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STEVE HOWE

Crossover Prog • United Kingdom


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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
$12.14
$10.66 (used)
The Relativity YearsThe Relativity Years
Gonzo 2017
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Steve Howe AlbumSteve Howe Album
Atlantic 1994
$299.99
$22.47 (used)
Homebrew 5Homebrew 5
Howe Sounds 2016
$11.91
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STEVE HOWE discography


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

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

2.64 | 141 ratings
Beginnings
1975
3.46 | 139 ratings
The Steve Howe Album
1979
1.81 | 28 ratings
Paul Sutin & Steve Howe: Seraphim
1988
3.34 | 66 ratings
Turbulence
1991
2.99 | 46 ratings
The Grand Scheme Of Things
1993
2.30 | 23 ratings
Paul Sutin & Steve Howe: Voyagers
1995
2.59 | 25 ratings
Homebrew (1)
1996
2.76 | 35 ratings
Quantum Guitar
1998
3.19 | 34 ratings
Portraits Of Bob Dylan
1999
3.26 | 22 ratings
Homebrew 2
2000
3.75 | 49 ratings
Natural Timbre
2001
3.31 | 31 ratings
Skyline
2002
2.77 | 41 ratings
Steve Howe's Remedy: Elements
2003
3.56 | 50 ratings
Spectrum
2005
3.19 | 22 ratings
Homebrew 3
2005
3.83 | 30 ratings
Steve Howe Trio: The Haunted Melody
2008
3.08 | 12 ratings
Motif, Volume 1
2008
3.38 | 16 ratings
Homebrew 4
2009
3.26 | 32 ratings
Time
2011
3.31 | 13 ratings
Homebrew 5
2013
2.91 | 11 ratings
Homebrew 6
2016
2.39 | 9 ratings
Nexus : Virgil & Steve Howe
2017

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

3.83 | 33 ratings
Not Necessarily Acoustic
1994
2.20 | 13 ratings
Pulling Strings
1999
4.00 | 7 ratings
Steve Howe Trio: Travelling
2010

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

2.00 | 2 ratings
Classic Rock Legends (DVD)
2001
3.33 | 11 ratings
Remedy Live
2005

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

3.50 | 2 ratings
Guitar Player
1989
3.00 | 5 ratings
Steve Howe: The Early Years with Bodast
1990
4.75 | 4 ratings
Homebrew 1 & 2
2002
3.91 | 13 ratings
Light Walls
2003
4.83 | 6 ratings
Guitar World
2003
4.25 | 12 ratings
Anthology
2015

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)
1995

STEVE HOWE Reviews


Showing last 10 reviews only
 Not Necessarily Acoustic by HOWE, STEVE album cover Live, 1994
3.83 | 33 ratings

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Not Necessarily Acoustic
Steve Howe Crossover Prog

Review by patrickq

3 stars Was Steve Howe's first solo tour really in 1993? Apparently so. Not Necessarily Acoustic was recorded on tour to promote Howe's fourth album, The Grand Scheme of Things. All twenty-two pieces are performed by Howe alone, mostly on acoustic guitar.

The song selection is very good; in addition to including Howe's three best solo pieces ("Clap," "Ram," and "Masquerade"), Not Necessarily Acoustic has a cross-section of songs from Howe's career to that point. Interestingly, three of Howe's solo albums - - Grand Scheme (1993), Turbulence (1991), and Beginnings (1975) - - are represented here by just one song each. Four songs from The Steve Howe Album (1979) are also included.

The remaining fifteen songs fall into a variety of categories. Five are from Yes albums - - his solo turns "Clap," "Mood for a Day," and "Masquerade," plus "Roundabout" and "Excerpts from Tales from Topographic Oceans," - - and one, "Sketches in the Sun," is from GTR. Four others are, as far as I know, previously-unreleased Howe compositions ("Second Initial," "Heritage," "Bareback," and "Dorothy"). Finally, five tracks represent a total of nine songs from the 1920s through the 1950s: "Whispering," a pop hit from 1920 revitalized in the early 1960s; "Swedish Rhapsody," a Hugo Alfvén piece which had been arranged by Chet Atkins in the 1950s; "The Glory of Love," a #1 pop hit for Benny Goodman in 1936 and a #1 R&B hit for the Five Keys in 1951; "Arada," one of Federico Moreno Torrobaand's earliest (1926) solo-guitar compositions; and the five-song medley "Country Mix."

Howe's guitar performances are superb, as is to be expected. Nonetheless, the adage about most live albums is true here: the studio versions (at least of the 13 tracks of which Howe had created studio versions) are better. That's even true of the solo acoustic pieces like "Mood for a Day" and "Masquerade;" these seem rushed to me. Meanwhile, the previously unreleased songs don't add much to the proceedings; a certain sameness begins to creep in around before the half-way mark. Since Howe's vocals are always an item of discussion, I'll add that he sings on just three songs (unless I'm forgetting one) and that the vocals aren't great, but neither do they detract from the album as a whole.

