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Yes 06/19/79
Boston Garden, Boston, MA
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Set I
Apocalypse, Siberian Khatru, Heart Of The Sunrise, Future Times-> Rejoice, Circus Of Heaven, Time And A Word-> Long Distance Runaround-> The Fish-> Perpetual Change-> Soon, Leaves Of Green, Clap, Arriving UFO, Starship Trooper, Wakeman Solo, Awaken, Tour Song, I've Seen All Good People, Roundabout
Set II

Set III

Comment
Lineup: Anderson, Howe, Squire, Wakeman, White, Unofficial Recordings: Audio: Audience - 140 min
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Collectors With This Show

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User (active/rating) Media / # Show Sound Details DB Source User Source
rockcdr (5/5) CD / 2 View  
Notes: AUD
chris payment (5/3.4) CDR / 2 View  
Notes: #239
Roy Martin\'s Music Collection (5/5) SHN / 0 View   UFOs Over Boston (D122)
Notes: PRRP028. Trader's Little Helper indicated the original SHNs had sector-boundry errors. So, I can offer the original PRRP SHNs or a SBE-fixed version.
sean hite (5/0) / 0 View  
Notes:  Notes from the Re-Master  This is an outstanding recording. It comes as a master tape source from the guy who recorded it. He informs us that he used a Nakamichi 550 recorder with Nakamichi CM-100/CP-1 microphones at the time. The show has wonderful quality with harmonics visible in the frequency spectrum up to 18,000Hz. This level of quality is very rare for audience recordings made before 1980, but here it is! The show had a bit too much sub-bass so the frequencies in the range needed adjusting. Clipping also occurred so clip restore algorithms were used. In general, the sound board manager did a good job that night but occasionally a solo would start with volume that was too high or too low and needed adjustment. There were a number of yells, whistles and clicks that were found and reduced as much as possible. On rare occasion a single or dual channel dropout was found and needed repair. Most were dealt with successfully and are not noticeable. The tape flips were successfully navigated with pasted patches. Fortunately, since tape flips occurred during applause, no other source was needed to produce the complete show. A gentle hiss reduction also made quiet sections more pleasing but a rolling hiss at one point required more specific attention. Tonality was adjusted in a few spots to eliminate excesses but detail was enhanced throughout. Finally, after detailed analysis of segmental run-times, a speed correction was applied to create the finished product. We at PRRP have more shows from this taper so stay tuned because they are going to be great!!  PRRP Staff.
sean hite (5/0) / 0 View  
Notes: PKingston - EQ applied
Steve O'Malley (5/5) FLAC / 2 A- View  
Notes: PRRP028 "UFOs Over Boston"
Rod Woody (5/5) CDR / 2 A- View   Audience
UNIVONC (5/0) / 0 View  
joe (5/5) CDR / 2 View  
Eduardo Rojas Morales (5/0) CD / 2 A A- View   Audience Recording
Notes: PRRP028 version. Another great show
Michael Shilling (4/5) CDR / 2 A View  
Notes: PRRP028 "UFOs Over Boston". Outstanding Audience Recording. PRRP ReMaster. Fantastic Performance of Near-Excellent Sound Quality.
Freebird 63 (4/5) cdr / 2 A View   aud
Tim Devine (4/5) cdr / 2 A- View  
Notes: Source and Mastering Effort – As most will know right off, very different remaster of this same recording has been in wide circulation for some time. Both come from the exact same source - the same professional transfer of the original master tapes. Respective goals and results however differ enormously. The source is a top shelf 1970s AR unlike any other both for unbelievable sound capture and for almost insurmountable remastering challenges presented by Yes concert sound so powerful and detailed it overwhelmed even the best contemporary recording equipment at times. For B79 two primary areas of focus were front and center - 1] The very same brilliant natural detail in the original master recognized by all going in, yet like most from before 1990 or so in need of liberation from analog tape 'encrustations'. 2] Pitch and tempo, which in the original tapes are way, way off due to the common practice of so-setting high end decks at the time theoretically for a better sound capture. Based on my experience with such tapes I’d call the theory highly viable, but would be ashamed to death if I ever left out the needed post-capture correction. Pitch-tempo has been addressed carefully and now matches period studio recordings as well as other original AR masters without similar needs. Many audience recordings are remastered to sound as much like industry ‘live’ releases as possible. That’s fine and a value I share when limited to clarity of detail, but in an AR detail comprises much more than just instruments and vocals. Audience sound, p.a. system output nuances and venue ambience among many other things are paramount and should be conserved as carefully as performance sound unless something enjoys artificially high volume in the recording, as in an obnoxious, constant yeller right next to mikes. While audience volume in B79’s source is prominent, it suffers no such