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Steve Howe biography
Stephen James HOWE was born on April 8th, 1947 in Holloway, North London. During his childhood he was troubled by 'Fellini-like horror fantasies and nightmares' for some years. He only could get asleep when he listened to music (like "Teensville" from CHET ATKINS). So music became an essential safety valve, if not an obsession pretty early on. When he was 12 years old, Steve got an acoustic guitar from his parents. A few years later he bought his first electric guitar (a Japanese Guyatone) and started to copy solos from the Fifties and Sixties rock-scene note-by-note (from Les Paul, Frank Beecher, Scotty Moore, Link Wray and Chuck Berry to Wes Montgomery, Django Rheinhardt and Barney Kessel). He was also influenced by Jazz icon Miles Davis, the classical composers VIVALDI and STRAVINSKY, classical guitar player Julian Bream and organ player Jimmy Smith. Steve incorporated all these influences and developed his unique style. He soon turned from a 'bedroom-guitarist' into a semi-professional player and became a 'hot session-musician'. Steve joined his first band THE SYNDICATS ('63-'65), followed by THE IN CROWD ('66-'68) and received a "cult-hero-status' in TOMORROW (1968), a kind of psychedelic update from the previous THE IN CROWD. Steve even played one gig in THE NICE when he replaced David O'List and he also did auditions for JETHRO TULL and BLACK SABBATH. But this didn't work out for him and he joined BODAST ('68-'69).

In '71 he made his legendary move to YES after a phone call by Chris SQUIRE. Steve HOWE's solo career started in '75 with his first solo album entitled "Beginnings". He also collaborate on albums with an impressive list of known musicians like Lou REED, Rick WAKEMAN, FRANKIE GOES TO HOLLYWOOD, PROPAGANDA, Stanley CLARKE, QUEEN, FISH and even the BEE GEES! Between '81 and '95 Steve HOWE joined the commercially successful ASIA ('81-'83 and '91-'93) and GTR ('84-'87), he founded ABWH (YES minus Chris SQUIRE) and did a YES-reunion ('91-'92). Special projects/concerts: the album "Guitar Speak" from '88 (with Andy Powell, Randy California and Robbie Krieger), the Magna Carta YES tribute "Tales From Yesterday" (with Annie Haslam) and the Montreux Jazz Festival in '79. From '95 he's again a member of YES and recently did a world tour, more than 30 years after he joined this legendary 'symphonic rock dinosaur'!

His first solo album "Beginnings" from '75 is a fine effort, showing HOWE's varied style and his amazing collections of all kind of guitars (from Gibson and Fender electric to the banjo, Portuguese guitar and pedal steel guitar) but I don't like his vocals. In my opinion his second record entitled "The Steve Howe album" is his best effort but my favourite is the live-album "Not necessarily acoustic" (from '94). This one contains all his best material like the virtuosic "Meadow rag" and the fragile "Surface tension". It also features songs from YES like "Excerpts from Tales from topographic oceans", the Spanish climate from "Mood for a day", the exciting "Clap" and the 'stage favourite' "Roundabout". These compositions shows an amazing variety: Spanish, classical, rock, ragtime, romantic or jazz. If you listen to Steve HOWE, you listen to a guitar-hero who scouted all kind of musical borders to become one of the most influential and acclaimed progrock guitarists of all time.

: : : Erik Neuteboom, The NETHERLANDS : : :
Fan & official Prog Archives collaborator

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Anthology (2CD)Anthology (2CD)
Rhino Records 2015
$11.99 (used)
Grand Scheme of ThingsGrand Scheme of Things
Relativity 1993
$4.97 (used)
Pulling StringsPulling Strings
Resurgence UK 1999
$18.00 (used)
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TOMORROW Self Titled LP Import 1968/1976 Psychedelic Rock KEITH WEST STEVE HOWE USD $19.95 [1 bids]
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STEVE HOWE discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

