← Takin' A Walk - Music History with Buzz Knight
Takin' A Walk - Music History with Buzz Knight
"Steve Howe: Yes Guitarist on Progressive Rock Innovation, Guitar Mastery & Musical Legacy | Takin A Walk Replay
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- [00:00]
Michelle Williams
This is an iHeart podcast. Guaranteed human.
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Steve Howe
When you buy LG, you.
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Josh Whalen
Get so much more than just an appliance. You get more done, more cost savings, more peace of mind and more control.
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Buzz Knight
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Josh Whalen
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Buzz Knight
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Josh Whalen
LG appliances so much more make life easier with LG. See the latest models and savings now@LG.com.
- [00:46]
Michelle Williams
On June 11, 1998, a deputy from.
- [00:51]
Steve Howe
The Los Angeles County Sheriff's Department went missing. Hey, if they'll kill a cop and bury him, what are they going to do to me?
- [00:58]
Michelle Williams
What really happened to the missing deputy? Valley of Shadows, a new series from Pushkin Industries about crime and corruption in California's high desert.
- [01:10]
Steve Howe
Listen to Valley of shadows on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [01:18]
Michelle Williams
You know, we always say new Year, new me, but real change starts on the inside. It starts with giving your mind and your spirit the same attention you give your goals. Hey everybody, it's Michelle Williams, host of Checking in on the Black Effect Podcast Network. And on my podcast we talk mental health, healing, growth and everything you need to step into your next season whole and empowered. New Year. Real you listen to Checking in with Michelle Williams from the Black Effect Podcast Network on the iHeartRadio app, Apple Podcast or wherever you get your podcasts.
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Steve Howe
And the winner of the iHeart Podcast Award is.
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Buzz Knight
You can decide who takes home the.
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Steve Howe
2026 iHeart Podcast Awards Podcast of the.
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Buzz Knight
Year by voting at iHeartPodcastAwards.com now through February 22nd.
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Steve Howe
See all the nominees and place your vote at iHeartPodcastAwards dot com Audible is.
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Michelle Williams
A proud sponsor of the Audible Audio Pioneer Award. Explore the best selection of audiobooks, podcasts and originals all in one easy app. Audible. There's more to imagine when you listen. Sign up for a free trial@audible.com taking.
- [02:27]
Steve Howe
A walk the Rolling Stones was just a difficult sort of band. I mean, it was more where I'd been, you know, I'd been in a band playing blues, you know, so they were influenced by blues. So they didn't interest me very much. Although I wanted the gig when, bless his heart, Brian Jones started, I mean, I was looking for that gig. I would have jumped in there and Said, hang on, you know, but I just couldn't get through to anybody. Welcome to the Taking A Walk podcast hosted by Buzz Knight. Buzz talks with musicians about the inside story on their legacy, their process, and so much more. On this episode, Buzz's guest is Steve Howe. Classic rock fans will know Steve from Yes. He was also part of Asia, GTR and Anderson, Bruford, Wakeman and Howe. He's had a tremendous solo career and he's a legendary progressive rock guitarist who continues to make his mark with inspired music. Steve Howe joins Buzz Knight next on Taking a Walk.
- [03:25]
Buzz Knight
Well, it's an honor to have a returning guest to the Taking a Walk podcast as we're going to take a virtual walk down memory lane with the great Steve Howe from yes. Hello, Steve.
- [03:39]
Steve Howe
Hi, boss.
- [03:39]
Buzz Knight
It's nice to talk to you again, sir.
- [03:41]
Steve Howe
Nice to catch up with you, too. Good. Hope you're well.
- [03:44]
Buzz Knight
Doing very well. I'm talking to you. I couldn't be any better. So let's go back in time here and talk about the first concert experience that you, that you experienced in your life.
- [03:57]
Steve Howe
Okay. All right. I was about 14. I was maybe I was 13. Anyway, I was still wet beyond the years. 13 or 14. A school band, a bit of a school musicians. We went on stage at a youth club and we didn't practice or tune up or talk about anything. We just said, let's play Shadows, you know, the Shadows tune. So we played Apache and, you know, the famous guitar instrumentals. So basically it was pretty awful. And after that, I didn't play on stage for about a year and a half. It was dreadful, really. I could tell it wasn't that good, but I thought, well, it didn't put me off completely. So when I met Kevin Driscoll, bass player in the group called the Syndicats, basically we formed the Syndicats together when I met him, and that's when I started playing in, in pubs and things like that. But that first concert was, was. I was tone deaf to it, you know, it just didn't make sense. But that's because, you know, there was no preparation.
- [05:06]
Buzz Knight
And did you actually play at a prison also?