imbalance constant or otherwise, is accurate, proportionate and part of the event’s reality. Taper's section is relatively quiet, and in any case if we hate audience noise so much in an AR we should stick to sbds or heavily mixed industry releases. Therefore I both left it intact and revealed it, along with Yessound. No spot mixing to suppress audience sound was either needed or attempted, and would have resulted in terrible artificial effects transitions throughout the recording anyhow. Band and crowd detail alike are now MUCH more visible. Not to mention much closer to and in some areas beyond that of its 'sister' recording "B78" [Yes, Boston, 30 August 1978]. Both B78 and B79 were unique achievements in audience taping, having detail across the spectrum rivaling many of the best from 1990 and beyond. Even in their case it was largely hidden under many layers of tape noise and related issues. Both required many months of experimental EQ work and testing of results by multiple listeners in a wide variety of playback systems to get their existing detail as fully revealed as it could be without rendering analog noise or distortion intolerable. While B79 oddly does not have quite the degree of high frequency richness and warmth B78 offers it does come within a hair of it, and more importantly enjoys richer midrange presence as well as noticeably lower hiss volume. So rich are B79's mids that together with its excellent enough highs they led more than one 'beta' listener to initially accuse me of trying to pass a sbd off as an AR ;} What you have here is the original capture, unaltered except for EQ work to reveal as much of what the original audience really heard as the recording possibly can. It may even come as a serious shock to many. The entire dynamic range now comes through vastly better than I had hoped it ever would even from such an exceptional source [and because of some problems in it described below]. High frequencies, while still not quite as smooth as B78's, are actually more detailed in some ways. Mids, which had been overwhelming and harsh in raw master and worse in remaster sequences prior to this one, are now as warm as B78's not to mention more 'present'. Lows from kick drum to the entire range of bass guitar frequencies can be both felt and heard in all their complexity, much as the audience experienced them. The listener is cautioned to start with relatively flat tuner/amp settings - the proper AR goal of signal and signal detail as close as possible to the real thing has been achieved and cheaper speakers in particular can be vulnerable. WEAKNESSES: Performance - Not my absolute favorite of the tour, but up there. I thought Yes' Madison Square Garden [NYC] performance just a night or two earlier was more vital, especially Starship Trooper and Awaken, but it didn't include "Arriving UFO" and my old 1st generation tape of it has been played at least 100 times too many for a Dime-worthy remaster to be possible. That's made even sadder by its source having also been a Nak 550 original, almost certainly rivaling this one for brilliant SQ and for all I know lost completely to three decades of entropy. If anyone who likes what they hear in B79 ever turns up the original master of "MSG79" please get in touch! The Yes PA mix was also better at times in New York - in this one certain of Wakeman's keyboard channels especially are much lower, most noticeably at different points in "Big Medley" ["Perpetual Change"] and "Awaken". Most of the time though keyboards in B79 come through more clearly than in B78 and but for tape distortion could easily be called studio or sbd quality. Source and overall sound - Tape noise. It could be a lot worse and actually isn’t as bad as some of what ended up in the officially released THE WORD IS LIVE, but it's noticeable. We are dealing with a 1970s analog AR albeit an excellent one, not a high end DAT from the 1990s or 2000s. The recording and remaster are also so detailed they reveal Yes sound system noise almost never detectable otherwise and frequently confused with tape noise when it is. Concert sound system output flaws are most noticeable during the Howe and Wakeman solos [see taper’s notes below], and during “Gates”’ transition into its “Soon” movement. Tape age and/or wear seem likely factors as well, and this master is reported to have been played more frequently than B78 over the years before quality digital transfer became possible. It probably contributes to both noise and other shortcomings, including some high hat and other metal percussion sounding a bit 'warbled' or 'swirly' throughout [just possibly also a property of sound system output, examined in more detail further below]. Not long into this project I had taken to calling it, jokingly, "Bull Rodeo '79". Anyone familiar with North American bull riding events should quickly understand why. Quite often the very best analog AR sound captures are the most difficult to remaster if goal and approach are getting their natural spectral detail as completely visible as possible without rendering inevitable analog noise or distortion too aggravating. B79 underwent nearly a hundred experimental remaster sequences