STEVE HOWE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.63 | 129 ratings
3.44 | 129 ratings
The Steve Howe Album
1.78 | 26 ratings
Paul Sutin & Steve Howe: Seraphim
3.26 | 60 ratings
2.97 | 42 ratings
The Grand Scheme Of Things
2.30 | 22 ratings
Paul Sutin & Steve Howe: Voyagers
2.52 | 23 ratings
Homebrew (1)
2.75 | 34 ratings
Quantum Guitar
3.24 | 33 ratings
Portraits Of Bob Dylan
3.27 | 21 ratings
Homebrew 2
3.74 | 48 ratings
Natural Timbre
3.29 | 29 ratings
2.76 | 40 ratings
Steve Howe's Remedy: Elements
3.55 | 46 ratings
3.21 | 20 ratings
Homebrew 3
3.80 | 27 ratings
Steve Howe Trio: The Haunted Melody
3.09 | 11 ratings
Motif, Volume 1
3.29 | 14 ratings
Homebrew 4
3.24 | 30 ratings
3.18 | 11 ratings
Homebrew 5
2.75 | 8 ratings
Homebrew 6
2.00 | 1 ratings
Nexus : Virgil & Steve Howe

STEVE HOWE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.90 | 30 ratings
Not Necessarily Acoustic
2.19 | 12 ratings
Pulling Strings
4.00 | 7 ratings
Steve Howe Trio: Travelling

STEVE HOWE Videos (DVD, Blu-ray, VHS etc)

2.00 | 2 ratings
Classic Rock Legends (DVD)
3.33 | 11 ratings
Remedy Live

STEVE HOWE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.50 | 2 ratings
Guitar Player
3.00 | 5 ratings
Steve Howe: The Early Years with Bodast
4.75 | 4 ratings
Homebrew 1 & 2
3.91 | 13 ratings
Light Walls
4.80 | 5 ratings
Guitar World
4.18 | 11 ratings

STEVE HOWE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.50 | 2 ratings
Lily's In The Field (with Annie Haslam)


Showing last 10 reviews only
 Steve Howe Trio: The Haunted Melody by HOWE, STEVE album cover Studio Album, 2008
3.80 | 27 ratings

Steve Howe Trio: The Haunted Melody
Steve Howe Crossover Prog

Review by TenYearsAfter

4 stars Steve Howe is one of my guitar heroes, since I watched the Yessongs movie in 1976 and witnessed the Going For The One tour in 1977 (with his 'guitar museum' on stage). It is such a virtuosic but also versatile guitarist: he easily switches from jazzy scale acrobatics on his many Gibsons electric guitars to tender runs on the classical Spanish - and acoustic Portuguese 12-string guitar or exciting work on the Fender twin steel guitar, awesome!

One of the many side projects from Steve Howe is this trio, founded in 2007. Then The Steve Howe Trio went on tour in order to promote their album The Haunted Melody (released in 2008). The trio features his son Dylan on drums, and the outstanding Hammond organ player Ross Stanley: he started to play piano when he was four and as a teenager he was awarded an organ scholarschip, later he turned into a Hammond specialist and played with Deodato, Trevor Horn and Simply Red.

On this CD the Hammond organ is omnipresent, I am blown away by Ross his work on this distinctive and powerful keyboard. The interplay with Howe is awesome, backed by Dylan his dynamic drumming.

Interesting are the renditions of the three Yes compositions. First Mood For A Day, hardly recognizable with the strong jazzy overtones, but it sounds very tasteful. Then Siberian Khatru, also drenched into a jazz sound and featuring a compelling Hammond solo and a strongly build up guitar solo. And finally a very abridged version of the epic Close To The Edge (around 5 minutes), Ross and Howe deliver great work.

Other strong moments on this album.

The titletrack : wonderful and fragile bluesy play by Howe and a swirling Hammond solo.

Kenny's Sound : a dynamic hommage to Kenny Burrell.

