single from Trevor Rabin 80s era YES, "Owner of a Lonely Heart" seemed surplus to requirements, but Howe graciously delivered his interpretation on guitar, and the band rocked out for the ending. He saved his best playing for the "Wurm" section of "Starship Trooper", which was met with ecstatic response. Downes delivered a spectacular solo on his portable "keytar", Howe took the level up a few more notches on his Gibson ES175D and all four of the front line presented their "axes" in unison -- an ultimate prog moment! Rapturous applause greeted the band most of the evening but now the Auckland crowd was wildly enthusiastic, demanding an encore or ten. Yes responded with their 1971 chestnut "Roundabout" from 'Fragile'. At first there were no bass sounds emanating, so Howe led a loose jam while Chris Squire sorted out the problem. After a couple of minutes, Squire discovered it was simply a foot-switch had not been engaged and they powered back to start the song again.

If this first concert is anything to go by, Jon Davison has a very happy, exciting future with YES. He impressed everybody with his beautiful singing, hitting every note with ease, while exuding confidence and stage presence. The band played as a super-charged unit, full of energy and enthusiasm, clearly having a great time. Thanks for making the extra effort to get to New Zealand this time guys. Come back next tour? YES!

Paul Rogers

Wednesday, April 30, 2014 2:41 AM

My 6th Yesshow.

I first became a fan of the band in 1975 (at the age of 16) and by this show I'd previously only seen the band in 1994 (Greek Theater, LA), 2000 (Universal Amphitheater LA and Glen Helen Blockbuster Pavillion, Devore) and 2003 (Melbourne and Sydney, Australia). These were all great shows but for my 6th show the band would be playing in my hometown Auckland, New Zealand, for the first in their long, convoluted and illustrious career.
Who'd have thought that would ever happen?
When we bought tickets Benoit was still in the band and we watched nervously as his ill health plagued the later part of the European tour that year. Hopefully he would be ok? Would our show be cancelled?
Then it was announced that Glass Hammer vocalist Jon Davison would be taking Benoits place for the shows in our part of the world and we would be seeing Yes with a vocalist singing his first show with the band.
Cut to April 1st 2012.
The show was exceptional from the get-go. Jon Davison was excellent. The band played brilliantly and we got the full European setlist inc. FFH suite and a few other tracks from the (at that time) new album. YIND, Hots, Wondrous Stories, Starship Trooper (with a killer keytar solo by Downes and blistering solo by Howe) were all highlights ... and finally Roundabout.
The crowd (aprox 1200 in a cutdown 12K arena) went nuts.
Then, once it was over I took 10 friends backstage (thanks to Tour Manager Paul Silveira and Yesworlder Paul Secord for the passes) and, along with maybe 20 other folks, we got to meet all of the band.
Jon D came out first to a huge round of applause to meet everyone in a specially prepared backstage lounge. He was gracious, humble and glowing from the show. Then Alan White, Geoff Downes, Steve Howe and Chris Squire all joined us. All of them signed things, chatted and shared stories for quite some time. We got to meet Mumu (Jons wife) and Scotty (Chris' wife) and I even managed to thank Paul Silveira before we were ushered away into the Auckland night.
In the brief moment I had to speak one on one with Chris backstage, he admitted to me he was looking forward to working on new material with the new singer, Jon Davison.
And here we are a little over two years later with Heaven and Earth to be released on the 8th july 2014.

The New Zealand Herald

Wednesday, July 31, 2013 8:19 PM

"Concert review: Yes, Vector Arena"

Review by: Scott Kara

There are nine keyboards stacked three storeys high in a control centre configuration.

The trippy-meets-touchie feelie visuals on the big screen transport you back to a bygone era when flares were still in vogue and people walked around seeing double.

And the first song stretches out over 20-or-so spectacular minutes.

This is 70s prog-rock Yes-style, people.

And that first song, Yours Is No Disgrace, off 1971's The Yes Album, sets the tone for the show with sprawling, multi-layered songs that come in an array of parts and grand, epic endings.

