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The band Yes is such an iconic progressive rock institution that there are people who haven’t been born yet who will one day go through a long term, “I’m really into Yes right now” phase. We’ll all be long gone, but they’ll be working out the super hip chord voicings and lyrical melodic lines of tunes like “Starship Trooper” and “I’ve Seen All Good People.”
This year, Howe released Homebrew 4, a collection of home demos and nifty compositions, recorded the album Travelling with the Steve Howe Trio, and reunited with the original members of the band Asia for a new album, Omega, a successful international tour, and an upcoming US tour. In between, he’s been crossing the country touring with Yes. I spoke with Mr. Howe between tours and found him to be down to earth, highly evolved, and very likable.
You have back-to-back Yes and Asia tours. It must be hectic.
The Yes tour finishes tomorrow and the Asia tour starts in about two weeks. We’ve already played Europe and Japan this year. Asia has been quite busy working, and then the Yes tour begins. I get a two-week break between tours. I’m used to being busy. It’s not all of my life that I’ve been in two groups—I find it quite interesting that I have two positions to hold up.
Is it a challenge to organize practice time to maintain your chops for both groups?
I enjoy being organized. Organization just takes organization, and I’m a very organizational person. I’m always ready when the next thing is due to start happening, so I enjoy being prepared.
Would you call yourself a disciplined person?
Yeah. Quite disciplined. Touring in itself is a discipline. If you don’t do that then you end up being at six parties and then you can’t get out of bed. I like to be clear and organized about my life.
I really enjoyed your slide playing on the new Asia record.
There was more room in Asia for some slide guitar, and we managed to do more on this album than on Phoenix, so I’m quite pleased.
You’re known for bringing with you on the road some amazing guitars. Will you be bringing the fleet with you?
Asia is a more streamlined and simplified group. It always has been, so on the Asia tour I only used four guitars on this tour. I’m using two Gibson ES Artists. One is a backup, and I use my sunburst as my main guitar. The Line 6 Variax is a totally remarkable guitar, and I play a 700 model. I think it’s a great guitar. You switch it and it becomes every guitar you want, so that was a dream guitar for me. I adore Line 6 for getting that technology.
And, of course, I play a Martin in my solo spot, usually my own model called an MC-38 Steve Howe. Back in the ‘80s I use to play a 00-18 Steve Howe model. That was the first one. I converted to a MC guitar, which is a slimmer guitar with a cutaway. Martin kindly said, “Why don’t we do a Steve Howe model of that?” So that became the MC-38 Steve Howe Limited Edition model.
They’re still making the Gibson ES-175D, and Gibson did quite a nice job if you like a reissue of the 1964 style of 175s that I still play. I have it with me today. I play it with Yes, mainly, and exclusively with my trio. In the Yes lineup there are eight or nine guitars because that’s where I use my steel, I use a Portuguese guitar, I use a Gibson Stereo, a Fender Strat, and 175s. I actually use more guitars with Yes, and the Line 6 Vetta II amps. It has really brilliant programming. I’m very lucky.
It sounds like the Asia gig is less demanding.
The playing isn’t so varied. It’s a little bit more centralized. Asia has its own style, so that’s the style we sort of pick up on and it’s very enjoyable. John Wetton has a lot to do with that, of course, because he’s the singer and he steers lots of things just naturally. It’s good fun.
In this economy it’s wonderful that you have two jobs. [Laughs]
[Laughs] Yeah. This year I’ve already done a tour with my trio. I mainly play in the UK just because it’s affordable, economical, and nice. My trio is an organ-drum-guitar trio, and my son Dylan plays drums. A guy called Ross Stanley plays brilliant Hammond organ with the bass parts.
It’s interesting that you’re covering Yes songs in a jazz organ trio context. What kind of response do you get about the new arrangements?
It’s a lot of fun, but a lot of people grip onto an arrangement. When Yes plays the ‘70s material, I’m very much the advocate of saying, “This has to be played like in the ‘70s.” I think if you’re going to be close, you may as well play it the same. But if you’re going to be totally different, then that’s what the trio offers me. We can take something and completely reshape it for a different lineup. I’m very flexible and I enjoy that reinvention of a song for a different lineup, or for solo guitar. I do that with some Yes tunes as a solo guitar piece. I like taking something and making it something else, but with the basic storyline of the original.