1.01 Firebird Suite (1.18)
1.02 Siberian Khatru (10.24)
1.03 Rhythm Of Love (6.23)
1.04 ...Jon tries German & about Paul Simon (0.51)
1.05 America (10.17)
1.06 ...Jon introduces Steve & Billy (1.17)
1.07 Open Your Eyes (5.01)
1.08 ...Engineer Eddie, a long time ago (2.04)
1.09 And You And I (10.20)
1.10 ...Wild Franconian crowd (0.48)
1.11 Heart Of The Sunrise (11.06)
1.12 ...Crowd ~ thank you (0.57)
==============================
2.01 ...Jon introduces Steve (0.27)
2.02 Mood For A Day (3.43)
2.03 Diary Of A Man Who Vanished (2.31)
2.04 ...A song dedicated to my son (0.49)
2.05 The Clap (3.40)
2.06 ...Applause ~ Jon about duet & Duett in German (1.18)
2.07 From The Balcony (2.36)
2.08 ...Tiny cows/klitzekleine Kühe in Switzerland (1.15)
2.09 Wonderous Stories (3.44)
2.10 ...Jon introduces Igor (1.02)
2.11 Igor Khoroshev Keyboard Solo (2.18)
2.12 Long Distance Runaround (3.58)
2.13 The Fish (Schindleria Praematurus) Chris Squire bass solo (5.33)
2.14 Alan White Drum Solo ~ Ritual (3.49)
2.15 ...Jon introduces Chris and Alan (0.38)
2.16 Owner Of A Lonely Heart (6.09)
2.17 The Revealing Science Of God (20.17)
2.18 ...Great to do the song "Revealing" 25 years later (1.13)
==============================
3.01 ...Sing along with our last number (0.53)
3.02 I've Seen All Good People (7.01)
3.03 ...Applause & crowd noise (2.12)
3.04 Roundabout (8.15)
3.05 ...Crowd noise and a single note (0.43)
3.06 Starship Trooper (12.55)
3.07 ...Final applause & crowd noise (1.43)
==============================

YES "30th Anniversary Tour"
- March 24, 1998 - Oberfrankenhalle, Bayreuth, Germany
** Audience DAT master, MWM 0106 **
>> A MUST-READ ! with JON ANDERSON in Richard Wagner's hometown - UNCIRCULATED << with samples

Preliminary remark 1:

Over the last years there have been lots of interesting YES uploads, thanks to all the tapers and uploaders. Some of the most outstanding uploads were done by TheTooleMan...
and Jim Fiesler's (undiscokidd) ALD recording from Clearwater, FL 2002, uploaded by my dear old buddy TheCommish back in October, led our interests back into our own vaults.
BIG THANKS for all your work on DIME... this here is for you, and all the uploaders and supporters of YES, their past & present bandmembers and all their timeless music..

Preliminary remark 2:

Another series of thanks goes out to all the taper and uploader of the recent YES tour. One of the best recordings IMHO is November 21, Atlantic City by jerseyboy - THANKS, MY FRIEND!
Interesting to read all the comments and viewpoints concerning the absence of Jon Anderson, the "new" lineup, about ethics and loyalty, the use of the bandname "Yes" without Jon, etc.
And funny how the setlist shrinks...nearly from show to show...

Preliminary remark 3:

All the best to Jon Anderson - sad to hear about his health problems...so let's all hope that finally all troubles & problems can be solved for the "50th Anniversary Tour" in 2018...
Our crutches & walking aids are prepared, and our wheelchairs are pimped with a central lube system...

This recording here comes directly from the "Men With Microphones" archive. "MWM" started in the 70ies in South Germany with analog recording equipment, and at least two of them are still recording sometimes (since the 90ies on DAT, and, lazy as we are, since lately with small, handheld WAV-recorders on SD-cards). The "MWM" startet as a project of friends sharing their hobbies together. But by reason of jobs, partners and other interests the circle of all involved shrinked.