The sound is very good, but a minor annoyance (to me, anyway) on Not Necessarily Acoustic is the crowd-noise editing. In several places the audience claps before the listener realizes the song is over. I realize that a performer's silent cues can indicate when a song is over, and I've only been to one Howe solo concert, but the crowd responses seem too perfect, which, at least for me, is a distraction.

Anyway, Not Necessarily Acoustic is a good, enjoyable album, but nothing more. I'd recommend it to Howe fans or to fans of serious, though not classical, solo acoustic guitar.

 Turbulence by HOWE, STEVE album cover Studio Album, 1991
3.34 | 66 ratings

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Turbulence
Steve Howe Crossover Prog

Review by patrickq

4 stars Turbulence is Steve Howe's third solo album, and his first since The Steve Howe Album in 1979. In addition to Howe, who plays guitar and bass throughout, the primary musicians are drummer Bill Bruford and keyboardist Billy Currie. Howe composed the songs, all of which are instrumentals.

Although this isn't Howe's most ambitious work, it's the best of his first four albums because it's focused on a clear goal - - melodic art rock led by Howe's electric guitar playing. As has been pointed out, much of it sounds like Union, the Yes album released the same year, although they only have one song with any common passages ("Sensitive Chaos" here and Union's "I Would Have Waited Forever"). Bruford, who also appears on Union, is excellent throughout. (Nigel Glockner plays the acoustic drums on two songs here, while Bruford uses what I assume is his period Simmons (electronic) kit.)

Turbulence is a strong offering from Howe, and one I can comfortably recommend to Yes fans as well as fans of instrumental, guitar-based rock.

 The Steve Howe Album by HOWE, STEVE album cover Studio Album, 1979
3.46 | 139 ratings

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The Steve Howe Album
Steve Howe Crossover Prog

Review by patrickq

3 stars The Steve Howe Album is much as advertised. Four of the songs feature only Howe (I'm counting "Cactus Boogie" here - - Clive Bunker is credited with percussion but it's hard to make out), and on three he's backed only by an orchestra, string section, or solo violin.

But to me, the three best tracks are the ones with rock instrumentation. "All's a Chord" is played by Howe with former Yes members Bill Bruford on drums and Patrick Moraz on the piano. It's the only song Howe sings on The Steve Howe Album, and his vocals - - restricted to a one-minute span toward the end - - don't detract from the song. I won't say they're particularly strong, but they are endearing. Only two other songs include drums or keyboards: "Pennants," the album-opener, and "Look Over Your Shoulder." Here the organ and synthesizers are played by Ronnie Leahy and the drums by Yes drummer Alan White. "Look Over Your Shoulder," the other vocal song on the album, is sung very nicely by Claire Hammill. The other two songs on the first side of the vinyl, "Cactus Boogie" and "Diary of a Man Who Vanished," are also very good, making Side One the stronger of the two.

Side Two contains both of the album's solo-guitar pieces, "Meadow Rag" and "Surface Tension." While Howe is capable of composing and playing captivating guitar-only songs (e.g., "Clap," "Ram," "Masquerade"), these aren't among his stronger solo-guitar pieces. Similarly, Howe's arrangement of "The Continental," the Con Conrad - Herb Magidson song originally sung by Ginger Rogers in 1934, is inoffensive but nothing special, other than featuring some nice violin (or is that fiddle) playing.

The final fourteen-plus minutes of The Steve Howe Album is taken by two symphonic pieces, Howe's "Double Rondo" and Vivaldi's "Concerto in D, 2nd Movement." "Double Rondo" probably sounded like a good idea on paper - - a piece to establish Howe as a serious composer for the guitar, perhaps - - but in practice it drags on much too long. Unfortunately, this had already been a problem on "Beginnings," the centerpiece of Howe's previous album, Beginnings. If there was a lesson in Howe's failure to coax an 'mini-epic' out of "Beginnings," "Double Rondo" suggests Howe hadn't put it into practice until sometime after 1979. The Vivaldi piece, which nearly everyone will recognize as a famous lullaby, represents a very strange way to close this album. And while "strange" can be good - - like much of Howe's playing on Yes's Relayer, for example - - "Concerto in D, 2nd Movement" is stylistically disconnected from the rest of the album, even given its placement after the similarly mellow "Double Rondo."

But overall, while The Steve Howe Album is a must-have for fans of Howe and of Yes, it's also an album that many fans of symphonic or guitar-based prog will enjoy.