Blue Bash : a splendid tribute to the legendary Hammond player Jimmy Smith, with awesome work on the Hammond and guitar.

And the acoustic, pretty playful Laughing With Larry.

I am sure this first album by The Steve Howe Trio will please the Steve Howe guitar fans, but also the Hammond aficionados, impressive! And if you want more, in 2010 The Steve Howe Trio released the live CD entitled Travelling.

 Turbulence by HOWE, STEVE album cover Studio Album, 1991
3.26 | 60 ratings

Steve Howe Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars Turbulence' was released in 1991, and features Steve playing not only everything with strings, but also some keyboards and anything else he feels benefits the overall sound. His core band is based around Bill Bruford and Billy Currie (ex-Ultravox), although Nigel Glockner provides drums on three songs and Andrew Lucas organ on one. This is an instrumental album, but one that feels far more a band effort as opposed to as solo, one that makes musical sense as it goes through the ten different songs, with a style that is instantly recognisable to anyone who has followed Steve's career. It is bright, it is exciting and invigorating with plenty of energy, and to my ears is the finest "solo" album of his career to date.

Definietly one for all Yes fans

 The Steve Howe Album by HOWE, STEVE album cover Studio Album, 1979
3.44 | 129 ratings

The Steve Howe Album
Steve Howe Crossover Prog

Review by maryes

5 stars In my last review ((#1609964) | Posted Sunday, September 11, 2016 ) , I said in others words which the great problem whit Howe's first solo album "Beginnings" be in the vocals parts... In "The Steve Howe Album" this problem almost disappear, because in this one Howe's vocals don't last more than 1 minute ! "The Steve Howe Album" is easily the better of Howe's discography and in my humble opinion ( I'm an amateur guitar player ) a masterpiece !!!! The track 1 "Pennants" ( starts with Howe's Fender Telecaster ( a customized model ) making a very brief introduction and immediately a pedal steel guitar arise and leads the main theme until the solo by initial telecaster a fantastic song with Alan White drums. Other moments when Howe played with a band as in track 3 "All's a chord" with a guitar miscellany ( steel acoustic, classical, pedal steel, sitar guitar, 6 strings banjo, mandolin and their favorite Gibson 175) and Patrick Moraz in acoustic piano and Bill Bruford on drums ( someone wants more ? ) and in track 5 " Look over Your Shoulder" with a bucolic introduction with Claire Hamill female vocals ( a folk singer / songwriter ) where I must detach the hammond - organ played by Ronnie Leahy and White's drums . Track 6 "Meadow Rag" is a country song played exclusively in a Martin 0018 guitar in approximate style of "Clap" , track 8 " Surface Tension" is a classical guitar solo and the absolute detach is track 9 "Double Rondo" with orchestra (simply fantastic). The album don't brings none weak track , my rate is 5 stars !!!
 Beginnings by HOWE, STEVE album cover Studio Album, 1975
2.63 | 129 ratings

Steve Howe Crossover Prog

Review by maryes

4 stars STEVE HOWE's "Beginnings" is an album with one discrepancy between instrumental and vocals parts. The instrumental arrangements( happily the main attractive ) are wonderful showing of a virtuous musician ( certainly between the greatest guitar and similar chord instruments player ) with a "staff" accompany with other great musicians like Patrick Moraz, Bill Bruford, Alan white (YES, MOODY BLUES, KING CRIMSON), David Oberle, Graeme Taylor, Malcolm Bennett (GRYPHON) ... and some moments in counterpoint the "terrible" Howe's vocals.. The worst tracks are track 2 "Australia" and track 6 "Will O' the Wisp". However, the album shows great moments like track 3 "The Nature of the Sea " track 4 "Lost Symphony" ( with Steve's guitar lead the music while a brass section make the accompaniment), track 5 "Beginnings" ( a masterpiece duo with Steve's nylon guitar and Moraz's harpischord ) track 7 "Ram" ( a incredible "mosaic" with aosutic guitat, banjo, lap steel guitar and washboard ) and the last track "Break Away from It All " another mosaic of guitars like danelectro coral electric sitar-guitar , pedal steel guitar... and the most important ; at this time Howe's vocals don't "ruins" all ! In spite the above mentioned discrepancy I consider a very good work, My rate is 4 stars ( in fact my real note was 3,75 stars...)
 Beginnings by HOWE, STEVE album cover Studio Album, 1975
2.63 | 129 ratings

