A difficult failure

<sigh> .....  that devastating feeling of failure.

Last Saturday, the 18th August 2012, saw the final show in the TFM - Encore series,  a series of local shows in the Titirangi Theater. These shows doubled as fund-raiser shows for the TFM (to enable it to pay some debt back and continue on as an annual festival event) and a celebration of the last days of the Titirangi Theater as we know it before Lopdell house closes for two years for structural, earthquake strengthening and other renovations.

The Encore series (name and logo by myself , my design partner Tany Caseanu, and some substantial assistance from Kristie) was put together by local muso's, music lovers and community volunteers. Most of the acts had appeared at previous festivals (2005-2012) and in many cases were donating their services and waiving a fee to support the fundraising effort.

Jumping in, myself and Tany came up with the series logo (produced by Kristie), posters for each event, tickets and Tany even found time to produce an animated ad for each show.

We knew in advance that Stewart Alan and Musical Forces were on the bill so we'd decided several weeks earlier to attempt to improve the video projections we'd made for Stewart's 60 minute TFM2012 performance (back in early April 2012) for this 40 minute encore performance.

Through numerous meet-ups, some frantic filming sessions and a lot of editing by Tany we managed to have a run through with the band at a practise on the friday night. Everything was coming together. Tany would do some minor corrections on some of the tracks then render and burn the final projection dvd for the show tomorrow.

Stewart had asked me to trigger the video pieces from a blu-ray player side-stage so I'd set that up on the Saturday afternoon.  Show day. The blu-ray device was hooked up to a roof-mounted loan projector that after much chasing around on the friday I'd managed to procure from Janet in the Theater (by 3pm on Saturday afternoon). Unfortunately the mounting brackets were the wrong size for the projector; the only person who had the key to a room where the proper brackets were was on a flight back from Christchurch; and we couldn't use the projection screen on the rear wall of the theater stage as half the stage was a set built for the upcoming (last) theater production. To solve the last issue one of the sound crew supplied a sheet which we hung over Mel Bartons "Glow" artworks which would decorate the stage for all the other acts that night. 

Mounting the projector was another issue altogether. 

After a couple of hours of trying to mount the projector myself and Mels Barton eventually managed to get some clamps from the soundies which held the projector in the roof. The projected image looked pretty flat on the sheet screen and wasn't perfect in terms of position as it was off the edge of the sheet and I think it was about this stage I felt like vomiting and I'd had enough... so, i went home for some tea (6.30pm). We'd done all we could.

When I got home Kristie noted that this was easily the most stressed she had seen me in all the years we've been together and I must admit it was. I knew that I was immensely unsatisfied with the projector (positioning, mounting and quality) and also with the screen. I really wanted to cancel the projection part of the show but knowing that Tany was putting the finishing touches on the video tracks, rendering and producing a dvd and that she'd put screeds of hours into it....well,  I rang Tany at her house to see what she thought and got her partner Marc who proceeded to inform me that Tany was hysterical in the bedroom and nothing had worked out with the DVD rendering and that we should cancel the video part of the show. My first instinct was for Tany and how she felt. My second thought was relief. And then Marc informed me that he was joking and Tany was up at the theater and had the finished dvd with her. Nice one Marc.

The projection dvd was delivered to the theater at 7.30pm with Musical Forces due on at 9.40pm. 

I arrived back at the theater at 8pm even more stressed out and I was even having chest pains. I found out that Stewart was now going to be on 3rd so would be on after Arli Liberman and a subsequent 20 minute break so we went to the theater bar and I managed to get a couple of glasses of iced water down, which helped a lot. 

Tany and myself discussed the projector and sheet issue and I suggested we just do a test run in the 20 minute break. So when that point arrived we furiously pulled the sheet screen back over, hooked up the blu-ray, fired up the projector and discovered that the projector had moved in the mount and half of the image was being projected onto the back of a concrete roofing beam. Up the ladder Mels and I went to try and (unsuccessfully) reposition things in the mere moments remaining to us.

Stewart Allan and Musical Forces took the stage with projections running (well... at least  the bottom half was on the screen) but the images were very thin looking due to the stage lighting not being taken off to compensate for the projections. I ran back to the lighting box and asked Duncan to drop out the red and blue spots in the deep stage which brought a bit of contrast back to the projections. This made the images more visible and improved things a bit. Kristie thought they looked good from the front row.

Returning to side stage I could see that Tany was as distressed as I was and we both looked at each other in great pain. But the show was running and we all know that "the show must go on". Then the unthinkable happened and things got worse. The projector switched itself off. I quickly raced to the rear of the stage, mounted a ladder behind the set wall and tried to use the projector remote to restart the projector from there...to no avail. So I returned to side stage and waited for a song to finish before I raced on stage, pointed the remote at the projector and raced off again. The projector started up again and we re-cued the video to where the band now were in the next song. Whew. 