Though the 70s survivors only play an intimate-sized Vector Arena set-up tonight, more than 40 years, 20 studio albums, and many of the longest songs ever to grace a hi-fi system later, they still have a devout following.

There's everyone from a dancing and flailing hippy, who doesn't stop moving for almost two and a half hours, to the bloke sitting next to me who brought his favourite Yes vinyl along in a hope of getting it signed.

And why not, because it is also the first time the band have played in New Zealand.

Apart from the six-part, 25-minute long title track off latest Fly From Here, which is a little out of kilter and torturous, it's thrilling and over the top.

The hammer and tongs proto-prog-metal of Heart of the Sunrise is relentless, as it spasms between heaviness and beautiful balladry, new singer Jon Davison (on his debut with the band tonight) is a powerful tranquillity on I've Seen All Good People (which featured in the film Almost Famous), and though 80s anthem Owner of a Lonely Heart sounds a little out of place it's great to hear that riff.

Though it's Davison's first show with the band, he does original singer Jon Anderson proud. And while he is a little tentative at times, the man who used to be in a Yes tribute band hardly misses a note, which is impressive considering these are hard and high songs to sing.

But it's Yes' old guard who drive the songs along. Keyboardist Geoff Downes is like an octopus as he reaches out around his control centre, drummer Alan White is a solid antidote to the pomp, founder and bass player Chris Squire is a typically propulsive presence, and the star of the show is guitarist Steve Howe who plays four different guitars, and a mandolin, sometimes all within one song.

Yes, this is impressive stuff, indeed.

Geoff Dunn

Friday, February 22, 2013 7:51 AM

43 years, 8 months, and 1 day since their debut gig, YES finally played their first ever concert in New Zealand! Way back in 1973, they had been penciled in to perform here on the 'Close to the Edge' tour, but it never eventuated -- although Australia did get included that time (and again in 2003 -- check out Brian Draper's 'YES in Australia' book for much more great reading about that). Since the 70s, many albums and tours followed, dozens of line-up changes occurred, capes and beards came and went, hair receded or turned grey... but still Kiwi YES fans had not been honoured with a visit by the band to our shores. The die-hards resorted to traveling the world to catch YES live wherever they could. When a concert date in Auckland was announced for 1st of April this year, many thought it was some kind of elaborate April Fool's joke. Thankfully, the NZ YES show announcement turned out to be true!

Rock historians sharpened their quills in anticipation -- not only due to it being the debut appearance of YES in "The Land of the Long White Cloud", but it would also be their first performance with new singer, Jon Davison. The history of this band is almost as complex as their music, with many twists and turns, highs and lows, resignations and firings... but stalwart founding member, bassist / vocalist Chris Squire has remained "keeper of the flame". A few years ago when original singer Jon Anderson drifted away from the group (due to serious health issues and resistance to touring), it was either get someone else in, or call it a day. The latter was not really an option for Squire or hard-working Steve Howe (somebody give him a "greatest guitarist on the planet" award) so the group controversially drafted in Benoit David, from a tribute band spotted on YouTube. Benoit's time with YES was notable for his contribution to their excellent Trevor Horn produced 'Fly From Here' album, which broke their ten year studio release drought. He sang well with them for two tours as well, but alas, by the end of their 2011 jaunt, his voice had cracked with the strain of trying to replicate Anderson's alto-tenor. Quick action resulted in the recruitment of another "tribute" vocalist found on YouTube; Jon Davison (of Glass Hammer) so the band knuckled down for a few rehearsals with him before the already scheduled dates in 2012. The conveniently named singer also forced the "No Jon, No Yes" brigade to bite their tongues. As is usually the case with YES, the change did the band some good -- which brings us to the Auckland concert...

The audience of roundabout 1,200 patiently waited. Not only had the original 7:30 start time been knocked back to 8 p.m. but daylight saving had changed over, making it seem that everything was one hour behind. (Although this did ensure that the perpetually late Squire got to the venue on time). At last there was music to the ears -- strains of Benjamin Britten's "Young Person's Guide to the Orchestra" grew in volume as the auditorium lights dimmed. What followed was quite astonishing.