Parental Advisory:

This is a damn long description. PROMISED! So if you get tired reading - stop it, take a nap - and then proceed... I tried to eliminate all indexed four letter words and ugly sexual behaviour descriptions. But i did not eliminate all the fun we relived during mastering, tracking and transferring. Some of the fun can be found in this following description. Enjoy !

About Bayreuth, the tour and the venue :

Bayreuth is a city in northern Bavaria, Germany, on the Red Main river in a valley between the Franconian Jura and the Fichtelgebirge. It is the capital of Upper Franconia and has a population of more than 73.000 citizens (in 2008).

The city is best known for its association with the composer Richard Wagner, who lived in Bayreuth from 1872 until his death in 1883. Wagner's villa, "Wahnfried", was constructed in Bayreuth under the sponsorship of King Ludwig II of Bavaria, and was converted after World War II into a Wagner Museum. To the north of Bayreuth is the Bayreuth Festspielhaus, an opera house specially constructed for and exclusively devoted to the performance of Wagner's operas. The premieres of the final two works of Wagner's Ring Cycle; of the cycle as a whole; and of Parsifal took place here.

Every summer, Wagner's operas are performed at the Festspielhaus during the monthlong Richard Wagner Festival, commonly known as the Bayreuth Festival. The Festival draws thousands of attendees each year, and has consistently been sold-out since its inauguration in 1876. Currently, waiting lists for tickets can stretch for up to 10 years or more.

SO TICKETS FOR YES ARE WAY EASIER TO GET...IF THE COMPLETE TOUR ISN'T SOLD OUT...LOL!

Talking about YES: it's true that some of the musicians are fans of Richard Wagners music. And the story was spread between some journalists & radioguys long before the gig that it was a special wish from the band or their management to play Bayreuth during their "Open Your Eyes" tour, a tour that was specially planned for the smaller to no more than mid-sized concert halls in Germany, average was under 3000 visitor per place, at venues that they played just once for this tour and then never again. Sadly there was ABSOLUTELY NO WAY to fulfill their wish to play at Wagner's Festspielhaus - NO Wagner music and some Stravinksy intro is a "NO-GO" there - so they took the next best opportunity, Bayreuth's Oberfrankenhalle (with max. 3500 seated attendees).

On their way from Hannover, where they had played the night before, to the venue in Bayreuth they did a little Richard Wagner motivated sightseeing tour. Sadly the Festspielhaus was closed and they had just the chance to visit it from the outside, same was with Villa "Wahnfried", as time was running short for a closer view into the museum before the scheduled soundcheck.

The Oberfrankenhalle is a typical multifunctional sports hall, a typical end-seventies/early 80ies (and, not just architecturally, quite ugly) concrete building with some glass elements, planned not only for athletic events and sport, also for exhibitions and conferences; the sound inside for rock concerts is more or less satisfying, like in most of those multi-purpose sports arenas it depends to a large extent with your own place of viewing/listening. But through this kind of construction there is a fair amount of reverberations probably unavoidable ... and in this special case some structural components induced some severe resonance frequencies...more in the recording description.

Added in the folder are a couple of pics of the hall, inside, outside and a seating plan. Plus i've added a German tourposter, a ticketscan and a stagephoto of YES in full heat i found on the net...

More useless & funny informations:

We love those Anderson brothers. Both of them. The elder one, John Roy Anderson, born on October 25, 1944, is an English musician, best known as the lead singer of the progressive rock band Yes. Ian Scott Anderson, born August 10, 1947 in Dunfermline, Fife, Scotland is a Scottish singer, songwriter and Multi-instrumentalist, best known for his work as the head of British rock band Jethro Tull.

WHAT ? YOU NEVER HEARD THIS STORY ? ARE YOU KIDDING ME ?