- [05:09]
Steve Howe
Well, that's what happened when I got together with Kevin and we formed a group and we got, we got a, I don't know, Tuesday evening or something, a youth club. And it connected to what's called Pentonville Prison. No great, you know, Shakes. But anyway, so that was in the area of North London we lived in and basically. Yeah, yeah, every week for a while, we, we played there and the only thing we knew that I didn't need to do with the prison was that as we packed up the gear, some prisoners came in and tidied up the venue. So, yeah, it was kind of weird, you know.
- [05:43]
Buzz Knight
It sounds a little Spinal Tapish.
- [05:45]
Steve Howe
Yeah, yeah, yeah. Johnny Cash at Full. Full.
- [05:49]
Buzz Knight
Yes, exactly. I love your appreciation for all diverse styles of music. And I think if I'm. If I'm correct on this, one of the first concerts you experienced as a fan was heavily roots oriented around, like, Chuck Berry. Does that sound right?
- [06:11]
Steve Howe
Yeah, that's right. Yeah. Yeah. The first major, kind of proper major concert I went to was a, what they called a package tour. You know, there was most probably five names, I think Eric Burton and the Animals. Paul Perkins was actually top of the bill. But we didn't know him anywhere near as well as we knew Chuck Berry. So Chuck Berry was like the. The free thing. Yeah, so that was my. I mean, I'd seen, like, people finding clubs, obviously, and, and things like that, but this was like lights out show. And Chuck Berry was absolutely magical, you know. I mean, he did things, you know. Well, he was the package, you know, singer, guitarist, songwriter, performer, you know, so he leapt about the stage doing his duck walk and things like this, and he was absolutely great. And I think that's. That's a major contribution. You know, we knew Chuck's music, Bill Haley, Little Richard and other people, but that was. That was when it was all happening in that direction.
- [07:11]
Buzz Knight
Did you have an aspiration at that point to do a duck walk?
- [07:15]
Steve Howe
Well, well, I mean, I did do them occasionally, yeah. If I did one at the Rock and Roll hall of Fame when I was playing bass on Owner of A Lonely Heart with yes, because I just sort of thought it was getting a bit kitsch, so why not get Kitcher? I love that.
- [07:32]
Buzz Knight
Now, I know you have great admiration also for the. The work of Chet Atkins. Did you ever get to experience him play live?
- [07:42]
Steve Howe
Yeah, yeah, I saw him a few times and then I met him a few times as well, and it was absolutely great. Yeah, I saw him do a concert in London, and me and guy called Doug Turner, who was a great picker himself, when went to see him. And because Doug was in the Chet Atkins Appreciation Society, we got to meet Chet and I actually gave him the music to clap, although I'm not sure he had played it or even looked at it. But later, when I'd developed my career a lot more, we, we. I saw him. Well, we played together on the same bill in, in Germany for two nights with Larry. Larry Colton, I think. No, Larry Corell. That's right, Larry Corell. Me and Chat did our own spots and there was a sort of a jam at the end. But as I never thought Jet would. He didn't. He didn't join in. And I joined in a little at that concert and you know, I had a little ride about Germany with Chat to and fro the shows. He was very nice, very sweet, very, very relaxed and. And his. His accompany has told me that Chet did take a shine to me. So.
- [08:57]
Buzz Knight
That'S awesome. You mentioned Larry Coriel. I got to tell you a funny story. I briefly, while I was in college at the university of esteemed position there of the concert director for the university. And Steve, I was terrible at it because I was working on the radio and going to college. So I really was bad at the job.
- [09:19]
Steve Howe
Yeah, but.
- [09:20]
Buzz Knight
But I did succeed in booking Larry Coriel at the University of Dayton. And once the show was over, and I guess maybe this happened with a lot of artists, he decided to come over to our house and party with. With us with my college buddies. He was so nice.
- [09:39]
Steve Howe
How was it?
- [09:40]
Michelle Williams
Good.
- [09:40]
Steve Howe
Okay, good. Well, that's sweet. Yeah.
- [09:43]
Buzz Knight
I know you have tremendous admiration as well for obviously the Beatles in terms of what they represented in, you know, your sort of influences and everything. Can you talk about what the Beatles meant as you were a. A musician sort of coming through the ranks and developing your style?