The 13-minute, yet timeless "Yours is No Disgrace" from 'The Yes Album' set the very high standard for the evening, with signature, adventurous arrangements and incredible guitar histrionics from Steve Howe, who was already being worshipped by many in the front rows... "Steeeeeve!" The punchy, concise "Tempus Fugit" followed, full of jaw-dropping bass runs, super-tight structure and rhythm. Squire, Howe, White, and Downes are all on 'Drama', the 1980 album it is taken from -- it would have been awesome if they played "Machine Messiah" too! "Your Move / All Good People" was next, winning the crowd over completely, as it has done at every YES concert since 1970! A favourite from the 'Fly From Here' album, "Life on a Film Set" was delivered with perfect precision, and then it was time for Mr. Howe to dis

Gary Steel - Witchdoctor

Thursday, November 3, 2022 5:09 PM

Yes, Vector Arena, Auckland, Sunday April 1, 2012 – LIVE REVIEW
Written by Gary Steel on October 9, 2014

THESE ARE STRANGE times. Last week, three hippie pensioners called Crosby Stills & Nash performed at Henderson’s Trusts Stadium, and this week, one of the premiere ‘70s progressive rock bands, Yes, replete with a Jon Anderson imposter straight out of a Yes tribute band, did their thing to “half of Vector arena”; in other words, sections of the seating were draped and off-limits in accordance with the crowd numbers being rather smaller than those commanded a few weeks before in the same venue by Taylor Swift.

Still, it was a sizeable and appreciative audience for a group that never made it down to these parts in the heyday of progressive rock, and it demonstrated that – despite the erroneous vilification of the genre that came with the punk era and lingered on here years after it dissipated everywhere else – there are still ardent followers of the genre down here in New Zild.

Crosby Stills & Nash are a few years older than Yes, but unfortunately, the years have been less kind to them, and those dulcet three-part harmonies were frequently off-key or simply failing to fly. (Their concert did, however, have its moments. See my review of that over at Granny Herald, here. [Link] ) One of the several astonishing things about Yes – a band I had never considered for their harmony vocalising – is that their three-part harmonies were utterly brilliant. But then, almost everything they played or sang carried the signature of virtuosic and highly disciplined musicianship.

So, here we are at “half a Vector”. It’s 8pm, and there’s an orchestral fanfare building to crescendo before the band take the stage. (As with other Stetson Productions concerts, it seems support acts are surplus to requirements.) A projection above the band deftly mixes live performance action with psychedelic swirly colours, and adds considerably to the set-up; the frequent use of super-bright audience spotlights don’t.

The group begins with a 20-minute epic from one of their classic early albums (The Yes Album) and it’s captivating. I’ve tried to get into Yes over the years and never quite broken through the veneer, but on ‘Yours Is No Disgrace’, everything I love about progressive rock is in place: indescribable twists and turns and cool riffage and complex interweaving and a huge dynamic range and the inevitable roaring climax. This really is a rock orchestra in action, and all those pathetic pop groups that employ symphony orchestras to saw mindlessly through their ditties could learn a thing or two from Yes, who genuinely play “classical rock”.

On record, in my experience, too often Yes sound too nice. My favourite progressive rock bands are the ones with a very dark streak running through them: groups like King Crimson, ELP and Gentle Giant. Yes and Genesis, on the other hand, generally avoid the dissonance, the splenetic rupturing, the gothic horror element produced by those ungodly minor chords.

Having said that, in performance, the attraction of Yes was in full force. They came across as considerably more muscular than on record, with Chris Squire’s bass really scraping the depths, and Steve Howe’s guitar work simply godlike. Howe continued to wow the audience throughout the two-hour-plus set, including a sit-down solo acoustic interlude, and a seemingly endless volley of incredible notes during the course of the evening. Sometimes you could still hear the young guitarist who manned psychedelic groups Tomorrow in the late ‘60s, and there were echoes of Hendrix in some of the wah-wah sounds. Most of all, he came across with all the nimbleness and astounding ability of latter-day Jeff Beck, another guitarist who is at his best in his 60s.