Steve Howe Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

2 stars After setting the world on fire when he joined Yes in 1970, STEVE HOWE spent the first half of the 70s pumping out one progressive rock masterpiece after another while touring the world in support of the band's albums. By 1975, the members reached the point where they required a much needed break from one another so they took some time off to record solo albums. To appease their record company the compilation "Yesterdays" was released and then they all went off to do their own things. Meanwhile members like STEVE HOWE were conjuring up their own musical ideas and then he released his very first album which is appropriately titled BEGINNINGS. Unlike other Yes members like Chris Squire who would only release one solo album, HOWE would continue to release many new creations tucked between Yes albums.

While officially a solo album, BEGINNINGS contains a whole army of supporting musicians including contributions from other Yes members. Both Alan White and Bill Bruford offer drum contributions. Patrick Moraz helps out on Moogs, Mellotrons and general keys and then there are quite a few others who are on board contributing bass, flute, sax, violin, viola, cello, piccolo, oboe and bassoon thus offering an instrumental heavy feel for a mere solo album, but this is a solo album by one of the greatest prog bands in history, so this is something special, right?

Well, not really. This is one i've tried to like for quite some time and no matter how much i try to reconnect with BEGINNINGS i'm simply put off for one glaring reason: STEVE HOWE is an awful vocalist. With all the extra hands on board in the musical department, HOWE somehow felt it appropriate to handle all the vocals himself and if you haven't heard him sing before, let me just politely say that he is no Jon Anderson. In fact, he's embarrassingly awful! It is quite the fate of the gods that a man can be so brilliant on his respective instrument of choice but have absolutely zero talent in other musical arenas.

One of the reasons this one is so bad is simply because the music is so good. Where no vocals mar the performances such as on the stunning instrumentals "The Nature Of The Sea" or "Ram" it doesn't get any better with performances matching Howe's best of the best bringing "The Clap" to mind. The musicians work together in tandem to offer some serious prog workouts for the most part and all is fine until Mr HOWE opens up his big fat mouth and utters the vocal equivalent to fingernails running down a chalk board in the middle of a beautiful symphony. While the music itself is mostly quite divine, some tracks like "Lost Symphony" are a little too sleepy (and long) and qualify as pure classical music rather than rock but do display the ease that HOWE fluidly delivers with his brilliant classical guitar playing. When the album shines it shines bright. Unfortunately those moments are few and far between. This is one for only the most hardcore of fans but i keep it around for the two aforementioned instrumental tracks that continue to blow me away.

 The Steve Howe Album by HOWE, STEVE album cover Studio Album, 1979
3.44 | 129 ratings

The Steve Howe Album
Steve Howe Crossover Prog

Review by Prog Leviathan
Prog Reviewer

3 stars Celebrated Yes guitarist Steve Howe's self-titled album is well respected and a genuinely enjoyable, representative, and easy-going snapshot of Howe's guitar style. It doesn't soar to epic heights as one might expect if coming only from Howe's Yes output - that grandeur seems reserved for when Howe benefits from the majesty of the whole band - instead, The Steve Howe album offers mostly bite-sized moments of instrumental work that feels very warm, humble, and almost folksy.

Howe gives us, more or less, four kinds of songs: feel-good pastiches of Western Americana, filled with slide guitar and bouncing rhythms; complex acoustic jams like we've heard on his famous "The Clap"; genuine songs, in the sense that they have a conventional verse-chorus-verse-chorus-bridge-chorus structure... granted, his guitar sounds do most of the singing (except in "Look Over Your Shoulder," a song which is better than anything from the last Yes album of this era, Tormato); and finally, symphonic compositions that are lush and pleasant, but somewhat bland because his guitar drifts into the background.