- [10:03]
Steve Howe
Well, they were quintessentially central, you know, to that era. It was only Bob Dylan's freewheeling that had any kind of con. Comparable weight, you know, in effect opening a door. So when the Beatles came out and you know, that Please Please Me album, I mean, they were just literally a sensation, you know, you just can't imagine what, you know, what effect it was. It was a bit like the Pandemic. But to say something nice about the Pandemic is kind of hard really. But basically it was like that likening that that is spread across the world. And you know, we were so proud. You know, this was not only, you know, a Brit band, it was a Liverpool band. It's a Brit band. And there was like total like Wipeout, you know, this band. There was no competition. There was no band that was as good as that anywhere in the world. Of course they came, you know, the Birds and you know, the Great Ban, you know, that were going on. Of course were going on. But I mean the Beatles were just like. Just there they were. Yeah. So anyway, to wind it down Then basically, when, when they came out, the first thing. I, I didn't, I didn't. I don't read music, but I bought sheet music because it had the chord symbols on it, you know. So anyway, I'd buy the, you know, the Beatles sheet music to understand better the chords that they were using. Sometimes stupidly, the chord chart was in a different key. Can you imagine? Kid buys, got a guit, buys the chord chart, right? You know, the song. Please, Please, different key. What use is that? So anyway, you work out the chords and, and they were just harmonious, you know. And of course, George was great guitarist. Yeah, they're all great, you know, they all had. I mean, you know, and, and Ringo was just as great as all the guys. They had so much individual style that it took away from the fact that a lot of other music. Well, they had George Martin. I mean, come on, let's admit that they had tremendous guidance. So was a perfect chemistry for, for about a bit like yes, with Eddie offered, you know, we had a run where it was great working with Eddie and, and for the Beatles, George was, was a companion. They, they. They must have just enjoyed having him there so much because he was so talented, you know.
- [12:23]
Buzz Knight
And impressions through your development of the Rolling Stones and what they meant to you.
- [12:31]
Steve Howe
Well, the Rolling Stones was just a difficult sort of band. I mean, it was more where I'd been, you know, I'd been in a band playing blues, you know, so they were influenced by blues. So they didn't interest me very much. Although I wanted to give. When, Bless His Heart, Brian Jones started, I mean, I was looking for that gig, I would have jumped in there and said, hang on, you know, but I just couldn't get through to anybody. And they had, you know, the marvelous replacement lined up anyway in Mickey Taylor. So basically, when I go off the point, I can forget what the question is. So basically, where were we?
- [13:07]
Buzz Knight
Oh, we're just talking about the Stones and you just threw me for a loop on that. I want to go back to the notion of, okay, so Brian Jones passes away and your eyes light up and you say, I think I could join that band. So that's amazing to hear that. What do you think would have happened if you did?
- [13:28]
Steve Howe
But they might have thrown me out, of course, they might have been a bad influence on me. Now what I would say is, look, they've got so much to offer. I mean, they're still going, you know, and I love them, you know. I really, really love them. Especially after that television program where they featured One of the members on for a whole program, it was so inside. That's a great band, like Queen, you know, like other bands. So basically there's a lot of harmonium there, harmoniousness and you know, it's, it's. They're just a different animal altogether, you know. I mean, although they did actually play a lemon cartney song, it did help them along their way. But basically the Stones were the sort of opposite of the Beatles in a way. Because they were finding a way of developing what I'd become tired of, which was the blues. You know, I'd done the blues and I love them still, but I didn't want to play the blues. So the Stones were like the. The parallel universe going on that said, no, we can play the blues, but we'll play it like this, you know. And I think they're a great band and you know, everything about them too is great. But they, they weren't as much my thing and as much my development along with Les Paul, Chad Atkins, the Beatles, you know, and then, you know, maybe Frank Zappa or, you know, other people came along that, that you were knocked out with Paul Simon and basically the Birds and all these other band, great bands from America. So it was awful lot happening. But the. But, but the Beatles stood out in a different way because the Rolling Stones had notoriety, but sort of bad notoriety. Great fun. I. The poor guys got targeted by these idiot policemen in London who thought that, you know, smoking marijuana was. Was. Was like smoking, like taking hard drugs. So they were fixated with that idea. This wasn't fun and they were going to stop it. So the Stones and the Beatles got targeted and that's a dreadful thing. But there again, before that there were greater crimes against, you know, homosexuals and, you know, I mean, the world's been a very cruel place. So going back to what isn't cruel is that the Beatles were great, the Stones were great, but. But not as much my thing. Yeah, I got it.
- [15:35]
Buzz Knight
And so let's just go a couple of more of the great bands and what they meant. The who and Led Zeppelin. What do they mean?