This is a band whose essence was defined by the fragile high voice of Jon Anderson, whose lyrics sailed perilously close to New Age hogwash, but have to be commended for showing an ecological bent back when few knew what that meant. (At one point, to be a member of Yes you had to be a card-carrying vegetarian. Going by the portly disposition of bassist Chris Squire, I think that’s probably not a prerequisite anymore).

The really strange thing about Yes in 2012 is Jon Davison, whose first-ever gig with the band this is. He’s a young Californian who is dressed like a 1970s hippie, and sings just like Jon Anderson. Really. Visually, it’s strange: one young guy surrounded by grey-haired gents. Musically, it works, although you can sense Davison’s reticence on some songs to take the lead role.

The only real disappointment is Geoff Downes, who despite being surrounded on three sides by various keyboards (with his back turned to the audience) fails to ignite any synth or organ wonder in the manner of Rick Wakeman. Downes, it has to be noted, is a former member of Buggles and a relic from the 1980s version of Yes, the one that scored big with an untypical and still horrid hit single, ‘Owner Of A Lonely Heart’. At one point the group perform this atrocity, and it’s just as bad as it ever was, locked in its era and constrained by pointlessly robotic beats. (Interestingly, the group’s latest album is produced by Trevor Horn, the other Buggles member).

It’s a rare lapse. There are a few recent songs that don’t really go anywhere, or gel particularly well, and these include a too-long epic from their most recent album. It would be unkind to say that there wasn’t the odd moment of fabulous grandeur here, but it was as if, having written such a strong imprint in the ‘70s, they couldn’t quite find one that works for them all these years later. And frankly, I’m not surprised.

Overall, however, Yes at “half a Vector” simply scorched. Musical virtuosity is commonly derided as somehow being too clever-clever. I reckon people have come to dislike virtuosity because the attitude that music should be easy to play has taken root in NZ. And I reckon that’s to our detriment. Pretty amazing.

GARY STEEL

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Gary Steel has been penning his pungent prose for 40 years for publications too numerous to mention, most of them consigned to the annals of history. He is Witchdoctor's Editor-In-Chief/Music and Film Editor. He has strong opinions and remains unrepentant.