And then the projector switched itself off again. I looked at Tany and all I could say was "I'm pulling the plug" so I switched off the blu-ray player and disconnected everything and we left the projector to do its cool down cycle (for two hours as it turned out) and Tany and myself returned to the theater bar where the staff there shouted us both a cheer up drink and Kristie and Mels joined us as we struggled to make some sense about what had happened.

After a couple of days distance between now and those events I've calmed down a lot. I still feel responsible for the projector, mounting and screen but I did what I could in the time I had available. I'd assumed there would be production people to put the gear up but that wasn't the case and it had to be cobbled together by myself (and Mels) at the last minute. Tany did nothing wrong but had to share in us not being able to deliver. Yes. I feel we failed because we didn't deliver the video accompaniment to the show and thats very hard to deal with. I hate to fail. And I hate it worse when i know that that failure is going to happen and there's nothing I can do about it. Its like a roller coaster heading for a brick wall (although that would hurt a _LOT_ more)

The show itself was superb. A sold out show with exceptional musicianship by all. Especially Stewart who rose to the occasion and truly impressed everyone in attendance with an inspiring performance. He admitted backstage afterwards that the lack of video made his performance easier because he didn't have to time things to the video tracks and that allowed the songs to breathe easier. Bless him.

Where to from here? Not sure. I need time. I can only guess that Tany needs time too.

On the plus side, there's some amazing new video work "in the can", Stewart is keen as and the whole process of producing the work was a magical, collaborative experience in itself. It really is a shame that the final production/presentation support wasn't in place and that everything that could go wrong (with the video presentation) did. Its also probably a very good learning experience about the level and degree that one should "get involved". Tany and I did take on an awful lot of work as members of the Organising team for the Encore series and i guess my thoughts are shifting from the humiliation of failing to deliver the video presentation more towards some sense of pride in what we did manage to achieve.

Is this Yes?

With Yes' first ever concert in New Zealand imminent (April 1st 2012) I found myself thinking recently "is this Yes?". I also wondered how I would explain my conclusion to, for example, one of my friends that was into Yes in merely a casual way (is that even possible?)

I've been a Yes fan since 1975 although the last time I saw Yes play live was in 2003 in Sydney and Melbourne, Australia. The lineup at that time consisted of the bands original singer and original bass player plus the first ever replacement Guitarist, Keyboardist and Drummer. The so-called "Classic" version of Yes. In reality this was the lineup that achieved the most popularity, played the most shows and created the bigger slice of the bands 'Main Sequence' repetoire. Songs that continue to be played by the band 30-40 years since they were written.

Yes continued touring into 2004 before taking some well deserved time off. Anderson and Wakeman were exhausted and Jons voice had been torn to shreds by the rigours of repetitive Arena tours across America. In fact those two, Anderson and Wakeman, decided that for health and sanity's sake they didn't want to tour as a full powered rock band any longer, preferring to strip things down to an acoustic level playing less, irregular shows to protect Jon's voice.

Now that Yes were essentially on hiatus Jon went about touring solo; touring with a Childrens youth orchestra and as a duo with Wakeman. In all cases he was playing re-arranged Yes material but wasn't interested in returning to play _with_ Yes. This prompted the remaining members of Yes, ie Howe, Squire and White to initially pursue other ventures like the reformed Syn, White, Steve Howe trio and the Original Asia reunion (Howe and Downes). This subsequently led them to conceive of a Yes themed tour, 'The More Drama' tour,  where they would tour with The Syn (which at the time included Squire and White), White (which at the time included White and Downes), Howe solo and they would all play together as a fusion type version of Yes and do some Drama era Yes songs to finish off the night. This tour was cancelled and fell apart when Howe couldn't get visas.... although another possibility is Steve Nardellis (vocalist with the Syn) reluctance to be seen as 'the new Jon Anderson'. 

Following this the band members continued with solo and other work and fandom waited for the next attempt by Yes to restart things.

Things were quiet on the Yes front until the announcement that the band (along with Anderson) would be doing a new Yes tour in 2008 called the 'Close to the Edge and back again' tour. Rumours were rampant in fan circles that Anderson was only persuaded to return for a greater share of the tour takings although this hasn't been confirmed officially. In interviews, Anderson claimed that the CTTE&BA tour would feature 4 new large scale pieces a la "Tales from Topographic Oceans" that he had brought to Yes. Again, there has been no evidence of this (although Anderson recently released a large scale piece called "Open" in late 2011) 

The tour would also see Ricks son, Oliver Wakeman, taking his fathers role at the keyboard as Rick was too unwell at the time and still had no desire for large scale, intensive touring. Arrangements were proceeding well and then Jon Anderson suffered a near fatal respiratory illness (and further subsequent health issues/surgeries) which caused the cancellation of the tour. According to reports, Jon died and was resuscitated. Thus began a long slow recovery for Jon during which he heard very little from his former bandmates.