- [15:46]
Steve Howe
Well, I can't really do this, you know. How can I review a band as big as Led Zeppelin in a sentence? I admired Jimmy and I remember meeting him in Denmark Street. I wonder if he remembers. And he said to me, I just formed a new band. It's going to be called Led Zeppelin. I said, really? Oh yeah, great. Good luck. And like playing Led Zeppelin was like, what enormous band. And the who, you know, they, they had Their pop hits as well, you know. Well, I wouldn't say, you know, I'll take the as well out of that. They had their pop hits and they were a great band, you know, and, you know, there was great strength in. In their writing. Of course, they had like. The similarity is they both had a very wild drama, you know, but a lot of drummers are fairly wild. Yeah.
- [16:34]
Buzz Knight
Well, what's amazing about yes is you created music that really previously didn't exist in a whole category, that really didn't exist in terms of, you know, the. The style and what it led to in terms of other bands. Tell me how it feels to have had that sort of impact on a whole new genre.
- [16:56]
Steve Howe
Well, I think it started, you know, 1967, you know, when. When the. The in Crowd became Tomorrow and we played My White Bicycle and there was a whole new, like, New Year to move up to. But there was a bit of a lull, you know, after that. London was a very dark and cold place. And then suddenly, you know, I joined yes. And basically progressive rock was already happening in yes when I, When I joined. And I didn't know they were playing that really. They were playing their own song. And that's what was vital to me, that the band wanted to play their own song. So basically that. That meant that my opportunities, you know, as a guitarist primarily, first and foremost, really, was that, okay, I could get in here and play some, you know, really good guitar. These guys can, you know, they understand improvisation. They want structure, improvisation, harmonies. You know, it was like the whole canon, the whole wall of sound was going to come from yes. You know, we could do everything. And, you know, when you see yes songs or something like that, you know, that film, I mean, the band plays so sort of magnetically close, you know, that it's quite surprising, you know, surprises me. We're playing the same notes that we wrote. But they came from the studio and went on stage and it, yes, grew, you know. Yes, that was the test. So the albums that we didn't play much on stage were for good reason because we. They didn't work on stage so much and we didn't enjoy them. And there were arguments about who plays what or why. This doesn't, you know, if we improvised, you know, it had to be a structure, because on stage you need structure, as Chris always said, you know. So anywhere that was a bit too jammy, we could never reproduce on stage. And we, we, we. We had to think of something else to do. And so, yeah, I mean, watching everybody else absorb, you know, the electronic development of keyboards and then what was possible for the guitar. And then in gtr I was doing like some MIDI guitar and there was a lot of synth stuff going on, like there was on Drama. But basically, you know, Asia was a kind of interesting diversion for me to get more sort of like pop orientated rock, you know, and I love that too. That was great fun. So it kept developing, you know, Keys to Ascension with yes in the mid-90s was another attempt to find the pulse. You know, we did a lot of things great and we did other things not so great. And then, you know, by 2004, I mean, yes, it come back to a Roger Dean stage and we were playing big venues. It was all very exciting and we stopped and then we had a long gap of three years. So when we regrouped with Chris and I and Alan primarily getting. When Benoit David and Oliver Wakeman in, we basically just had to forge a new way on for yes that wasn't restrictive and had a full commitment from people. Although I was in Asia as well at the same time, which eventually wore out. And I Left Asia in 2012 because I wanted to concentrate on yes and my own solo music. And I couldn't do all these things at once if I had Asia in there as well. So basically, I think it's developed and I think Marriage of the sky and any future records we make. The quest, the things we're doing now is to show that we're partly got one foot, like really, with much respect for all the old material, another foot in the idea that to do that, to play the old music really well, the group's got to be a real group. It's got, it's got to have music going right now. And that's what Marriage the Sky is, you know, and that's what we, we thrive on, is a balance of. Yeah, we, we've. We love playing Starship Trooper. Nobody can take that enjoyment from us. It's a great feeling. But there again, you know, it's not so much that we need to play all this new music on stage. That, that would be, you know, a challenge, an interesting one and. But I think we just balance it more minimally so that we don't appear to be sort of like, you know, comparing the music. Some of it, you know, we need more time on to, to play new music on stage. So maybe there's a reason why that should happen. But at the, at the most point we, we are enjoying the, the credibility of the music that I had part of that, you know, a Lot of it was John Anderson and all the other guys. You know, what Patrick Mraz did from, you know, for Relay was sensational. So the Frogginess has just kind of like evolved and become accepted, you know, and hopefully we can influence. We'll be right back with more of the Taking a Walk podcast.
- [21:46]
Josh Whalen
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- [22:47]
Buzz Knight
In this economy, a better money plan.
- [22:50]
Steve Howe
Is more necessary than ever. I am Matt. And I'm Joel. We are from the how to Money.
- [22:55]
Buzz Knight
Podcast and every week we help you to spend smarter, save more, and make.