---

* The original review fell victim of a vicious hack attack on the Witchdoctor attack that effectively deleted this, and hundreds of my other live and album reviews. Here are a few of the comments that the original review attracted in the comments section, including those by Geoff Downes and Yes fanboys:
“Another useless review!! Just like your Crosby Stills & Nash hatchet job in the Herald. Factually inaccurate and unable to seperate your prejudices from the music in front of you.
Stick to your useless advertorials for Stereo gear Gary, the bob a job world of hack writing is all your suited to!!” – Bruce
“The reviewer also mistakenly pointed out that John Davison sounds exactly like Jon Anderson when if you listen, John Davison sounds very much like Trevor Horn and does an excellent job at sounding like Benoit David. But, on the YES material J.D’s note searching was more misses than hits and for his own vocal health may want to return to Glass Hammer asap.” – Nick
“What I look for in a review is informed, intelligent comment on an event, not someone propping up his ego by having a hack at someone infinitely more talented than himself.
Dude, what is your problem? Are you slagging Yes for not being like Taylor Swift? Are you slagging Geoff for being in the Buggles? What is the point of that?
Yes kicked ass on Sunday and Geoff did a fine job. It was so good to have the world’s primo prog band here in NZ at last.
Yes has been going strong, entertaining millions of people for 40 years despite vagaries of music fashion and belligerent reviewers. That’s more than most bands can claim. The music of Yes will still be enriching our lives long after the currently fashionable pop bands have vanished.
You didn’t have to buy a copy of 90125 to find out that Tony Kaye was on keyboards, not Geoff. Wikipedia is a handy resource for getting your facts straight before writing.
Your review tells us more about you than about the concert.” – Jim
“This is an excellent review and is heartening news for the Sydney concert. Having seen Drama in London in 1980, I’d say it’s a fair review as well. Particularly good news re Jon Davison’s vocals.” – Rubylou
“Saw Yes last November and Geoff was amazing and brought the gig alive. Totally agree re comments about the reviewer needing to get his facts straight! Really irritating review!” – Jon Glos
“Bitter? Chainsaw? Facts wrong? I think it’s a great review. There is one minor mistake and all you “Comic Book Guy” types are choking on your Milo!!!!??? A Google search finds Geoff was in Yes in 1980/81 and “Owner of a Lonely Heart” was released in 1983 – both happened in the ’80’s and the review doesn’t actually STATE that Geoff was IN THE BAND when “Owner…” was RELEASED, just that he’s a relic of the same Yes that was around in the ’80’s and released that song. Nothing really to get your pubes in a twist……..” – Leon
“I agree with Geoff in saying that when people are hired to review a concert, all of the data should be correct. I am not a big ‘Owner’ fan, but it was a massive hit all over the world. Would Lady Gaga, Justin Bieber, The Foo Fighters even, not play their massive hit song regardless of the musical merit (or lack of it) – it’s also a matter of musical perspective (think Abba – great musicians, songs which are catchy but well written, even though they are not my own personal cup of tea). I love Wakeman’s virtuosity, but Geoff is a craftsman of superb parts and arrangements, and hardly ever puts a foot wrong (check out his work in Asia – who I hope will visit us in NZ sooner rather than later).” – Steve Hubbard
“Looks like this music reviewer is like a weatherman. He can get his facts wrong and still get a paycheck. He’s definitively not a brain surgeon, thank God.” – Seamus McNasty
“Sorry Geoff, Have to agree with the reviewer.
In my opinion you did seem a bit lethargic behind the keyboards at the concert at Vector Arena. I would also have preferred it if you faced the audience. Perhaps a bit of jet lag flying all the way to NZ.
Agree with your comments re: factual inaccuracies of review. Would be great to see you and “Yes” perform “Machine Messiah”. – Keg
“Mr. Reviewer, you rank right up there with Comic Book Guy.” – Your Worst Nightmare

Gary Steel - Witchdoctor

Thursday, November 3, 2022 5:20 PM

Keyboardist poops on Witchdoctor reviewer!

Written by Gary Steel on April 14, 2012

Yes keyboardist heaps scorn on Gary Steel. The hapless reviewer responds.

I’D LIKE TO think it was friendly fire, but when you think about it, no matter how friendly the fire, the bullets still kill, Bill.

I’m talking about the right royal drubbing I got from a phalanx of Yes fans last week, after I reviewed the group’s concert at Auckland’s Vector Arena, which you can see here. [Link]

It started when keyboardist Geoff Downes, obviously having Googled the latest news on himself, weighed in with a review of my review on Witchdoctor, then went on www.yesfans.com to berate me, unleashing the scorn and opprobrium of the international hardcore Yes-loving community.

I don’t usually reply to critiques of my critiques, because I believe in free speech, and as Frank Zappa said, opinions are just like assholes… everybody’s got one.

In this instance, however, I feel a reply is warranted.

Firstly, I would like to point out that my review of the Yes show was OVERWHELMINGLY positive about the group and its performance. Few seem to have noticed that. In it, I tried to point out that progressive rock had had an even harder time of it in NZ than in many other countries, providing some context that the NZ Herald’s writer lacked. My verdict, right there at the end, was pretty clear:

“Overall… Yes at “half a Vector” simply scorched… Pretty amazing.”

However, current keyboardist Geoff Downes, in the “comments” section, wrote:
“Saw your review of the Yes Auckland show. Thanks for the support – ha-ha – not that I actually give a f**k. But… shame you got all your facts wrong – see, was never on ‘Owner Of A Lonely Heart’ nor 90125. Back to the homework before you review anything again I suggest. Nothing worse than getting your facts mixed up. Try Google as a starting point.”

Downes then went on www.yesfans.com and berated me some more, which set the whole pack of sycophantic fanboys against the hapless reviewer.

I was delighted to see Downes communing with his lowly subjects so freely, and also delighted to see such a free and open exchange of ideas and opinions on the Yes forum, and to see that the average participant was considerably more articulate than most fan site forums you’d care to take a look at.