It may be true that they have completely different parents, that they do absolutely NOT share the same blood - BUT they are truly related, genuine brothers IN MIND, at least for all of us in the Nuremberg region - here is the real confirmation of my spaced out proposition:

Around the mid-70ies both bands played Nuremberg for their first time. Not together, seperate concerts, both as "headliner". Ever heard about world famous "Messehalle" in Nürnberg ? Not necessary to write a simple word about it. But nearly everybody born in the 50ies and interested in rock music has his stories to share about good old "Messehalle", the only venue in the whole region with a capacity of > 5000 for the "big acts". It became a whole lot better in later 1977, when the "Hemmerleinhalle" in Neunkirchen am Brand, 20 kilometers north of Nuremberg out in the country, became "our" HOME OF ROCK.

But back to the concerts of Yes and Jethro Tull @ Messehalle. Must have been a bunch of both, shocking and frustrating, occurrences for both bands playing there, mainly the extremely shitty sound in the room...

So, independently of each other, both bands decided NOT TO PLAY NUREMBERG AGAIN - FOREVER...

Both announced their statement in funny press conferences, and it was spread nationwide in newspapers and magazines.

In the case of the younger Anderson brother, Ian and his band Jethro Tull, it took more than 25 years before they played their "next" concert inside the CITY LIMITS of Nuremberg. Concert visitors had to travel around, closest they came during this everlasting absence was Stadthalle in Fürth. And although meanwhile Fürth and Nuremberg are close-knit, they are two different cities with lots of rivalry - not only between their soccer clubs. THE POINT WAS: IT WAS NOT NUREMBERG...according to Tull's Ian Anderson.

Now talking about brother Jon and the whole YES gang: the famous "Messehalle" concert was on November 19, 1977 (with support act Donovan) during the "Going For The One" tour and is documented in it's entirety on the Highland HL390/391 release "Going For The Germany" on a 2 CD Set.

AND THIS CONCERT WAS DEFINITELY THE LAST NUREMBERG YES CONCERT...SO FAR !

And the closest venue they played inbetween was...guess what ? FÜRTH in 2000...lol!

There was NO German leg of the "Tormato" tour 1978/79 and the "Drama" tour 1980.
The closest "90125" tour gig (smallest German venue on this tour): June 30, 1984 - Würzburg @ Carl-Diem-Halle.
Again there was NO German leg of the "Big Generator" tour 1987/88.
The closest "Anderson Bruford Wakeman Howe" tour gig 1989/90: November 17, 1989 Würzburg @ Carl-Diem-Halle
The closest "Union" tour gig 1991/92: May 30, 1991 Munich @ Olympiahalle
Again there was NO German leg of the "Talk" tour 1994.
The closest "Open Your Eyes AKA 30th Anniversary" tour gig 1997/98: THIS ONE HERE !
The closest "The Ladder" tour gig 1999/2000: March 17, 2000 Fürth @ Stadthalle
The closest "Magnification" tour gig 2001: November 14, 2001 Frankfurt/Main @ Alte Oper
The closest "Full Circle" tour gig 2002/03: Juli 09, 2003 Munich @ Tollwood Festival
The closest "35th Anniversary" tour gig 2004: June 10, 2004 Munich @ Olympiahalle

SO YOU'VE GOT THE DETAILED ACKNOWLEDGEMENT THAT BOTH ANDERSONS ARE CLOSER RELATED THAN SO FAR KNOWN !

About the concert:

While many bands like Yes have been through serious changes, their lineup - with its starts, stops and interludes - is once again whole with Jon Anderson, Steve Howe, Chris Squire and Alan White forming the backbone. The band was revitalised through a variety of inter-related circumstances in 1996. Contributing factors likely include a large and extremely loyal - even intense - fan base, a (speaking for the German leg 1998) completely soldout reunion tour - looking at the concert poster enclosed you'll find out they had to add two more German concerts after the print, Circus Krone in Munich on April 03, and Oberschwabenhalle in Ravensburg the day after...