- [22:58]
Steve Howe
Sense of what's going on out there. If you want 2026 to be the year you finally feel in control of your money, we're here to give you the tools and advice to help you make it happen. Listen to how to Money on the.
- [23:09]
Josh Whalen
Iheartradio app, Apple Podcasts, or wherever you get your podcasts.
- [23:14]
Buzz Knight
Hey, what's up y'?
- [23:15]
Josh Whalen
All?
- [23:15]
Buzz Knight
This is Questlove. Recently I had the opportunity to sit down with ASAP Rocky ahead of his album release Don't Be Dumb. He reflects on his journey from his Harlem roots to global icon status, discovering the hip hop origin of his name.
- [23:28]
Josh Whalen
The ledge was on the tv. Rakim had the bucket hat, kango joint on. Pops was like, that's Rakim. That's who you nameked after.
- [23:36]
Steve Howe
I just was like, damn.
- [23:38]
Buzz Knight
That Rocky offers a window into not only a boundary breaking artist but as a man committed to fusing creative ideas, community, and remaining unapologetically himself. Have you ever gotten roasted for any of your outfits?
- [23:52]
Josh Whalen
For sure. Some people don't be getting the vision. Look, they could roast me, they could cook me, they could deep fry me. They could saute whatever they want. Nobody with my fashion sense in life. Taste is impeccable. I'm just, like. I impress myself a lot.
- [24:09]
Buzz Knight
It's an amazing conversation, one you definitely don't want to miss. So listen to the Questlove show on the iHeartRadio app, Apple Podcasts, or wherever.
- [24:17]
Steve Howe
You get your podcast.
- [24:22]
Michelle Williams
This season on Dear Chelsea with me, Chelsea Handler, we've got some incredible guests, like Kumail Nanjiani. Let's start with your cat. How is she?
- [24:30]
Steve Howe
She is not with us anymore.
- [24:32]
Michelle Williams
Okay, great, great, great. Way to start. So this is a great beginning, and hopefully you'll be able to. I don't know, maybe you will cry. Amanda Seyfried. Life is so short. If you feel something like that, you have that fire in you for this experience. It's not for a guy. It's for the experience of being in love. And, like, it's bigger than a guy. Elizabeth Olsen. I love swimming naked so much. And I know you love taking pictures of yourself. Yes, I love to be naked. I just want to be in my brown underwear all the time. Ross Matthews. You know what kids always say to me? Are you a boy or a girl? Oh, my God.
- [25:07]
Steve Howe
All the time.
- [25:08]
Michelle Williams
So funny. I know.
- [25:09]
Steve Howe
So I'm always like, hi.
- [25:10]
Michelle Williams
I try to butch it up for kids, you know, so they're not confused. Yeah, but you're butching it up. It's basically like an angry woman. Doris Day, right? No, I turn into Bea Arthur. Listen to these episodes of Dear Chelsea on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [25:29]
Steve Howe
Welcome back to the Taking a Walk podcast.
- [25:33]
Buzz Knight
What's the first band after yes in the progressive movement that you were really wowed by?
- [25:40]
Steve Howe
Well, I mean, I used to listen to Soft Machine a lot, you know, in the early days. And now, of course, you know, they've got John Etheridge as well, so that kind of work is interesting. I. I saw that we were part of a pool, you know, and it wasn't really about pop records, you know, at all. You know, it was about albums. But of course, Genesis took that leap like yes did in the 80s, which I'm no part of with the owner of Lonely Heart Saga. So basically, that kind of era of a band isn't very froggy, you know, but it's, it's. It can be very useful. And in many ways Genesis showed that how very powerfully, not only, you know, but also it highlights that, you know, people like Peter Gabriel, you know, their talents were missed in, in Genesis, but he could develop his talent, but also Genesis could turn theirs without him. So that, that's the story of, you know, having a team of people that like working together.
- [26:43]
Buzz Knight
One of the things when I first saw yes back in the mid-70s that wowed me was the incredible sound at the concert. Just the amazing sonic nature of it. Tell me how that ultimately became such an important part of yes, that. That amazing sound in the concerts.