What I found bizarre was that Downes – who obviously has a somewhat fragile ego – found it necessary to seek solace and emotional support from his fans, and that he would do so by misinterpreting and distorting the content of my review, and getting personal about me, and the Witchdoctor website.

What I found disturbing was that most of Downes’ minions acted like a sickening sycophantic chorus. (More about unbalanced fan/musician relationships below).

But let’s have a look at Downes’ grumbles. Were they justified? Did I get ALL my facts wrong, as he claimed?

Well, no, actually. I admit to one thing: I was tired when I wrote the review and in one hell of a rush (not Rush, natch), and although it’s not explicitly stated, one sentence suggests that Downes was the keyboardist on the original version of the dire ‘Owner Of A Lonely Heart’, when I meant to refer generically to the band around the time of that hit single, irrespective of whether Downes was in the band or not.

Downes picked up on this one “error by inference”, believes as a result that I’ve got all my facts wrong, and then suggests that – having made one inference in the review that could be interpreted as a mistake – my opinion is worthless.

Of course, it was his bruised ego talking. In a review that was incredibly positive about the Yes show in Auckland, my one real criticism was of Downes:

“The only real disappointment is Geoff Downes, who despite being surrounded on three sides by various keyboards (with his back turned to the audience) fails to ignite any synth or organ wonder in the manner of Rick Wakeman.”

I’m sorry if I hurt your feelings, Mr Downes, but you just weren’t that impressive the night I saw you play. (Although, having read posts from other fans who witnessed the event, I’m open to the idea that you may have performed some dazzling work that was either just inaudible to the audience, or sounded like shit. The thing is, while the sound mix wasn’t too bad on the night, it was a bit thin in the top end, and somehow, your keyboards came through all nasty and sharp and digital-sounding, and anything virtuosic you may have been performing just couldn’t be heard).

So Downes thinks that if a reviewer makes one mistake (even if it’s actually an erroneous inference), then anything else the reviewer has to say is a complete pile of doggy-do? Does that mean if he fluffs one line during a performance, then the audience has justification for thinking that whole performance was rubbish? I don’t think so. We’re all human, we all do make mistakes; that’s just part of the territory. And as any musician, or serious music fan knows, some of the best music comes out of performers fluffing their lines, especially if they have the balls and talent to go wherever that “mistake” takes them, as in an improvisation.

It’s not really Geoff Downes’ attitude that disappoints me here, but the attitude of his fan-boys. Over the more than 30 years I’ve been writing about musicians, I’ve rarely met one that didn’t have a healthy ego, or the need to supplement that ego with fulsome praise. So it’s part of the territory. Unfortunately, what’s also part of the territory in these unbalanced times is an attitude that one’s favourite musicians are somehow godlike, that they can do nothing wrong, that they’re above criticism, and that unlike us, they NOT FLAWED.

Maybe it’s a hangover from a hundred years ago when we still thought the British royalty were replete with some quality that made them better, more important than us mere serfs. Or perhaps it has something to do with the cult of celebrity that is rife in society. Whatever, it’s sad, and somewhat alarming.

At least I can say with pride that amongst my friends are a bunch of musicians who I love and respect, but who know I don’t think they’re any more important than any other special friends, and who know that if they ever release a crap record or play a crap performance that I’ve witnessed, I’ll be duty bound to report on that. That’s friendship, not idolatry.

So, then, what to make of all this?

It’s unfortunate that Geoff Downes found it necessary to respond to a criticism of his performance a) by seeking emotional solace in the arms of his serfs, and b) by resorting to personally attacking me, and the website I wrote the review for, Witchdoctor. And it’s an even greater pity that so many Yes fanboys followed by accepting Downes’ verdict, without even reading my review properly, or bothering to think it through. Notably, few of them saw the performance; I did.

I’ll finish by answering a few specific charges by those fanboys:

“Looks like this music reviewer is like a weatherman. He can get his facts wrong and still get a paycheck.” – Shamus McNasty

I don’t get paid for Witchdoctor reviews. I write them because I want to, just like you write about what you want to on sites like www.yesfans.com.