before the current one was settled on, each suggestive of a bull ridden slightly longer than the one before it, before the rider finally thrown and bull had to be shot [files deleted]. Each one at least did achieve enough for the next one to be built upon. This all resulted largely from midrange so strong in the Yes sound mix it generated several categories of distortion effecting the entire spectrum, especially the high frequencies - not a problem at all in B78 despite its higher tape noise level. Every time detail began to sound like something approaching what the audience heard, high frequencies in particular would become 'dirty' sounding, with a sort of 'ringy', 'ghost' image in the lower parts of certain extreme highs like metal percussion. Sibilant distortion was also bad during many full band at full throttle moments, effecting both vocals ["S"s] and high frequency instruments. All of these are properties of the original analog capture and can be heard in it, but naturally came right out front along with desired detail. The challenge was finding the right EQ sequence for getting that joyous signal detail revealed while keeping the different distortion types at tolerable levels. Between at last achieving the right balance and some limited post-EQ compression, what you have here is the final, most successful effort. Some of this distortion can still be heard, especially the sibilance, but after many a 'dead bull' it's at last no worse than in the master source while signal detail vastly better than anything heard before. The previously circulated effort may remain preferable to some listeners, and while I would never begrudge anyone preferring lower noise/distortion levels to better spectral detail the pitch/tempo correction alone helped make possible getting more signal spectrum revealed without aggravating the distortion problems as much. As always, digital noise reduction technology - from dehissing to sibilant reduction - remains so primitive and counterproductive I refuse to use it unless it's absolutely unavoidable [as in the case of "B76"]. It was not used here, except for some anti-hum/rumble measures in very quiet sections like Steve's solo and parts of "Awaken" - which attack signal too but had to be done. All undesirable noise remains to some degree, but again intact, fully revealed signal was the goal and it couldn't have been achieved without putting up with a higher noise/distortion level. Undesirables remain most noticeable in Steve Howe’s solo – Yes’ engineer really had that acoustic guitar jacked up [see also taper’s notes below] - "Future Times", "Circus of Heaven", "Starship Trooper", "Awaken" and "Roundabout". In them things get rather fuzzy sounding at times, but they still offer far greater detail than EVER before. A scattering of sibilant distortion will still be noticeable throughout, including segments where other distortion problems are least annoying or altogether absent. In consolation I can offer all are 100% better than they had been at several points, and again no worse now than in the raw master. Most importantly, detail even I didn’t think existed is fully revealed. Other source weaknesses include a number of widely scattered of mechanics-generated dropouts, usually microphone cables being jerked around. In one such case the taper and his entourage were desperately trying to get valuable equipment out of harm's way as a drunk was staggering toward it just before "Arriving UFO". The day was saved and the moment is preserved here as a part of the overall event history, not to mention in such crisp detail it almost puts us right there in its midst. Part of what makes an AR an AR. Time constraints and my rather purist nature with ARs dictated my leaving them alone. Most occur only during audience noise anyhow. Last off, beginning about the point of "All Good People" a very strange property of the master recording becomes evident - at best poorly described as a "rushing", "watery" sound most obvious in heavy crash cymbals. It resembles some deliberate effects used in psychedelic recordings from the 1960s and beyond, but here intended by no one, except just maybe Yes' own soundman. A bit of it can be heard in the official LIVE IN PHILADELPHIA video release - also and interestingly during "All Good People". I've also detected it in the opening bars of "Yours is No Disgrace" from YESSONGS, itself at least in part quite likely an 'official AR'. It's most weirdly common in ARs from the 1977 GFTO tour [99% of them including the best ones]. Causation hypotheses range from venue air movement to contemporary cassette technology, but I most strongly suspect phase shifters in the Yes PA system output. No digital or analog remastering protocol or device will remove it, and it could also be a factor in the ‘swirly’ property effecting metal percussion throughout the entire recording as mentioned above.
john zicconi (3/5) CDR / 2 AUD View   AUD
Notes: "UFOs Over Boston." I attended this show as a teenager and sat in the second row. Nice memories!!
TTDaddy (3/0) FLAC / 2 View   AUD
Notes: UFOs Over Boston (PRRP028)
Rich (3/5) cdr / 2 View  
Notes: The Realization of a Little Imagination B79; Aud.