The tickets were some of the most expensive we've bought in the 90ies, so we hoped it would be a good show. Good connections got us great seats, front row section in the middle, too. It turns out that the seats around us had been sold to a crowd of longtime and loyal Yes fans, knowing to behave well - almost no damn in-between-music clappers & talkers, singers/hummers/yellers/criers/whistlers...

We learned upon our arrival that getting good seats is really important. The centre section close to the stage is the place to sit for a band like Yes. Forget anything on the side; you can't see anything because the huge speaker arrangement would be in the way.

At about 8:15PM, the "Firebird Suite" excerpt that was used to open usually a Yes show came on and the lights went out. Fond memories from years ago came into my mind as the current members of Yes walked onto the stage and took their position. In a comment recently i read "the band came out hungry - no costumes or light show really, just balls-out playing ... the venue just burned, one of the best shows I've seen..." - NOTHING TO ADD TO THIS STATEMENT - IT WAS SIMPLY KICKING ASS !

The recording faded out and the show opened with "Siberian Khatru" to absolutely wild acclaim. The Yes fans from the southeastern part of Germany were all here. And wow were we in for a show.

For this tour, the band included official members and their new keyboard player who at this time was still a "guest." Jon Anderson sang lead vocals and jumped in with percussion and guitar at times. Steve Howe played a vast array of lead guitars as always and sang as well. Chris Squire delivered vocal harmonies and played his almost-unique lead guitar version of bass complete with pedals. Alan White played drums. New Yes member Billy Sherwood joined in for vocals and played a backing kind of guitar except for one riff. Igor Khoroshev played keyboards and sang backing vocals as well.

The band were all in top form, but Howe and Squire won our votes for the stars of this show. Jon Anderson's vocals were outstanding at most times, but there were lapses where the end of this leg of the tour took away some of his magic. We certainly thought Alan White was excellent on drums and thoroughly enjoyed Igor's keyboards. Billy Sherwood seemed to be more laid back than the others.

The virtuosity of Steve Howe is something to behold. He is the consummate guitarist, at home with a Spanish guitar, a Martin or his Gibson ES. Steve moves between guitars frequently and engages the audience with his unique facial expressions and body movements. He is able to create sounds with his instruments that at times border on the supernatural while sounding so totally traditional at other times. And then there's the inbetween. He can sure play a wide range of guitars and has a knack of holding your interest while doing so.

Chris Squire plays bass as if it were a lead guitar and makes no bones about it. Some might say he shows off. Squire gets into what's going on and he lets you know it every minute he's on stage. The interaction with the other band members he achieves is superb and it contributes to the overall energy of the show. He must be seen live to be appreciated.

This concert included a couple of tracks from the new album, but as can be seen from the set list it focused more on the band's prior successes and compares more favourably to the live tracks from the two albums Keys To Ascension and Keys To Ascension 2. The set did not include any songs from the studio tracks made in the same time frame and recorded on the second CD of each of these double albums unfortunately. The live versions of the two tracks from Open Your Eyes worked better on stage than on the studio recording.

Visually this Yes concert was substantially different than the last one we've seen, none of the legendary Roger Dean stage effects. A simpler approach was taken with lighting that was quite good but not excellent. There were two effects that worked quite well. During "Heart Of The Sunrise" a slide of a sun was used in a number of effective ways quite different from anything else that was done. Another effect was a turquoise fog that was used during one of the encores. The effects of stars during "Starship Troopers" and another couple of tracks was also neat but not terribly original. The lights were done well overall, but they were perhaps a bit simpler than we expected for Yes.

The acoustics and associated engineering were both outstanding. Although there were just a couple of unwanted audible artifacts, they were in between the songs. We were amazed at what Jon could do with his mike without unwanted feedback squeals. This can only be done with top engineering talent. The concert was very very loud - surprisingly so. And it got louder as the show progressed and by the encores it was almost deafening, but the system could handle it nearly distortion-free. We were left with ringing ears afterwards (although using earplugs !). The ringing ears and feeling of cotton in them is one of those wonderful concert souvenirs. Ours lasted through the night and was almost gone by morning.

