A Few Words With...Billy Sherwood
by John A. Wilcox
Billy Sherwood sure is a busy guy! A current member of Yes. A member of Arc Of Life. The producer behing the Prog Collective. Songs We Were Taught is the brand new Prog Collective release plus a new Yes album is in the works. It seemed like the perfect time to catch up...
PS : Under what circumstances did you first meet Derek Shulman?
BS : I first met Derek when he signed my band World Trade to the record label PolyGram. At that time Derek was a powerhouse in the A &R department. We've remained friends over these many years and continue to be.
PS : Let's jump to the current album by the Prog Collective. Songs We Were Taught is quite an interesting set of covers. What attracted you and David Sancious to take on Year Of The Cat?
BS : I've worked with David Sancious now on several projects and he always delivers the goods. I've been a fan of his for years and I'm always honored that David participates in the records I'm producing. He has such a great style and his choice of sounds is always unique.
PS : As producer on the project, how did you tackle the challenge of juggling so many diverse performers yet having a unity & balance to the overall sound?
BS : Whenever I'm making those types of records I'm always imagining who would fit best on each track. Because I'm very familiar with the styles of all the artists involved, it makes it easy to imagine who works best for a given solo or vocal etc...
PS : Candice Night & Dweezil Zappa is a unique pairing to say the least. Who initiated that cover of It's Too Late?
BS : I work very closely with the record company amd their A&R department when we're selecting the guest Artists. In this case I had suggested Dweezil because I've worked with him a bunch and he's always great. The label recommended Candice, it worked out quite well.
PS : Going back an album, you paired up with Roine Stolt for Solsbury Hill. Tell us more about that choice & why it worked so well.
BS : Roine is an ally on these types of projects. I just felt he would work great on that track and he did just that.
PS : Jumping over to Yes for a bit, I understand there is a new album in the works for 2023. What can you tell us about the project?
BS : I'm not at liberty to discuss except to say we're all very excited about it.
PS : Was Alan involved in any part of the process, or was it started after his passing?
BS : It was right after production of the Quest record. Demos were plenty, pencil sketches of ideas etc...
PS : I'm sure there are hundreds of great Alan White stories the public have never heard. Please grace us with one.
BS : My favorite memory with AW is a personal one. That being our ski trip up in the Alps. We had a great day, just the two of us, racing down the slopes.
PS : I'm very fond of The Quest. What is the story behind Minus The Man?
BS : I created the music, Jon Davison created all the melodies and lyrics. We both have a deep love of sci fi. AI is very interesting to us both and so... Minus The Man.
PS : Going waaaay back, I believe your first writing credit within Yes was The More We Live - Let Go. Please take us through the process of writing that piece with Chris.
BS : That was the first ever song Chris and I wrote and it showed us both in an instant that we had a writing chemistry that was worth pursuing. It was my first real entry point into the Yes realm as well. The song develops very quickly and with ease. It has a very positive message and one we both felt good about. It remains one of my favorite songs that we co-wrote.
PS : This year Yes are doing dates featuring the entirety of the Relayer album. Is that particular album any more challenging to play live than others in the canon?
BS : The bass parts on Gates Of Delirium are some of the most demanding in the catalog. I played along to that record when I was 16. Every night, practicing bass I'd reserve that track for last. That said, I did my homework and then some. Looking back at it now I'm glad I did because it's such an unusual approach to "playing bass" that it served me well in what would become my career. Never imagined I'd be the bass player of Yes and playing those parts on stage, not in a million years... Fate played a major part in my career and continues to.
PS : Leaping back to the Prog Collective - As these are purely studio projects, does knowing they are not intended for future live performances affect the mindset behind the recordings in any way?
BS : Not at all. I always approach making a record in a way that the end result feels to the listener as if it was recorded with everyone present, in studio, working with each other. I like a 'band' feeling production. That said, one could imagine the logistics of assembling such a 'band' to play live shows. A majority of the artists involved are always on tour with their respective bands.
PS : Are there plans for another Arc Of Life album in the works?
BS : Most likely... Yes.
PS : Please tell us 6 albums you never tire of listening to.
BS : At the moment ...
1: Donald Fagen - Morph The Cat
2: James Taylor - In The Pocket
3: Gino Vannelli - Powerful People
4: Pat Metheny - American Garage
5: Jaco Pastorius - Word Of Mouth
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