“Bitter? Chainsaw? Facts wrong? I think it’s a great review. There is one minor mistake and all you “Comic Book Guy” types are choking on your Milo! A Google search finds Geoff was in Yes in 1980/81 and ‘Owner Of A Lonely Heart’ was released in 1983 – both happened in the ‘80s and the review doesn’t actually STATE that Geoff was IN THE BAND when ‘Owner…’ was RELEASED, just that he’s a relic of the same Yes that was around in the ‘80s and released that song. Nothing really to get your pubes in a twist.” – Leon

Thank you, Leon.

“This is an excellent review.” – Rubylou

Thank you, Rubylou.

“He says that Yes never was very good with harmonies?” – Tim

No, Tim, I said that Yes were “a band I had never considered for their harmony vocalising… their three-part harmonies were utterly brilliant.”

“It’s a pity that some reviewers have to prop up their egos by having a crack at someone more talented than themselves.” – Strat

It always amazes me that fanboys just know that I’m just a talentless hack who desperately wants to be a touring musician with a three sided-keyboard rig. Strat, I’m completely at one with myself, but thanks for your concern.

“No problem if someone slags you off. I can take it… But IMHO, when you bring it on, you gotta have your facts abso watertight, otherwise you end up looking a complete knob like this geezer who assumed I was on 90125 without dong his research. Can’t take him seriously as a result. Wrong – chum! I let him know that on his crappy little website…” – Geoff Downes

So, Geoff, you’ve never fluffed a line on stage? And would you like to clarify why you think Witchdoctor is a crappy website, or were you just pissing in the wind with that comment?

“Haters gonna hate Geoff! Ignore them, you were the star of the show when I saw Yes last year…” – Tommy Topographic

Sycophant.

“I read the guy’s review of the Crosby, Stills and Nash concert in NZ. He stated that they played ‘Suite: Judy Blue Eyes’ at the show for the first time in 20 years. The single comment of the review reads as follows: “Went to their last gig in Auckland about four years back. They sang ‘Suite Judy Blue Eyes’ then, not 20 years ago.” – Bobby Dread

That’s right, Bobby, try to debunk the reviewer in any way you can. During the CS&N show, they said that it was the first time they had attempted to perform ‘Suite: Judy Blue Eyes’ in 20 years, and to go easy on them. I have no idea if they lied to their audience, as I didn’t get to see them on their previous tour.

“Ahhh, don’t pay any attention to reviews like that Geoff. The audience is what counts and the audience LOVED THE SHOW!” – True Believer

And if you, True Believer, had read my review, you may have noticed that I loved the show, too.

Finally, here’s an extract from an email “review” sent by a friend who saw the show in Auckland. I thought that some of you, at least, might find it amusing. It’s by a well-known NZ writer who has agreed not to remain anonymous (thanks, Mr David Slack):

“Steve Howe was marvellous. He played several guitars and did impressive things with all of them, but the one he used most, and sounded Just Like The Record, I actually looked up next morning. It’s a Gibson, it’s his favourite and he has been playing it for more than 40 years.

They played a few from The Yes Album and Fragile, a few from the new one, plus a bit from Close to the Edge and Going for the One.

That was enough to make me glad I was there.

On the other hand: Chris Squire looked like a buxom blinged-up middle-aged barmaid and he had a fucking wind machine blowing his hair. That was even worse then seeing The Buzzcocks with beer guts a couple of years ago.

They got their replacement vocalist from a tribute band, and so instead of a sort of Robert Plant with his balls being squeezed, you had this fey long-haired 30 year old man from LA dressed for 1968 and simpering. So that kind of let the air out the tires.

I was truly looking forward to seeing if they would get a proper audience, and what it might be composed of. The answer was: just enough to go ahead, and: what you might expect if you had a game of Dungeons and Dragons for a couple of thousand people. During a dull bit I actually counted them, one by one. 1400.

Also they had Powerpoint, or a screensaver, as backdrop, but neither of us had brought any drugs with us, sadly, so it was wasted on us. We were glad to see there were no bullet points.”