Every concert should result in a favourite song from the show. I had a very difficult time picking one in this show as so many of them were so good. So two have been picked, interestingly they are "Starship Troopers" and "And You And I." The two songs differ somewhat although basically from the same era; they both showed off the individual talents of the players as well as the band playing as a whole. The version of "Troopers" performed also included solos and as the closing number it has left another lasting impression on us.

The concert with the two encores ran just shy of three hours which is amazing to us because these guys have been doing this kind of thing for a long time, at least 30 years on their anniversary tour 1998.

We're certainly ready to see Yes on their 50th anniversary tour - if there will be one... If you haven't ever seen Yes or it's been a long time, go see them. And fasten your seatbelt because it's going to be another great show. If you can't do that, get this torrent here and give the live tracks a good listen. With a good imagination and lots of volume, a vision of the band will appear in your mind and you won't have to Open Your Eyes to see them...

Review stolen shamelessly from Russell W. Elliot ([Link]), who had stolen shamelessly parts from Graham Lubin,
SO: THANKS A LOT FOR LETTING ME STEAL THIS SHAMELESSLY AGAIN ! Rewritten with additional informations especially for this gig here by yours truly...

And here i found another review of this Bayreuth concert:

Having seen the third Yes concert now and having played in a band myself I still am absolutely impressed by the fact, that such music can be performed live on a stage.

Being a great fan of Yes I was happy that the guys performed "Wondrous Stories", which was the beginning of my "career" as a Yes fan back in 1977 (now you know my age, 36).

One of the greatest (or is it biggest ?, sorry, I am german) advantages of Yes is, that there is no, what we call in german "Starkult". You always had the feeling to see friends on the stage and there was an intensive relationship between Yes and the audience especially at the end of the concert, when the people left their chairs and came to the stage. I never experienced something like that before in a rock concert, it was like having Yes in your living room.

It gave me the impression the group loves, what they do for us.

The show was great, emphasizing the music and not the light. The setting of the PA was better in the concerts of the past (but may be it is the Oberfrankenhalle).

Again one remark to Jon: the prononciation of the difficult "little swiss cows" was perfect, for the next tour: Bayreuth is pronounced --> "Byeroyd".

Hope to see Yes very soon in the future anywhere.

([Link]date.asp?s=5&tname=18&tdate=1171&navb=10">[Link]">[Link])

About the recording:

Believe it or not, beginning of the idea to record this concert the way we did it finally was a bet. From today's point of view a really silly bet - a bet just for the betting. Just to prove that we are able to do it the way we did it...sounds mysteriously...but read the complete whacked-out story:

Hanging around with the guys of HO*T FM in Hof (devoted downloaders of our "Men With Microphones" torrents surely know the sad story of one of the best, if not THE BEST Bavarian radio station in the 90ies, or have collected some of the "9 squaremeter acoustic sessions" we've upped so far...) we got the information about a planned future concert of YES in nearby Bayreuth. HO*T FM was asked for radio spots & advertisement. So WE asked for a soundboard patch for a decent recording and a later possible radio broadcast, parts or complete. Absolutely no wonder that they denied - they wanted to record the shows for their own purposes. But now we had a foothold. And how we used it...

To bring the whole idea to the boil there was this bet. The idea was to record the complete show from a pole in the middle of the seated people in the front rows - clearly visible for everybody and with full knowledge of band, management, promoter, booking agency etc. etc.

So we came up with a new deal for a radio broadcast feature: "Yes playing in Bayreuth, the Wagner-city, NOT playing any Wagner stuff, but modern classic rock and some Strawinsky". And that we needed for this some ambient room & audience noises and an audience recording of "Firebird Suite" played live at Oberfrankenhalle. Therefore we needed top-notch seats in the first ten rows, possibly amidst between both speaker stacks - and as cream puff we offered to PAY for the tickets. Believe it or not, impudence wins !