- [27:06]
Steve Howe
Well, if you're talking, I mean, really partly that's Claire Brother sound, you know, Claire. Claire is called now, but Claire Brother Sound Audio. Claire Audio was. We heard that on the Jethro Tumble tour and we said, when we come back, we want Claire, you know, because we heard the sound. But a similar thing happened like a few years earlier than that because that was like 1971, 72. But of course, in 1970 we bought Iron Butterflies PA because we wanted to sound like we did on their tour. You know, they wanted to sell, we wanted to buy. So we bought the W bins, mid range horns and high, high horns and we bought this system and we started to really care about how we sounded because we didn't really like the sound of the PAs that were available in, in England generally. So we had our own pa. Then we went to America and we said, Claire Brothers is it? And we, we swore blind that we'd never play without player. Sometimes we've had to. Certain things have changed, but whenever we can, we. We still want to play with. With that sound because they're top notch, you know, the top of the game. But the beginning of the 70s was Eddie started mix. Eddie often started mixing the show. And that was wonderful. You know, that was very exciting. It got a bit carried away and unfortunately we lost the plot. So we had to find somebody great like Dave Natal. So for a lot of the time, Dave Nutell was our front of house. He does the Rolling Stones. And basically we had a great team of people who were going like we were. Our career was going forwards and so was theirs. And, and they were part of our polish, you know, like Roger Dean. The fact that we started using his designs with his brother Martin Dean for our staging was a big development. He started me tells from Total Gravic Oceans too. So basically we were messing with all that quality stuff. That we could have made, but a lot of it was to make our show better. You know, he started with the mirror ball. Mickey Tate thought of that, and he, you know, went on to become our light designer. So we had great lights. We had a team of people who really cared about. About making a mark themselves. Not. Not just. Oh, just working for yes. You know, just like being a slave. No, no, they came with creativity, and there was always things developing, and that was what. What was exciting. And we try to keep that going today, you know, and we've recently just changed from doing video and lots of moving things. Yeah, we got fed up with that. So now we just got, like, really quite intense lighting. Now that. That's more theatrical and. And we have a set, but it's very kind of simple. It's. It's a few screens, but they're not used, you know, to. To show somebody tapping their foot on. It's just that the best thing about it is that we want to focus on the band, the players, the music.
- [29:58]
Buzz Knight
You know, one of the great things about yes is the beauty of collaboration with, you know, all the band members. What's the key to that great collaboration that's been so much part of yes through the career?
- [30:13]
Steve Howe
Well, it's joint willingness, you know, I mean, it's like you can't go, you know, we can't go in opposite directions. We've got to be willing to go the same way. And that to find that willingness is in the belief, you know, in the band, in the music, the love of the band. But also it's about getting on with the guys, you know, and finding a way of working professionally with each other. That's the first thing. The second is to have the harmony, understanding that there is closeness if it needs to be. There is a discussion between two people if it needs be. And basically, you can work as much out as you can and make it a happy environment. That's what I said when I put my name forward to produce the Quest. I said, I don't want to do it unless it's fun, because there is a fun element that you need. That doesn't mean, you know, we've got a comedian in the group. No, I don't want a comedian in the group. But fun is enjoying your art, you know, enjoying your opportunity to make your art even better, you know, to. To have a pool of people, not just you, but to have a pool of people who they've got to get if they like it. It means a lot, you know, and so if you do Something and figure. That's nice. Yeah. Then in a way, all the music starts coming together, flowing together and there's not opposition, you know, there's, there's, in other words, there's no bad stuff left there to stew, you know, There isn't any bad stuff.
- [31:44]
Buzz Knight
Can you take me back to the creation of the Fragile album? How was that collaboration in terms of creating that? How long did it take? Any specific memories of that? What. Which ultimately produced a masterpiece, in my opinion.
- [32:03]
Steve Howe
Well, thanks. I mean, there's only so many and they are the same ones. I, I, I have to say, whenever I'm asked this question, because I do remember some, some things about Fragile. It's not very broad. I remember that although the yes album was worked on as a very collaborative, you know, unit, John and I had just managed to formulate the idea of Roundabout together during tours. In fact, we were in Scotland and I think we both remember somehow that it was, it was on one of my cassette tapes that John and I were like jamming stuff and so, and he'd say, what have you got that's a bit like this? Or have you got a, you've got any chords, you know, or, you know, just kind of throwing in around. Suddenly we got Roundabout, you know. And so when we started Fragile, John and I started the thing we did quite often in the 70s, like coast the Edge, Tales just awakened. We, we were able to jointly put the foot, the idea forward. So that song was built like that, if you like, from the understanding that John and I had a song. We'd do it and we'd arrange it and blah, blah, blah, we'd record bits and we come back the next day at a rehearsal room for three or four weeks, three weeks. But in that time, of course, Tony