 Beginnings by HOWE, STEVE album cover Studio Album, 1975
2.64 | 141 ratings

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Beginnings
Steve Howe Crossover Prog

Review by patrickq

2 stars All things considered, Beginnings is a fair effort from Yes guitarist Steve Howe. Created in parallel with the debut solo albums of each of the other members of the band, Beginnings suffers from the absence of his usual co-musicians Jon Anderson and Chris Squire. But whereas Anderson's Olias of Sunhillow (1976) and Squire's Fish Out of Water (1975) are internally consistent, self-produced works, Howe's lack of experience in overseeing the creation of an album is clear on Beginnings. For decades, the knock on this record has been the quality of Howe's vocals, and while this is an entirely fair criticism, I'll bet it'd be repeated less often if Beginnings's compositions were stronger.

Side One is relatively short (16½ minutes), but relatively strong. It's comprised of "Doors of Sleep," the album-opener and most Yes-like tune here, and three rock tracks, "Australia," "The Nature of the Sea," and "The Lost Symphony." On each of these last three, Howe moves from one style to another, with mixed results. The 22½-minute second side is even weaker. "Will o' the Wisp" and "Pleasure Stole the Night" are in the same vein as the Side One songs, but much less interesting, and "Beginnings" fits the core prog-rock stereotype: unnecessarily long (7:31) and unreasonably pompous (featuring a Patrick Moraz-arranged string and woods ensemble). The closing track, "Break Away From It All," is a return to the mixed-bag quality of, say, The Nature of the Sea" and "The Lost Symphony." I think I hear some echoes of George Harrison here - - not so much in the guitar soloing, but in the composition itself. The only gem on side two is "Ram." Although it's played here with (I think) two guitars, a mandolin, and a washboard, its basis is one of Howe's best solo acoustic-guitar pieces. It's true that "Ram" begins with an interpolation of "Clap" (from The Yes Album), but I disagree that it's not a distinct composition.

Beginnings might have been a good EP. Perhaps, with the collaboration of Anderson or Squire could have been the basis of a very good Eddie Offord-produced Yes spinoff album. It seems that, unlike Anderson, Squire, and Moraz, Howe wasn't yet ready to realize his solo-album ambitions. It's not a poor album, nor unlistenable, but it's really for Steve Howe or Yes fans. For those who don't fit that description, but are interested in Howe's work, I'd suggest starting with The Steve Howe Album or Turbulence.

P.S. Is it just me, or is "Australia" a prototypical Asia song? I'm not saying it sounds anything like Asia, but the stacked, rhythmic vocals and certain instrumental sections seem to represent the building blocks of the Asia sound.

 The Steve Howe Album by HOWE, STEVE album cover Studio Album, 1979
3.46 | 139 ratings

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The Steve Howe Album
Steve Howe Crossover Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 226

'The Steve Howe Album' is the second solo studio album of Steve Howe, and was released in 1979. As happened with 'Beginnings', Howe invited Yes' members Alan White and Patrick Moraz and the ex-Yes' member Bill Bruford to participate on the album. Beyond them, he also invited the Jethro Tull's drummer Clive Bunker, the female singer Claire Hamill, the keyboardist Ronnie Leahy, the violinist Graham Preskett, an orchestra and a string ensemble.