That's a lot of variety, and a lot to enjoy. Some will be disappointed by the lack of "wow" moments in this album, but in the context of the time of its release (the end of Yes, pre-Asia), Howe was likely feeling the need to break away from the prog-rock epics and focus on the playful guitar creativity he couldn't always fit into Yes records. A fun, enjoyable, if overall light-weight release that will definitely please fans of Howe.

Songwriting: 3 - Instrumental Performances: 4 - Lyrics/Vocals: NA - Style/Emotion/Replay: 4

 Paul Sutin & Steve Howe: Voyagers by HOWE, STEVE album cover Studio Album, 1995
2.30 | 22 ratings

Paul Sutin & Steve Howe: Voyagers
Steve Howe Crossover Prog

Review by Conor Fynes
Prog Reviewer

2 stars 'Voyagers' - Steve Howe & Paul Sutin (43/100)

The members of Yes aren't particularly known for much post-peak success in their own careers, whether together or apart. No decade was so bad for them as the 90s, and no member's solo career was perhaps as inconsistent as Steve Howe's, whose guitar work is often surprisingly underwhelming outside the context of the band. The album Voyagers came out in the middle of Steve Howe's weakest decade, although to call it a Howe record might be misleading. This instrumental new age album was largely penned by Swiss composer Paul Sutin, who was supposedly inspired by dolphins while writing it, or something. As collaborations go, this one feels imbalanced to the point of being a cash-in. Howe's guitar lazily meanders atop Sutin's gentle electronica, and the music urges the listener to relax, almost to the point of putting said listener on edge. Voyagers makes a novel departure from any Yes- redolent expectation one may have had approaching something from Howe's back catalogue, but it would be a hard sell to recommend this album as more than spacey wallpaper. This is what Ozric Tentacles might sound like after checking into the retirement home.

I generally find New Age skirts a fine line between sounding legitimately relaxing, and pushing that relaxation to the point where it sounds irritating, like elevator music, or the godawful diabetic noise they blare through the phone when you're on hold with customer service. While fellow Yes-man Jon Anderson found a great New Age collaboration with the almighty Vangelis, Howe's work with Paul Sutin is decidedly less impressive, and all the less 'relaxing' for it. Although there's precious little to keep a listener intrigued for long, Sutin lays a steady foundation with flutes and basic soft/space electronica. The beats are soft and floaty, and sometimes, they actually work. "Ocean Light" and "Sonar Call" aptly convey the desired aquatic atmosphere, and some other moments on the album successfully managed to lull me into an Atlantean bubble of relaxation.

No doubt most people who've listened to Voyagers were keeping their ears out for Howe's contributions, but his guitarwork is an accoutrement at best. Paul Sutin would write what are essentially backing tracks for Howe, and Howe would play over them in parts. That playing sounds like a pretty blatant cash-in. While there's not much space to excel past a few 'soulful' Gilmourisms in such a mellowed out context, I do feel like Steve Howe should have taken greater care to let his playing come to life. While his performance is vaguely similar to his style with Yes, the solos sometimes sound like they were written with the most basic taste in mind. Then again, I don't know how much of this may be attributed to a lack of passion so much as the album's aim and intent. One of the rare exceptions to the rule on Voyagers is the more upbeat "Sanctuary"; here, both Howe and Sutin excel at their respective crafts, with Howe taking a jazzier mode to his playing, and Sutin injecting his electronic form with a much-welcome urgency. Yes, an album of stuff like "Sanctuary" would be worth hearing by much more than merely diehard Yes fans, and it might even be enough to save this album from the dump heap. But generally speaking, I can't fathom returning to a Howe/Sutin collaboration when the sleepiness dares to outweigh the interest.