K had left the band. It was, it was very sad. It was not really that anybody ever fired him. We said to him, do you want to do multi keyboards? He says, no, no, I don't want to do that at all. I want to play piano, all kind of thing. And that made him appear to us. And it may not have been 100 true that, that, you know, we were just going to stay there, you know, with those sounds. And we had this imaginary idea that other people were like, doing stuff, you know, with new synthesizer, you know, new kind of keyboards come. And that was Rick. So we found Rick and before we knew it, we were, he was popping in. He wasn't at the writing so much of the album, but he came in and did things with us as much as he could, you know, because he had some sessions and, you know, he was kind of a busy guy and we'd snatched him and he was going to work with us. He's going to make the album. So. But we had to write the stuff first of all. So. But he was there when we wrote the Sunrise and things and there was music flowing around. We didn't have a lot of south side of the sky that was pretty much written in the studio. So. And the idea of us having our own solo pieces was. Was great. You know, this is Bill's idea. I think after I had clap on yes album. I suppose he thought, well, why don't we all have a solo? And he was perfectly right. So Fragile is a unique album where we all had a solo piece. So that. That was a nice distraction because musically you go off and do that yourself and decide what it was yourself. And some people use the band. Bill's idea was that we all use the band. We always. But of course, Rick didn't. John didn't a lot, but Chris did on. On the Fish. So basically the album was unique in that sense. Roundabout is one of the sounds I'm most, you know, impressed with that. Eddie helped us get the tightness and somewhat simplicity of it. The rock factor in there. Yes. Must never forget they're a rock band. The worst thing we ever do and we do it sometimes it's because we're actually a rock band and we noodle around, you know, with some nerdy stuff sometimes and spoil what is and has been some great pieces of music. I'm thinking partly of what was on Keys to Ascension Studio Recording. They're very good, but they fall down here and there. So basically there is a continuity needed that. That's the teamwork and that's production also because like Time in the Words. A great album if it had been. Been really properly produced, you know, so it's great performances thrown together, you know, in. In a big sound, you know, that is. Isn't as clear as the S album. You can hear the space in the music. Of course you do it actually tell a lie. I mean, in no opportunity necessary. There's marvelous. Yes. Arranging. Why we're not playing that every night. Dong. You know what I mean? That stuff. I'm going to write it down. We're gonna have to play that somewhere.
- [36:22]
Buzz Knight
I love it. I got a big smile on my face, Steve. With. With you taking me back on that. I absolutely love, love that story. Oh my God, that's amazing. So let's talk about the current. The Current lineup. And I think what's fascinating about the current lineup is there's so many players in the group who really are. Are students of the group. So talk about the lineup and, and how, how you love playing with, with this band.
- [36:49]
Steve Howe
Well, of course, John's been a key to, to the going forwards of this band since Bema David left and he joined about 1112 years ago. I think it's 10, 11, 12. I mean, time Flies, Tempest, Future. But basically John, John was a very solid person to come in the band and we, we share some views about how to play on stage, how to work. We kind of feel at ease with each other because we're both in simpler sort of roughly state of mind where we're clear about what's going on. We're excited, we're ready. We haven't compromised the day. We haven't compromised the show by anything we've done in the day. So we were there, we're really there 100%. So. But Jay of course had joining in part at first he was doing some drumming and then he was doing a lot of the drumming as Alan White was starting to find the whole set was too much for him to play. Oh, and we felt it was too much for him to play and the intricacies and everything. We, we didn't want to keep demanding that Alan plays for like two and a half hours or something. So it was a beautiful experience to have Alan do the last set in the music, the encore stuff of several years. So when Jay took over, when Alan sadly passed away from time back, well then Jay has brought with him that previous experience of being, you know, like the helper and the, the provider and, and the solid assistant. But now he's, he's got the whole floor, you know, so we're finding out what that means, you know, and it should be marvelous. Of course, Jeff has had, you know, like Billy, a revisit experience coming back to yes after Fly from here. And so he brings all that drama experience as well and that era and of course Jeff and I, not forgetting we were in Asia together. So like Jeff and I have a particularly strange, if you like unusual multi connections with. With musical styles. And so Jeff's really good and Jeff's never said anything different than he is in yes. To play every keyboard part that yes ever played, you know, if required. So Billy is an exceptional person too. He's a multi instrumentalist, you know, talented writer, producer, all those things. What he has to do is hone it down into his admiration of Chris really, you know, and taking on the role of Chris with the bass pedals, with the vocals. Chris is, was not just a bass player by any means. So it's a big demanding job and he's, he's doing really well and, and you know, we are, we are very determined to keep the, the ship tightly, you know, not controlled but tightly agreeably run, you know, between us.
- [39:47]
Buzz Knight
So yes. Is going to be going out on the summer tour playing with the Deep Purple. Tell me how excited you are for that experience.
