Recently, a friend, a musician, posted on facebook that he
was listening to Yes’s Fragile for
the first time—he had asked me and another friend, also a musician, which album
of theirs to listen to. We both suggested it at once as the album that would
give him a glimpse of the various qualities of the band—the classic band with
Jon Anderson, Steve Howe, Chris Squire, Rick Wakeman, and Bill Bruford. One of
the songs he liked best, apparently, is today’s song, which was the B-side of
the radio hit “Roundabout,” the second song I heard by them, the first being “Your
Move.” Yes was definitely an acquired taste which I acquired in 1972 when Fragile was released in the States
followed later that year by Close to the
Edge. I remember making a spontaneous painting inspired by “And You And I.”
When my friend Brian made the post about listening to Fragile, he received immediate comments
from those who still admire the band and those who never did. One remark
suggested that women never really like prog rock. While that may be truer than
not, it’s the case that those who are over 50 can possibly remember when they
did like it, whether or not they still do. In other words, the heyday of Yes
and others of that ilk was the early 70s and if you were in high school then
you very well may have a place in your heart for a song like “Long Distance
Runaround.” Today is the birthday of my
friend Gail who, like me, was in high school then and remembers her fondness
for today’s song.
So that’s two reasons to turn to Yes today, even though I’m
not quite the listener I was, lo those many years ago. However, I did pick up
the Mobile Fidelity pressing of Fragile
earlier this year. Just couldn’t resist having a spanking new pristine copy of
it. The thing is, the song structures of Yes are very busy and tend toward
interlinked passages rather than the usual verse/chorus format, and the playing
is top-notch and exploratory in a way that I still admire. Fragile was the album that introduced Rick Wakeman to the band, and
he brought with him Moog synthesizer and mellotron capabilities, instruments
which, in their way, are definitive of prog-rock, which tended to intricate
keyboard work.
But the big draw of Yes, for me, was the interplay between
guitarist Steve Howe and bassist Chris Squire—as here with the initial figure
that Howe introduces, echoed by Wakeman on keyboard, that gets supported by
Squire on his characteristic fat bass. That combination is the sound most
associated with Yes. Then there’s Anderson’s vocals—an alto tenor who naturally
sings higher than most rock vocalists, Anderson’s voice is one of the most
distinctive factors of the classic Yes sound, and what I most associate with
him is odd emphases and lyrics that are cryptic when not outright mystical in
their implications.
“Hot colour melting the anger to stone,” as a phrase might
allow one to infer its sense, well enough, but how does something melt into
stone and how does color—hot is an odd choice of adjective—melt anything? Anderson’s
lyrics tend to be more associative than narrative and often seem very
impersonal in disposition. “Runaround” departs from that, somewhat, as there’s
a definite first-person speaker who seems to be dwelling on a long distance
love affair—“I still remember the dream there / I still remember the time you
said goodbye”—referencing as well “did we really tell lies / letting in the
sunshine.”
While all that seems to give us a reflection on a
floundering relationship, the song doesn’t feel like a song of love or jealousy
or the like, even if we suspect it refers to getting the “runaround” on a long
distant call with one’s love. It’s a matter of how the song—which I admit I
associate with “Roundabout”—creates a mood that feels like a summer of
awakening, of waiting to—even learning to—“feel the sound.” The dream and the
goodbye seem to partake of the normal movement of the seasons as they change.
But then that might be because of the famous line “Seasons will pass you by / I
get up, I get down” on a segment of “Close to the Edge.” In other words, the
songs of Yes, who often had side-long suites that were treated as symphonic
pieces, tend to support one another in my imagination, not commenting on
anything as banal as a boy-girl situation, but rather articulating a kind of
lyrical new agey cosmic sense of being. A godliness without any particular god,
so to speak.
Did we ever count to one hundred?
1 comment:
The Bad Plus did a version of this one on their album "For All I Care":
http://youtu.be/8bRb-HzPKBA
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