We got the requested two tickets (for todays funny low price of 100 Euros - both !!) and the permission to record the intro "Firebird Suite" and parts of the first song "Siberian Khatru" plus some applause and ambient sound straight from a pole in the audience, on condition to STOP THE RECORDING by no later than the first song ends - similar to the restrictions for the press photographers during this tour.

We came in before soundcheck (not recorded...), found our really top-notch seats and started to set up our pole. About ten meters from the stage, two-and-a half meter high (more than one meter higher than the average seated visitors) and with a large, more than a foot long microphone with black fur lining (wind shield !) with a cable into a clearly visible portable Sony TCD-D7 DAT recorder on top of our big professional flightcase full with "HO*T FM" stickers. The whole construction was officially checked three times, and everyting was O.K. - a security guy was advised to check the stop of the recording at the end of "Siberian Khatru". We had no objections against this handling, but started severe laments about the consolidation of the pole construcion. It would take us ten minutes to demount the whole thing, ten minutes of action disturbing the other visitors, ten minutes disturbing us from viewing "our" band. Astonishingly enough this worked better than we thought, within seconds one of the guys had the really priceless and brilliant idea just to remove the big black microphone and to disconnect the DAT machine. The pole was thin and small enough and was allowed to stand during the whole concert in full size.

That was the almost full story of this recording. If you're tired now - stop reading...

Ever heard of the "Potemkin village" ? Google for it, nice story that happened in old Russia, way back. The "Potemkin village" in our case was this big furry microphone and the portable Sony D7. There was never ever a plan to record a single tone via this inapplicable mike...call it simply A FAKE. On top of the pole, milimeters under the "black fur" was a small construction with a set of paired microphones, "Soundman" OKM II R professional, Studio Version,mounted in a 140° angle aligned to the huge PA speaker stacks - invisible for anybody not knowing them and how small they are. The cable was fixed with black duct tape, same was done with the terminal voltage adapter Soundman A3, from which a small cable found it's way to a fully loaded portable Sony TCD-D8 DAT recorder INSIDE our flightcase...that's all.

The recording turned out almost nice, but much to our regret not THAT perfect as we had planned it.

And it's easy to put the blame on TWO of the security guys...the band, PA & finally the room...hehehe...

Here's the continuing story:

At the end of "Siberian Khatru" the advised guard came and viewed us turning off the D7 and downsizing the "black fur" - this caused a short crackle at 9:18 minutes, another short crackle happened around 9:50 when this guy tried to check the remaining pole. Then he left us smiling, we grinned from ear to ear...

BUT about 3 minutes into "Rhythm Of Love" suddenly another, unknown so far to us, security guy started to destruct the pole, beginning to remove the duct tape from the A3 battery box, causing some problems around 3:05 up to 3:45 minutes - when you listen to it, it sound like a loose or defect cable - and it was necessary to slap on his fingers to stop him. It took me more than a minute to get "our" advised security guy back to our place to talk with his comrade. And at the end the idiot (excuse me...) tried to fix the duct tape back to the pole, causing another noisy spot between 5:10 up to 5:35 minutes of this song. Amazingly nothing of those discussions can be heard. Then both left us with some shrugs as an excuse, and with our D7 - NO PROTESTS from our side...

The show continued, the D8 DAT recorder did a fine job, the audience acted in a well-behaved way, very respectful. So there is nearly no crowd action during the songs audible, at least during the main set. The encores changed everything...

As soon as "I've Seen All Good People" was over and the band had left the stage, the run of the lemmings started - about 2.000 visitors tried to get a front stage place - like a blind and numb flock of silly cows.

The only way to save our souls AND our gear was to jump on the seats...we, our flightcase and the pole. Again this action is nearly unhearable, no encore song was harmed...the only impact is the accumulation of crowd noise, humming & sing-along during the encores...but not too much distracting.

