The Original Vinyl Albums

Now with the Firebird Suite firmly in the YES set we can have a look at the original albums used. There are different versions of Stravinsky’s and Benjamin Britton’s albums in this YES collection, here is an overview of the albums YES looked to use and the actual famously used final versions of both favourites. In reproducing any information on the album sleeves I have copied the bold and standard lettering to keep true to the original cover design and importance that the originals felt the wording needed to tell. Three albums by Stravinsky and two by Benjamin Britton are covered for the very first time.

Album 1

The front cover, a classical image called ‘A musical party’ by Jacob van Velson. National Gallery, London. (RCA Records)

The price tag close-up from the first Beggars Banquet shop (RCA Records).

(RCA Records)

RCA – CCV 5034 – Camden Classics – Victrola – Stereo (1967)

Stravinsky Firebird Suite Paris Conservatoire Orchestra
Pierre Monteux
Petrushka – Complete Ballet Boston Symphony Orchestra
Pierre Monteux (conducting)

This vinyl album comes with an old record shop sticker showing it was bought for £1.00 from the very the first Beggars Banquet shop opened in Hogarth Road, Earls Court, West London. Interestingly the publishers were the company Boosey & Hawkes, which of course was the company that Chris Squire worked for when he was a young man.

Manufactured by RCA Ltd for PICKWICK INTERNATIONAL Inc (GB) Ltd

It is unclear at this moment at which if any concerts this one was ever used. More research is needed to establish that fact.

Review

With any of my comments I will deal only with the Finale section from all the albums, i.e. the famous YES section of the suite.

The beginning of the piece compared to the Boston Symphony version sounds like maybe less strings are in use, they suspend well and lead softly into the piece, differing with fewer violins along with a weaker bass tone too. It sounds a little shrill and with a clearer piercing sound to the version we all know and love, the middle section closely resembles to that of the well-known version though. The famous horn section part is similar, moving on again with the difference seemingly less string instruments coming across producing not as grand and as full a sound. Finishing well but with far less of a brass section and the kettle drum is lower in the mix. I can’t say for sure that this version was ever used ever at a YES show, but it is still well worth a listen.

Album 2

A wonderfully flower power album cover design which bears a similar style to the woman’s face graphic on the early YES drum – head. Cover not cleaned and remains with all handling marks. (EMI)

A close of the woman’s face. (EMI)

The famous EMI logo image of the dog called Nipper. (EMI)

The fiery red centre (RCA Records).

EMI (HIS MASTERS VOICE) AZAWA ASD 2845 (OC 063 – 02382) stereo (1973)
STRAVINSKY: THE FIREBIRD (complete original version, 1910)
SEIJI OZAWA ORCHESTRE DE PARIS
Conducted by SEIJI OZAWA

This version comes with a very vibrant, colourful, and psychedelic cover designed by Ellecas, the ladies face surrounded by wild hair and a stylised firebird, something that in 1973 would have looked stunning. It is unclear at this moment at which if any concerts this version one was ever used.

Review

This being the unchanged and original version of the suite which builds majestically and very similarly to the Boston recording. There is a change to the horn section with it being much louder and brighter, a clearer sharp sound cutting through a reduced orchestration behind. The ending is a little different too with less prominence of the kettle drums compared to the Boston recording. For the most part this is nearer in overall sound to the actual recording finally used for YES concerts. I am unsure if it was used for a YES show at this moment.

Album 3

The image on the cover links into the story, one of a deformed clown, owned by the evil Kastchei, who resided in his grand castle. Disturbing but fitting. 1970. (RCA Records).

The full wording on the back-sleeve image (RCA Records).

Close up images of the album, including a sticker and highlighted cover wording. (RCA Records)

The bright red centred Red Seal label record still in wonderful condition (RCA Records).

RCA – RED SEAL – LSB 4009 (LSC-3167) (1970)
Seiji OZAWA – BOSTON Symphony – STRAVINSKY FIREBIRD Suite – Complete PETROUCHKA
Stravinsky SUITE FROM “THE FIREBIRD”
PETRUSHKA Michael Tilson Thomas, pianist
Boston Symphony Orchestra Seiji Ozawa conducting

RCA Ltd, Record Division, RCA House, Curzon Street, London. W.1.

• Copyright (c) – RCA Records
• Pressed By – RCA Records Pressing Plant, Indianapolis
• Composed By – Igor Stravinsky
• Conductor – Seiji Ozawa
• Engineer – Bernard Keville
• Liner Notes – Dale McAdoo
• Orchestra – Boston Symphony Orchestra
• Photography By – David B. Hecht
• Piano – Michael Tilson Thomas
• Producer – Peter Dellheim

In general, there had been variations and changes made to the original Stravinsky score over time due to the needs of the theatres, rearranging them for smaller orchestras to perform. This one is the recording of Stravinsky’s 1947 revision of the score. Even though this album is a UK produced one, the spelling of Petrushka on the front cover is the French version.