- [39:57]
Steve Howe
Yeah, I mean, you know, last year we did our sort of like normal truth. Yeah, mainly theater tour and you know, we did about seven weekends, I think it was, or across seven weekends. So it's about six and a half, seven weeks. So we were wondering as the year, you know, started up, you know, we're going to target another tour like that. And we were. I'm virtually going to do that. And, and then this offer came along where it fitted in between going to Japan, you know, and, and leaving the UK and Japan. It's big, big two month gap there. So. Yeah, so it's marvelous to, to think that finally we got to play with the Purple. It's been, it's been talked about before and we've always been very, very excited about the idea. And there's a group. Yeah, I mean, what a. I mean, sick. He talked about the 60s. I mean they were going before. Before. Yes, I'm absolutely sure am. There's a long, beautiful history of music. And now, of course, sadly, Steve Morse isn't with them this tour, but they've got a remarkable guitarist in, in Simon McBride. He, he's really a fine player and I'm privileged to be, you know, working along with him. He's. He's a wonderful player.
- [41:09]
Buzz Knight
That's awesome. Well, in closing, as someone who is so dedicated to his craft, how do you stay curious and how do you stay always with a thirst for learning something new?
- [41:24]
Steve Howe
Will I stay alive? Yeah, it is just that simple. I mean, look, what, what I do is what I do, you know, you know, I haven't got a side job like, you know, I fix motorbikes or something, you know. Benoit. Benoit David did have a really profitable hobby or partly profitable, you know, you like fixing boats? You know, so I mean, people do have some other things they want to get on with, but no, I haven't got, you know, all the things that like it's either guitar collection. Having the guitars I want is very, very important to me. And I just bought a new pedal steel guitar because my old ones were too tired. I had to get rid of them. They were, they were out of my face, you know. But now my Williams pedal steel is just so. I get things like that. And it's remarkable how they re as if I don't need it. They kind of stimulate my interest in, in using particular different kinds of sound. I bought a guitar last year called Gibson Tennessee and which was designed by Chad Atkins with Gibson. And I saw Chat playing this on stage in some videos, you know, in his later years. And he always sounded great. I thought, oh, that guitar sounds great. Of course, it's jet action, it's black, right? So I get one and I go, yeah, but these guitars are great. This is a great guitar. So of course you can, you can excel. So I think that, you know, it's a bit like, you know, it's just refreshing to be able to do that. And thank. Good, thank God I can do that. And, you know, basically music still excites me, you know, from Bach to. Well, I don't know, I'm trying to think of another B. But anyway, Bach is a big, is a big player. But of course, rock music is primarily, you know, what got me off the sofa.
- [43:17]
Buzz Knight
It is so joyous to talk to you again. Your music means so much to so many fans, including me. And you're one of the, the gentlemen in the business and one of the nice people and the most talented people. And I'm so grateful, Steve Howe, that we got to talk again on the Taking a Walk podcast. Thank you.
- [43:37]
Steve Howe
Well, that's very nice, Buzz. Thanks so much for saying that. That means a lot to me too. Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Power Podcasts, and wherever you get your podcasts.
- [44:01]
Josh Whalen
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- [45:03]
Steve Howe
Deputy from the Los Angeles County Sheriff's Department went missing. Hey, if they'll kill a cop and bury him, what are they gonna do to me?
- [45:11]
Michelle Williams
What really happened to the missing deputy? Valley of Shadows A new series from Pushkin Industries. Mysteries about crime and corruption in California's high desert.
- [45:23]
Steve Howe
Listen to Valley of Shadows on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [45:31]
Michelle Williams
You know we always say New Year, New me, but real change starts on the inside. It starts with giving your mind and your spirit the same attention you give your goals. Hey everybody, it's Michelle Williams, host of Checking in on the Black Affairs Podcast Network. And on my podcast we talk mental health, healing, growth and everything you need to step into your next season whole and empowered. New Year Real you. Listen to Checking in with Michelle Williams from the Black Effect Podcast Network on the iHeartRadio app, Apple Podcast, or wherever you get your podcasts.
- [46:08]
Steve Howe
And the winner of the iHeart Podcast Award is.
- [46:10]
Buzz Knight
You can decide who takes home the.
- [46:12]
Steve Howe
2026 iHeart Podcast Award Awards Podcast of.
- [46:15]
Buzz Knight
The Year by voting@iheartpodcastawards.com now through February 22nd.
- [46:20]
Steve Howe
See all the nominees and place your vote at iheartpodcastawards.com Audible is a proud.
- [46:25]
Michelle Williams
Sponsor of the Audible Audio Pioneer Award. Explore the best selection of audiobooks, podcasts and originals all in one easy app. Audible. There's more to imagine when you listen. Sign up for a free trial@audible.com this is an iHeart podcast. Guaranteed human.