Between Howe and Sutin, I actually find myself more impressed by the work of the latter. Whereas Sutin sounds like he's composing with tenderness, Howe generally sounds like he played his parts with eyes open halfway. Voyagers generally sounds like a lazy album, and not in the way the artists intended.

 Quantum Guitar by HOWE, STEVE album cover Studio Album, 1998
2.75 | 34 ratings

Quantum Guitar
Steve Howe Crossover Prog

Review by Chicapah
Prog Reviewer

2 stars As a lifelong songwriter myself, I've always sought out different methods for coming up with tunes and melodies. When I first started out as a teen in the 60s I'd fiddle around with my hard body Silvertone 6-string and tinny Kent amp until an idea sprouted and then I'd turn on my trusty Radio Shack mono tape recorder so I wouldn't lose it. In the 70s I advanced to using a JVC sound-on- sound two track device and later to a TEAC 4-channel tape machine that would allow me to more efficiently construct a crude facsimile of a complete composition. The point I'm trying to make is that none of what I ended up with was fit to play for anyone except my bandmates who would savvy that I was merely trying to present them with potential material to possibly work on and develop. It was not for public consumption. In many cases only a tiny segment of one of my creations would be something worth trying to build on. That's why I'm rather shocked that the multi- talented Steve Howe would want to share his unrefined home demos with the world as he did on 1998's 'Quantum Guitar.' There's no questioning his exceptional skills on a wide variety of stringed instruments and his work with Yes in particular has often bordered on incredible so it's not like he's some wannabe running through a series of scales to show off here. But this is far from being the kind of stuff that any respectable progger would be drawn to. Frankly, I couldn't wait for it to be over.

Enlisting only the help of his son Dylan on drums, this is truly a Steve Howe do-it-yourselfer from top to bottom and therein lies its true weakness. Only a handful of artists can achieve greatness without collaborating with other musicians who'll give constructive criticism and guidance and Steve ain't one of them. He opens with a modern rendering of the Ventures' classic instrumental 'Walk Don't Run' and he wisely resists wandering too far from the original arrangement. In all fairness Howe adds some excitement where needed. 'The Collector' is a light ditty that relies heavily on his steel guitar acumen, 'Light Walls' is a bit more aggressive in nature yet quite poppy while 'Mosaic' is a short piece containing recognizable Yes-like overtones. The longest cut on the album is 'Suddenly' and, due to its length, I hoped it would be wildly proggy but it turns out to be pretty much of a contemporary guitar extravaganza that never generates any momentum. Although I don't cotton to C&W fare I've always been an admirer of decent pickin' and Steve displays that he has the chops for it on 'Country Viper' yet he discreetly doesn't overdo it, keeping this snippet at well under the two minute mark. On 'Mainland' I gotta hand it to Howe for designing an adventurous chord progression and for employing a myriad of guitar sounds but all in all it's way too tame to hold my interest. 'Knights of Carmelite' is a highlight. Its madrigal feel is refreshing at this juncture and the compositional structure is superb.

'Paradox' is next and I'm not sure what Steve was shooting for with the limiting marching beat that sets the tone but by now the tunes are starting to sound alike. 'Momenta' is an unimaginative variation on one of the oldest and most overused rock & roll patterns in history and I grew weary of it within seconds because he does so very little with it. Howe delivers another round of nostalgia with the old chestnut 'Sleep Walk' and he treats it with honorable respect sitting at his pedal steel guitar but he also avoids taking any chances. 'Sovereigns' is excellent. Its classical air is augmented by innumerable guitar overdubs that weave a nice tapestry. It's an engaging detour from the norm. 'Totality' sports an up-tempo rock beat that picks up the pace but it's no more than average filler. 'Solid Ground' is but another dose of the same directionless meandering that fails to take the listener anywhere special or memorable. He lays down a host of Spanish guitarisms for 'The Great Siege' and they're borderline thrilling but the instrumental comes off more as a dexterity exercise than an attempt on his part to mount the prog heights. 'Cacti Garden' is another undistinguished conglomerate of musical notions but the closer, 'Southern Accent,' turns out to be one of the more cohesive songs on the disc. However, it's a case of too little too late. It wasn't enough to curb my unstoppable yawning spree.