To cut a long story short, after the concert we got our D7 back, and there was some official interest how the ambient audience recording would sound. And believe it or not, the DAT tape showed close to 15 minutes of absolute silence, nada, nothing...and we blamed it completely on this idiotic security guard...talking about "excess voltage" through HIS cable manipulations, strange occurring magnetic fields or even alien power. So everybody was deeply concerned - lotta hard work of us...and NO result at the end. HOW SAD ! Needless to say that there was NEVER a broadcasted radio feature about "Yes at Bayreuth rocking Dick Wagner "...

Finally i have to admid that there are two or three short "hot spots".

It turned out that our decision to take the "Rock" version of the microphones instead of the "Classic" version saved the whole recording. "Classic" can take up to 125 dB's, "Rock" over 145 dB's before they start blasting. YES started LOUD and ended the show DEAFENING, almost close to aggravated battery...lol. Don't get me wrong - IT WAS WAY COOL...if you have good earplugs. We carried them, as usual. Nevertheless we both had ringing ears the next day...last time we had those during our "Hard Rock and Heavy Metal" period through the 80ies, including Motörhead and Manowar in their bloom...good old days...

So there is a short spot (5:10 to 5:15 minutes) during Chris Squire's bass solo, when suddenly the PA speaker stacks seemed to overmodulate, and all the musician's monitor boxes started to leave the stage... there had been some severe deep resonance frequencies starting to to their work. A couple roadies had to fix the monitors with duct tape...in some kind of strange choreography ! This splice construction lasted until "I've Seen All Good People", between 3:05 and 3:25 minutes into the song you'll hear those monitors again dancing around on the stage. The second "hot spot" of this recording, the second time we felt they are definitely going to kill the whole PA system...this time completely. And we thought - no, we had this feeling that the roof construction started to move, to shake & tremble because of those loud resonance frequencies...constricting your own breast for a couple seconds...like Mike Tyson giving your stomach region some severe uppercuts - at a time Mike was in a good shape - maybe you have experienced this overwhelming effect one day or another in a concert...at least you need to have !

To be a fair sportsman i'll add a couple of samples AND some of the crackles & hot spots
in the comment section - decide if you can live with them...WE CAN - OUR ONLY YES-POLE...lol!

[Link]date.asp?s=5&tname=18&tdate=1171&navb=10">[Link]">[Link]
shows this concert as recorded...surely by another taper...found just short 146 minutes in a list...

NEEDLESS TO SAY THAT THIS VERSION HERE IS TRULY UNTRADED & UNCIRCULATED SO FAR...PLEASE ENJOY!

YES
"30th Anniversary Tour"
Oberfrankenhalle,
Bayreuth, Germany
March 24, 1998

lineage:
recorded by MWM, audience to DAT

OKM II R professional, Studio Version > terminal voltage adapter Soundman A3 (impact noise
setting on "linear", attenuation -20 dB) > 'Line In' portable Sony TCD-D8 (16 bit, SP 48 kHz) >
> DAT (Maxell HS-4/90s, Helical-Scan 4mm Data Cartridge, 90 meter tape)

DAT (master) > Tascam DA-20 II, S/P-DIF out > Digital Cable (coax) >> Behringer Ultramatch SRC 2000 (Sample Rate Converter & Jitter Remover) > Digital Cable (coax) > Soundcard, S/P-DIF in >> CD Wave (recording) > Harddisc > CD Wave (tracking) > Traders Little Helper (SB aligned/level 6) > FLAC > DIME

the concert:

CD 1 (60:51.49 mins)
1.01 Firebird Suite (1.18)
1.02 Siberian Khatru (10.24)
1.03 Rhythm Of Love (6.23)
1.04 ...Jon tries German & about Paul Simon (0.51)
1.05 America (10.17)
1.06 ...Jon introduces Steve & Billy (1.17)
1.07 Open Your Eyes (5.01)
1.08 ...Engineer Eddie, a long time ago (2.04)
1.09 And You And I (10.20)
1.10 ...Wild Franconian crowd (0.48)
1.11 Heart Of The Sunrise (11.06)
1.12 ...Crowd ~ thank you (0.57)

CD 2 (65:09.13 mins)
2.01 ...Jon introduces Steve (0.27)
2.02 Mood For A Day % (3.43)
2.03 Diary Of A Man Who Vanished % (2.31)
2.04 ...A song dedicated to my son (0.49)
2.05 The Clap % (3.40)
2.06 ...Applause ~ Jon about duet & Duett in German (1.18)
2.07 From The Balcony (2.36)
2.08 ...Tiny cows-klitzekleine Kühe in Switzerland (1.15)
2.09 Wonderous Stories (3.44)
2.10 ...Jon introduces Igor (1.02)
2.11 Igor Khoroshev Keyboard Solo (2.18)
2.12 Long Distance Runaround (3.58)
2.13 The Fish (Schindleria Praematurus) Chris Squire bass solo (5.33)
2.14 Alan White Drum Solo ~ Ritual (3.49)
2.15 ...Jon introduces Chris and Alan (0.38)
2.16 Owner Of A Lonely Heart (6.09)
2.17 The Revealing Science Of God (20.17)
2.18 ...Great to do the song "Revealing" 25 years later (1.13)

CD 3 (33:44.35 mins)
3.01 ...Sing along with our last number (0.53)
3.02 I've Seen All Good People (7.01)
3.03 ...Applause & crowd noise (2.12)
3.04 Roundabout (8.15)
3.05 ...Crowd noise and a single note (0.43)
3.06 Starship Trooper (12.55)
3.07 ...Final applause & crowd noise (1.43)

total time: (60:51.49 + 65:09.13 + 33:44.35) = 159:45.25 mins

Marks:
1.02 - crackle at 9:18 and 9:50, read "About the recording"
1.03 - at 3:05-3:45 removing the duct tape
- at 5:10-5:35 fixing the duct tape (idiotic security guy)
2.13 - hot spot between 5:10 to 5:15
3.02 - hot spot between 3:05 and 3:25
3.05 - a single note was played at 0:25

musicians:
Jon Anderson - lead vocals, some percussion and guitar
Steve Howe - lead electric and acoustic guitars
Chris Squire - bass, vocal harmonies
Alan White - drums, percussion
Billy Sherwood - guitars, backing vocals
Igor Khoroshev - keyboards, backing vocals

Please support the artists, visit their concerts and buy their CDs...

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THIS TORRENT IS DEDICATED TO YES & all their past and present musicians.
Thanks to all our MWM-members involved in this recording, my dear old buddy U.R. for his companionship during the bet, AND ESPECIALLY TO THE MEMORY OF HO*T-FM, TO JOE AND OTTO...

Big thanks to my wife, Mrs. Leo, for supporting and taking an active part in all my crazyness...

No animals were harmed in the making of this recording or during the mastering and transfer.

Please write your comments to show your interest in this kind of music.

You know, our friend Dave T says: "There's always more to come..."
And i'll promise you to keep MY tapes coming...

Leo
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Absolutely no selling! Do not alter this recording in any way, repost to other sites or convert it to mp3 or other lossy formats except for your own personal use. And PLEASE do not share via rapidshare, mega-upload or similiar sites...by no means!
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If not giving credits, all written words are lonetaper's work and with full copyright; the bet & the whole idea & performance of this pole recording was a crazy idea by U.R. and Leo Lonetaper - strictly prohibited ! - Don't try this at home or in a concert...

There is absolutely NO personal liability for any repercussions caused by this torrent!
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Recorded, transferred & finally uploaded by lonetaper on Dime, December 12, 2008. This is "MWM 0106"