zosa (2/4.9) CDR / 2 A+ B+ View   AUD (Remastered)
Notes: I was there! One of my favorite all time shows. I now have the whole show...Thanks Matt!...I now have the PRRP 028 re-master as well
Mike Langen (2/4.9) cdr / 2 A- View   aud
Notes: This Yes show was performed at the grand old Boston Garden at a time when it was still an icon of the city of Boston. As recalled by one Yes fan that was there?.?As a venue for rock concerts, the old Boston Garden was genuinely horrible. Of all the concerts I went to there, only two bands, Pink Floyd and Yes, had sound systems good enough to overcome the booming upper-bass reverberation that plagues almost every performance. Pink Floyd used extra speakers in the back of the hall to create a 360-degree soundstage. Yes had a rotating stage in the center of the floor under an amazing 360-degree sound system. For Yes, everyone in the entire building had a good seat, even the people farthest from the stage.?Of the three years that Yes used the round stage (1978-1980), the 1979 show sounded the best to me, but that may have been more a matter of having a perfect seat for that show than anything else. I've lost my ticket stub but I'm pretty sure I was in the 10th row on the floor.? The set list for the 1979 Summer American tour was different from the earlier TORMATO tours. This Boston show was only the second time that Yes played Arriving UFO and Leaves of Green, each of which were played only ten times during the whole tour. The remainder of the set consisted of a mixture of songs from TORMATO, their most recent album, and older material. This was their 93rd show of the TORMATO tour with only 9 more shows to go. At the time, no one in the audience likely suspected that this would be the last tour for this Yes line-up for over a decade. After the tour, the band members met in Paris to start rehearsals for a new album, but things didn?t quite work out the way they had planned.?Rick Wakeman describes the situation this way, ??It all worked very well up until about 1979. That?s when it really started falling apart. The problems were both internal and musical. Jon and I had formed a partnership of playing and writing and a way of working. We just felt we weren?t getting any input at all from any other areas. Everything became a struggle. We ended up recording an album which we never finished, and what happened was we got halfway through?and it was like Jon and I met one day in Paris in a little cafe and just said, ?we?ve both had enough?. I mean the band?s just run out of?we were digging into the gold mine that just had a few nuggets left?.?(1981). Just as the Fleet Center replaced the Boston Garden and ushered in a new era for New England, the loss of Anderson and Wakeman ushered in a new creative period in the life of Yes. But before this split, not long after the end of the 1979 tour, Yes were the masters of their craft and thrilled audiences at every turn. So, with this Boston show we bring you, in our opinion, one of the very best Yes performances from the year 1979. ?Notes from the Re-Master? This is an outstanding recording. It comes as a master tape source from the guy who recorded it. He informs us that he used a Nakamichi 550 recorder with Nakamichi CM-100/CP-1 microphones at the time. The show has wonderful quality with harmonics visible in the frequency spectrum up to 18,000Hz. This level of quality is very rare for audience recordings made before 1980, but here it is! The show had a bit too much sub-bass so the frequencies in the range needed adjusting. Clipping also occurred so clip restore algorithms were used. In general, the sound board manager did a good job that night but occasionally a solo would start with volume that was too high or too low and needed adjustment. There were a number of yells, whistles and clicks that were found and reduced as much as possible. On rare occasion a single or dual channel dropout was found and needed repair. Most were dealt with successfully and are not noticeable. The tape flips were successfully navigated with pasted patches. Fortunately, since tape flips occurred during applause, no other source was needed to produce the complete show. A gentle hiss reduction also made quiet sections more pleasing but a rolling hiss at one point required more specific attention. Tonality was adjusted in a few spots to eliminate excesses but detail was enhanced throughout. Finally, after detailed analysis of segmental run-times, a speed correction was applied to create the finished product. We at PRRP have more shows from this taper so stay tuned because they are going to be great!!? PRRP Staff.
john s (2/5) cd / 2 View  
Lori Blomstrom (2/5) CDR / 2 A B View  
Adam Gott (2/4.8) cd-r / 2 b+ View  
Sleepy (2/0) CDR / 2 View  
Notes: PRRP028
Kevin Boland (1/4.7) CDR / 1 View  
Andrew (1/5) Flac CDR / 2 A A/- View   Original master tapes [Maxell XLII-S] recorded with Nakamichi 550 deck and Nakamichi CM-100/CP-1...
Notes: "The Realization of a Little Imagination"
Stuart Ferguson (1/4.3) CDR / 2 View   Audience
Notes: DVD 1325
aikox2 (1/4.9) / 2 View  
Notes: CDR aud
John Peters (1/0) FLAC / 1 View   Unknown AUD
Notes: "UFOs OVER BOSTON"
kam (1/0) shn / 0 View  
wharfratpat (1/4) FLAC / 2 View   PRRP028 - "UFOs OVER BOSTON"
LossLess Legs (1/0) CDR / 2 View  
Notes: http://www.shnflac.net/details.php?id=e191e747052f7e933d0c45ebdadc48f30a995959