I would like to point out what may have been the light bulb moment in recognising this piece of music as a potential pre-show piece of music best suited to a YESshow. The opening lines of the story told on the back cover read as such…

‘After a brief prelude the curtain rises to reveal the grounds of an old castle.’

Now as a YESfan, I can visualise that as the Relayer album cover, but back in 1971 those key few words that say, ‘the curtain rises’, I think says it all, and it must have been an influence to Jon and the band.

The album comes with a special value sticker with a suggested retail selling price of 29’10, which is 29 shillings and 10 pence. Britain changed its currency on Monday 15 February 1971, by ‘going decimal’ overnight. There had been till that point, 12 pennies to a shilling and 20 shillings to the pound. The cover has a photo of a distorted clown figure which is odd to say the least and slightly unnerving but does reflect the story.

The Review

It was quite a moment when I listening to this record for the first time, understanding what this piece of none YES music has meant to millions of YESfans for over fifty years. Firstly, the record itself, the sleeve is in good to excellent condition and the vinyl played beautifully, and as with all of them, grading it as Excellent to Nr Mint. To put the needle on the actual record, and at that key Finale part was very exciting as you can image. I am not going to review the piece as you all know it so well but turning it up nice and loud with nothing to distract ones listening and moment, it was a joy to hear the original album, of course when it ended, I was waiting for the show to start.

This then is the original copy used for all the albums and live introduction music over the decades, the taped version of this album being played approximately over a thousand times and counting. This one used for the famous Yessongs triple live album and movie. Maybe first owned by Jon Anderson but absolutely coming down the official YES line, it is an important record in the history of YES music and shows.

It is hoped that all the records may be shown in an exhibition of YES material in the UK.

Album 4

The cover still in the original wrap. (EMI)

The famous Nipper the dog (EMI)

Close ups of the rare Harrods stickers on the cover (EMI)

EMI His Masters Voice – Concert Classics SXLP 30340 stereo (OC 053 – 00 588) (1964)
BRITTEN
Young Person’s Guide to the Orchestra
Four Sea Interludes from ‘Peter Grimes’ CARLO MARIA GIULINI Philharmonia Orchestra

Benjamin Britten – 22 November 1913–4 December 1976

Review

This album provides a very similar sounding recording to the next key one discussed here, that being the Decca recording. Differences are small but you can detect them in several areas. Early in the piece you get different tones than those known, the transition into the final theme also isn’t as lush or grand, overall then the feel, it is slower in pace, less frenetic a build-up and with less orchestration, it doesn’t feel as compelling as the Decca recording, it may well be, but the embedded YES live version is set in stone in the brain, and it’s hard to accept another. It’s a close-run competition and I don’t know if it was used for shows, as a casual listener I think it would certainly get away it being the one, as its only under repeated playing these differences can be heard.

Interestingly this album comes with a couple of price sale stickers from Harrods, Knightsbridge, London. After some research on historic Harrods sites, the one on the front cover has a price of £3.30 and looks like an early pound sign likely from the 1960’s.

Album 5

The 1964 album cover image ‘Harvest Moon’ by Samuel Palmer. (Decca Records)

This album came with a song sheet also inserted. (Decca Records)

The ‘wide band’ Decca label, FFSS – Full Frequency Stereophonic Sound label. These were in a series of higher quality productions and classed as the best made. (Decca Records)

Sticker for ‘Direction’ record shop in Dean Street (Decca Records).

DECCA SXL 6110 (1964) Stereo
BRITTEN
SERENADE OPUS 31 for tenor solo, horn and strings YOUNG PERSON’S GUIDE TO THE ORCHESTRA
Peter Pears Barry Tuckwell

LONDON SYMPHONY ORCHESTRA
Conducted by
BENJAMIN BRITTEN

Review

This is the original copy of the album used for those amazing openings to all those loved YES concerts over the decades, the taped version of this album being played approximately over four hundred times and counting. Probably the best version heard on a recording would be on the ABWH release An Evening of YES Music Plus, a double live album released in 1993 and on the filmed version on video and DVD. Again it’s very exciting to take the record out of the sleeve and put the needle down on it when you know of its significance, we certainly as fans are blessed with some wonderful music. The album comes equipped with a single sided lyric sheet enclosed. A price sticker is attached, which has the London Record shop ‘Direction’ in Dean Street printed on it. Clearly bought from them, at a price of £5.50. Dean Street being one of London’s historically important streets, it is said that a young Mozart played a recital there, Admiral Nelson stayed there, Karl Marx lived there, and Charles Dickens wrote there, Dean Street Studios had many an international act record their music there such as Pink Floyd.

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