So... here we were in mid 2008 with three key members of Yes (plus Oliver Wakeman) having essentially waited for four years for Anderson to return and be willing to embark on another Yes tour and Jon almost dies.

Obviously the tour had to be cancelled, which it was. The second Yes tour in a row to be cancelled. What to do next?

Howe Squire and White decided to look at different singers who could stand in for Jon. One of these was Benoit David who's Yes tribute band, Close to the Edge, had put clips on youtube. Links to these were sent by a friend to Chris Squire and the band subsequently auditioned Benoit. Obviously that went well because in no time the band had arranged a tour billed as "Howe, Squire and White of Yes... featuring Benoit David and Oliver Wakeman". Obviously, the 3 senior members of the band didn't initially intend this to actually _be_ Yes but venues and promoters billed the band as Yes in publicity material which caused an outcry amongst fans that Jon had been replaced by the lead singer from a Yes tribute band (Benoit was also the lead singer of Canadian prog-metal band Mystery btw). This tour, called the "In the present " tour kicked off in early November 2008 and continued into mid December 2008. A 2nd leg started in Mexico in Feb 2009 and was due to run into March but the rest of the tour was cancelled after the first show when Squire became ill. 

04Nov08 - 17Dec08 In the Present Tour - North America

05Feb09 - 03Mar09 In the Present - Mexico (06Feb09 onwards cancelled)

26Jun09 - 02Aug09 North American tour w. Asia. Squire declares "This is Yes"

29Oct09 - 12Dec09 European tour 

02Feb10 - 28Feb10 US Winter tour

08Jun10 - 15July10 North American tour w. Peter Frampton

17Nov10 - 04Dec10 South American tour

06Mar11 - 04Apr11 North America - Rite of Spring tour

28May11 - 30May11 Mexico w. Asia

04July11 - 04Aug11 North Amrican tour w Styx (Geoff Downes replaces Oliver Wakeman on keyboards)

03Nov11 - 15Dec11 European tour (last 3 shows cancelled due to Benoit being sick)

In the last six months the new lineup of Benoit David, Chris Squire, Steve Howe, Alan White and Geoff Downes have released a new album, 'Fly from here', produced by Trevor Horn as well as a live album "Live from Lyon" (recorded on 2009 European tour). I'm currently enjoying both albums as well as the accompanying video extra discs that have come with both releases.

Even in late 2011- early 2012, Yes fandom is still divided on whether HSW should have continued without Jon. He continues to release new material, to tour as a solo act, as a duo with Rick Wakeman and occasional special events. His voice has reportedly grown stronger and he is much improved on where he was in 2008. A good thing.

Despite these improvements to his health I know that many fans wouldn't want to see him return to a Yes that is touring the world so extensively, thereby risking another health scare.

What options does that leave Yes?

If HSW's choice is that they would rather tour as a Rock band,  then having Jon as their lead singer isn't, and shouldn't be, an option. Which means they need another singer. ie Benoit. Or someone else. 

In the past three years the most common criticisms (online) against Benoit have been:- 

1. that he tends to crack on many of the high notes inducing many cringe-worthy moments.

2. He is inconsistent and variable in the quality of his delivery. 

3. He isn't a writer. 

4. He twirls and dances around and looks silly.

There's lots of evidence of 1, 2 and 4 on youtube. How ironic would that be if youtube was his downfall considering that was how he was "noticed" by HSW in the begining.

In regards to point 3. He has now contributed to a very good Yes album (produced by Trevor Horn) and has also written material for Mystery. That should be good enough, shouldn't it?

Ah but there's the rub. Yes fans, particularly the vocal long time fans (some are called superiors on alt.music.yes newsgroup) are indeed divided. Some are No Jon = No Yes. Others...particularly those who like the 1980 Drama album (featuring Trevor Horn on vocals can you believe)... are embracing the new lineup for being new and producing the first new Yes album since Yes released "Magnification"  (which was released in America on September 11th, 2001). Many others have mixed emotions. Many "new" fans are turning up to Yes shows.