After Yes toured 'Relayer' in the mid-70s all of the group's members took time off to make a solo LP. Two of them, Jon Anderson and Chris Squire, delivered exemplary progressive specimens but Steve's was a disappointment. Evidently that didn't stop him from trying, though, because he's put a bunch of records out there ever since. I won't be acquiring any more of his albums because 'Quantum Guitar' is like watching somebody else's home movies. I'm sure he had a fun time and all but I don't really want to sit through his exploits. My thinking is that this is how Howe writes his material and I understand that hit and miss process completely. I just don't want to hear the ragged demos that resulted. Since he's a revered guitar wizard who's given me hours of ecstatic joy taking in his contributions to most of Yes' greatest albums I'll give him the benefit of the doubt and give this CD a 1.5 star rating. But just this once.

 Natural Timbre by HOWE, STEVE album cover Studio Album, 2001
3.74 | 48 ratings

Natural Timbre
Steve Howe Crossover Prog

Review by Gatot
Special Collaborator Honorary Collaborator

3 stars For the love of YES ...

Well, I have to be honest that the chief reason to have this album for me personally was the facts that there were three Yes tracks included here in this Steve Howe record. I just wanted to have another style of those three tracks played buy Steve Howe himself. My reaction was mixed as I was not quite impressed with Your Move as it has made the music not that proggy compared to the original studio version and live version with Yes ...and of course this version is no vocal. But I like To Be Over as I do with the original version.

Natural Timbre captures varied musical styles: straight pop, classical music, country, blues...,which all of them lumped together sounds like a music at the lounge a five star hotel; nothing is quite complex right her ....everything goes smoothly. Of course each track has special meaning for Mr Howe, depicting the memory of his journey of guitar playing. For example on Distant Seas had something to do with his memory when he was in Japan in 1973 when he bought a handmade classical guitar by Kohno and later in London, he bought a Koto (a long, curved, Japanese instrument with strings stretched across) and began recording it with groups and solo work. But he also, like in Winter, playing an arrangement of the 2nd movement from Winter, part of Vivaldi´s Four Seasons which originally from violin.

Overall, it's a good record and you should not expect something prog as you find in any album of Yes. It's a simple and straight forward music that any music lovers might enjoy it. Keep on proggin' ..!

Peace on earth and mercy mild - GW

 Steve Howe's Remedy: Elements by HOWE, STEVE album cover Studio Album, 2003
2.76 | 40 ratings

Steve Howe's Remedy: Elements
Steve Howe Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

2 stars Steve Howe needs no introduction at all, and his new band Remedy includes his songs Dylan (drums) and Virgil (keys) plus Gilad Atzmon (woodwind) and Derrick Taylor (bass). All of the tracks were written by Steve himself, so he has to shoulder the responsibility for this one. There are some good songs on here, no doubt of that at all, but there is a lot of inconsistency which makes the album very hard indeed to listen to. It shifts styles, and Steve himself says that it is "guitar based progressive rock containing influences from blues and jazz".

That the musicianship is top quality is never in doubt ? Steve has been one of the most important guitarists in the rock scene for over thirty years, but that doesn't mean that the music itself is of the same mark. This is not an album that many people will be approaching in its' own right; that many people will purchase it just because of the Yes connections is a shame. The fourth song is "The Clap (Where I Belong)", is Steve trying to say something? This is not the instrumental of a similar name a la Yes but instead has a much more laid back Wishbone Ash feel. Not an album that I will often be returning to.

Originally appeared in Feedback #78, April 2004

Thanks to TR for the artist addition. and to NotAProghead for the last updates

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