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Bernie Leadon, Randy Meisner, Don Henley and Glenn Frey are
Eagles. Four veterans of the L.A. country-rock scene who play
the cleanest, tightest, most life-affirming music around
Their debut album has prompted Rolling Stone reviewer Bud
Scoppa to comment, "they'll stand proudly right next to the
best recordings of the Byrds, the Buffalo, Springfield,
Burrito Bros. and the other premiere Los Angeles groups."
Eagles. A breath of fresh air on Asylum Records and Tapes.
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YES! The most positive of all positive words . . . and as
such, an accurate reflection of the music created by five
guys who have leapt from near-obscurity to the forefront of
the international music scene over the past year.
The group have been around for quite a time, but although the
music industry were quick to recognize their potential, it
wasn't until the advent of "The Yes Album" (winner of the
Album of The Year award in the recent "Sounds" poll) that
they eventually won total public acceptance this year.
They did well enough, mind, on club and concerts for a couple
of years, and enjoyed a fair degree of success with their
first two Atlantic LPs - "Yes" (which won them the support of
the musical press) and the rather more adventurous "Time And
A Word", which helped spread the gospel a little further and
ultimately paved the way for the success of "The Yes Album".
Three founder - members of Yes are still in the line-up.
There's Jon Anderson - slightly built, soft-spoken, a deep
thinker and a bundle of nervous energy. Jon writes the bulk
of the group's songs (both words and music) and apart from
singing all the lead parts, doubles on tambourine and,
occasionally, minisynthesizer. The Anderson voice defies
description- suffice to say that it's the most distinctive
sound on the British music scene for years.
Then there's Chris Squire - intense, thoughtful and a
complete perfectionist. His driving, carefully controlled
and impeccably played bass guitar is the pivot around which
the group swings, and he also happens to be a good singer to
have around to double on harmonies with Jon. He takes a deep
interest in the technical aspects of recording, and is
quickly emerging as a quality writer - both songs and
The third surviving founder-member is drummer Bill Bruford -
not so very long out of his 'teens and already recognized as
one of the country's top percussion men. In fact, a poll
among fellow drummers would find "Tubs" pretty near the top.
He's a bouncy, very alive character, prone to genuinely
funny caustic wit. The writing bug has finally caught up
with Bill , too, and his first recorded composition - built
around rhythmic patterns - is included on the group's new
The group's first personnel change occurred over a year ago,
when Steve Howe took over the guitar chair from Peter Banks.
Steve is something of a rarity on the music scene - a guy
who is equally at home on either electric or acoustic guitar,
which isn't too common these days. He's an easy-going
character, seemingly always grinning, and. completely
wrapped up in his music. His dexterity is nothing short of
amazing, and when it comes to foot pedals, he's the real
master. Steve is the group's third singer - and it goes
without saying that he writes good stuff, too!
Finally, we come to the newest Yes-man - Rick Wakeman, late
of The Strawbs. Unlike his predecessor, Tony Kaye, Rick
won't simply be concentrating on organ. The tonal textures
achieved by the group will now be more rich and varied,
since Rick will be surrounded by organ, piano, mellotron,
electric piano and Moog. Perhaps the most flamboyant member
of the group, he has a natural flair for showmanship that is
certain to emerge on stage appearances.
On "Entrance," his debut Epic album, Edgar Winter proves that
he is a composer an performer of more than passing interest.
Since signing with Epic, the twenty-three-year-old native
Texan has composed all except one of the songs on "Entrance"
and has been performing at clubs and concert halls through
this country and abroad. Notable appearances have been the
SRO reception he received at the Fillmore East in New York
and at Prince Albert Hall in London.
Born on December 28, 1947, Edgar began his musical career
studying the classical piano. While in his teens, he began
playing the Southern "go-go" circuit, an endless stream on
one night stands throughout Florida, Louisiana, Georgia, and
Texas. He realized soon, however, that "different
instruments lend themselves to different types of
expression," his musical interests widened, and today he
plays over two dozen instruments ("I've never counted
exactly") including the piano, organ, sax (alto and tenor),
drums, bass, and vibes. He's deeply involved in recording
as an art (as opposed to the discipline involved in live
performance) and feels that on "Entrance" he has
successfully "gotten away from the normal, usual way things
are done" by "enlarging the concept of single songs" and
creating a totality made up of the seemingly disparate
elements of jazz, rock, and classical music and in the
instance of "Tobacco Road" (the only non-Winter
composition), blues. "I like a variety of influences to be
Edgar has said of his music, "I like a variety of emotional
levels. When I composed the material on the album, I
integrated as many musical elements as possible. You see, I
love all kinds of music, and I'm trying to put it all
together in a way that there's something for everybody. I
think this album might be too complex for everybody and I
think the criticism it receives will be interesting." Of
"Entrance" he smiled: "I'm happy with it."
Among * Edgar's ambitions is to have a lot more time for
writing ("It took me six weeks to write the material on this
album and I wrote a lot more than we actually used") and to
have both the time and support necessary to experiment fully
in the recording studio. Edgar believes, as many creative
young musicians do, that "recording is completely different
from performance. Why ignore this difference? I, for one,
really like to hear things sound fresh and exciting. I just
hope that things resolve themselves in such a way that I'll
have more time for this writing and musical experimentation."
Edgar feels that all sounds, whether or not they are
consciously perceived as "musical" or not, are musically
valid if they add something to and work well in a piece.
During one of his "Entrance" sessions he admitted that he
was "going to hook up a vacuum cleaner hose and a garbage
pail but the resulting sound didn't fit the emotional flow
I was after, so I decided to leave it out. "
DON HENLEY - 24, from Gilmer, Texas Plays drums, sings,
writes. Played in high school band for six years - eventually
named Shiloh, cut an album for Epic Records. Met Glenn in Los
Angeles at the Troubadour, decided to form band.
BERNIE LEADON - 24, from Minneapolis, Minnesota Plays rhythm
and lead guitars, sings and composes. Formed Hearts and
Flowers, recorded for Capitol. Wrote, played, sung for
Dillard and Clark; later same for Flying Burrito Brothers.
Also played guitar for Ronstadt. Familiar with keyboards,
horns, fretted instruments.
RANDY MEISNER - 26, from Scottsbluff, Nebraska Plays bass,
sings, writes. Played in various groups in the Midwest, then
helped form Poco with Richie Furay and Jim Messina. After
Poco, played bass for Rick Nelson and Linda Ronstadt -
meeting Glenn, Don and Bernie.
GLENN FREY - 23, from Detroit, Michigan Plays rhythm and lead
guitars, sings, composes. Worked in rock bands in high
school in Detroit, played with Bo Diddley, Linda Ronstadt,
was half of Longbranch Pennywhistle.