Personally, I was initially on the fence in regards to whether I'd rate the post-2008 as an authentic version of Yes. My criteria used to be 'can they astound and wow me with their live performance. Can they transport me with their playing and the music to that "other" Yes space?  With numerous bootleg shows now in my collection... after watching lots of youtube clips (some good, some bad and some plain ugly)... after really enjoying the new studio album... after being thrilled by the musicianmanship on the new live album... and after having in my possession a third row centre ticket to see them play here in Auckland, New Zealand for the first time ever in the bands 44 year history on April 1st 2012 do I embrace this version of Yes.... I'd say that the answer has to be Yes. 

Freaky Meat 2011

In the spirit of following on from the last blog I thought I'd just spend some moments compiling a summary of the year as it was for Freaky Meat. While I'm no longer involved with the band in any official capacity (since the TFM gig) I've continued to follow their exploits and adventures this past twelve months, and i even managed to get along to seven of their gigs this year too. So here we go...
After closing out  2010 with two performances at Prana Festival, Freaky Meat promptly set about putting together another landmark year of accomplishment to further cement the bands reputation as one of New Zealand's hardest working independent bands.

Totalling things up, 2011 has seen the band play 15 regular shows which included the Titirangi Festival of Music 2011 and several private parties. They've also appeared 6 times on the radio with 3 of those appearances including live-in-the-studio performances. Most notably, a set for '31 bands in a box' on Kiwi FM during NZ music month back in May.

The official website, www.freakymeat.co.nz got a snazzy new look too.

The year also saw them busy in the studio which resulted in the release of the (digital only) "Beatspeak Melodies" E.P , "The lament of Paris" single and the bands first full length, self funded album "Delicatessen".

This was  promptly followed by the bands first Nationwide tour which included playing an additional 13 dates between the North and South Islands.

All this after Shane had major dental surgery at the start of the year.

Impressive stuff Gentlemen, and Manager Tabitha too. All the best for 2012.

Freaky Meat - Delicatessen

Following on from 2009's brilliant 'Monkey Shines ' single and the subsequent (and equally impressive) "Late night kebab" E.P from 2010 comes the first, fully self-funded album by neo-eclectic, Jazz beat fusion group Freaky Meat. 

This collection of material contains fresh studio recordings of established staples from the bands live repetoire as well as newer works that have been under development during the past two years. 

The band moves effortlessly between atmospheric narrative tracks like 'Te Henga in storm', rocking numbers like 'Sitting on the edge of your bed' and 'Zombie xmas hams' (winner of The Rock Factorys 2010 Mid winter Christmas song-writing competition) to the elegant brilliance of 'The lament of Paris' and the Jazzier 'Doors on the bus beat' featuring guest Sax by Micah Wolfe. And then, on the odd occasion, in the middle of a song, the band will totally switch gears and explore musical territories usually reserved for the sludgiest of Doom Metal albums.

Anyone who has ever seen Freaky Meat live will agree, the band are a tight force. The instrumental trio of Rod Redgrave (Bass), James Percy (Drums) and John McNab (Guitars) are an incredibly solid foundation and perfect platform for Shane Hollands' Poetry/spoken word/storytelling. Hollands often delivers his beatspeak with many hints of melody and a concise musicality that draws you in and mesmerizes you with its engaging style, substance and border-line genius qualities. Music and words interweave in a unique, satisfying and sometimes profound way. 

Not only is the subject matter often about travelling, but the well crafted music travels nicely too. Nothing feels like filler and the material has a natural flow with each piece proudly revealing its own flavours.  Worthy of note as well is that the recordings (mostly by The Rock Factory) are wonderfully organic and in many places they have a distinct, true, live feel. Only in a couple of rare places does this live "feel" slip into feeling slightly too produced, or rather, a little too polished. Not that there's anything wrong with that, at all.

This is a very strong, unique album from an extremely talented bunch of guys and if they're playing anywhere near you on their Nationwide album release tour in November i would strongly recommend you go and see the band perform these songs live. 

New Day, first blog

The last few years have been extremely full-on to the point where, for my own sanity, I've had to let a few things go. The original intention was that this would free some space up for the new things that always pop up in life and would give me more space to give to my Wife and kids.

Its early days yet but I'm _starting_ to appreciate an uncluttered form of peace and relief from the stresses and demands of what I now refer to as "previous life"

Where are things going? I'm not sure... and half the joy is not needing to.

This new period also coincides with me (temporarily) leaving "Music world" where I've been inhabiting numerous roles as diverse as Videographer, Archivist, Photographer, Band Manager (Puppet 2006-2008 and Freaky Meat 2007-2008 & 2009-2011), Gig booker, Event Coordinator, Organising Committee member (Titirangi Festival of Music 2006-2011) and lots of other roles since 2004.

Maybe this is my "Seven year itch"?