'The Steve Howe Album' has ten tracks and all songs were written by Steve Howe except 'The Continental' written by Conrad and Magidson and 'Concerto In D (Second Movement)' which was written by the classical composer Antonio Vivaldi. The first track 'Pennants' is a very good song to open the album. It's a simple and melodic song full of electric guitar sound in a rock style with a very alive rhythm, what makes us feel that this is, musically, a different work from his first solo album 'Beginnings'. This is a great and very pleasant instrumental track. The second track 'Cactus Boogie' is the smallest song on the album. It's a very simple, catchy and nice song with a southern boogie sound, as it name implies, and it sounds like old country music. It has nothing special and is probably the weakest song on the album. The third track 'All's A Chord' is a good song very emotional and with a very beautiful guitar work. It's the only song on the album sung by Howe and surprisingly his voice isn't unpleasant and even is emotional and nice too. I think this is because his voice can't be used in a high tone and only should be used as harmony singing. The fourth track 'Diary Of A Man Who Vanished' is another short instrumental nice song and once more in a country style. Despite be very pleasant to hear and featuring nice riffs, I think it's, with 'Cactus Boogie', the second weak point on the album. The fifth track 'Look Over Your Shoulder' is a great and beautiful song composed in a classical style. This is the second track on the album with vocals, but this time we can hear the wonderful and beautiful female voice of the great singer Clair Hamill. This song has also a very good orchestration job. This is, in my humble opinion, the first great moment on the album and one of the best parts on it. Here, we can have Howe at his best. The sixth track 'Meadow Rag' is another short song but this time this is totally an acoustic song. It's a classic acoustic piece of music in the same vein of 'Clap' of 'The Yes Album', 'Mood For A Day' of 'Fragile' or 'Ram' of 'Beginnings'. With this song, Howe demonstrates once more his great virtuosity with acoustic guitars. The seventh track 'The Continental' is another song on the album with 'Cactus Boogie' and 'Diary Of A Man Who Vanished' in a country style. This time, we are in presence of a version of an original song dated from 1934 that appeared in the movie 'The Gay Divorcee'. Howe's version is more in the jazz style and has the presence of Presket on violin. This is also a nice track, but sincerely this is, for me, the third and last weaker song on the album. I really don't like country music. The eighth track 'Surface Tension' is another great acoustic classic guitar piece composed by Howe. It's another song in the vein of 'Clap', 'Mood For A Day', 'Ram' or 'Meadow Rag'. However this is, in my humble opinion, a much better song than 'Meadow Rag' is and represents also with 'Look Over Your Shoulder', the second highest moment on the album. This is, for my taste, one of the most elegant, beautiful and lovely classical guitar pieces of music composed by Howe. The ninth track 'Double Rondo' is a classical piece of music composed by him for an electric guitar accompanied by an entire classical orchestra composed by 59 members and conducted by Andrew Jackman. This is really an incredible and great piece of music that takes the concept of symphonic rock to the extreme. With this piece of music, Howe proves that he could have been a successful classical composer. This is, for me, the third great moment on the album. The tenth and last track 'Concerto In D (Second Movement)' is Howe's interpretation of the classical oeuvre of Antonio Vivaldi, the famous Italian composer of the Baroque period. It's a fantastic and lovely musical version of one of the most beautiful compositions ever made, which ends the album in a very high level. It represents the fourth great musical moment on the album and where Howe pays tribute to one of the best composers of all time, one of his favourites and one of my favourites too.

Conclusion: 'The Steve Howe Album' is considered, by many, the best Howe's solo studio album. Sincerely, I don't know if that is true because I only know 'Beginnings', 'The Steve Howe Album' and 'Natural Timbre'. The only thing I can say is that 'The Steve Howe Album' is much better than his debut 'Beginnings'. One of the most curious things about this album is its balance. This album is quite varied, and Howe shows himself as comfortable in many genres. It's also notable that over half the album is instrumental, and thankfully, Howe almost doesn't sings. It's also true that some of the songs sound a bit dated today and especially I dislike the songs with a country style. However, the album has some great musical moments too. With this album, Howe proved that he was able to make great music outside of Yes.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Nexus : Virgil & Steve Howe by HOWE, STEVE album cover Studio Album, 2017
2.39 | 9 ratings

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Nexus : Virgil & Steve Howe
Steve Howe Crossover Prog

Review by WFV

2 stars Not a bad record, really tame instrumentals. Some what clever arrangements, Steve says Virgil would send tidbits of songs he'd been working on and he would add guitar where needed. It was supposed to be a new beginning, a familial partnership spreading its wings........unfortunately Virgil was found dead an hour after the record label OK'd the final pressing. I mean, it is impossible now to separate that story with the music. The optimist in me says man what a blow, but at least the record was completed and there's a living legacy father and son created together that will live on forever.
 Beginnings by HOWE, STEVE album cover Studio Album, 1975
2.64 | 141 ratings

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Beginnings
Steve Howe Crossover Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 225

"Beginnings" is the debut solo studio album of the Yes' guitarist, Steve Howe, and was released in 1975. It was one of the five solo efforts released in the same period of time by all the five Yes' members, during a hiatus of time by the band, after the release of their seventh studio album "Relayer", in 1974, along with Jon Anderson's "Olias Of Sunhillow", Chris Squire's "Fish Out Of Water", Patrick Moraz's "Story Of I" and Alan White's "Ramshackled".

The album also features some Yes' members, Alan White and Patrick Moraz, and the ex-Yes' member Bill Bruford, besides a large number of guest musicians invited by Steve Howe.

"Beginnings" has nine tracks and all songs were written by Howe except the first track "Doors Of Sleep", which was written by Howe with lyrics by Alice Meynell. The first track "Doors Of Sleep" is a kind of a love song, probably a tribute to Howe's wife. It's a song where Howe sings and plays guitars and bass and where we have the participation of White on drums. This is a pretty song with some very pleasant melodies that drift along the song. The second track "Australia" is another song where Howe sings and plays guitars and bass and White plays drums. This is another pretty song with good melody and musically has some good and interesting guitar work. But the main problem with this track is the excessive use of the weak voice of Howe during the song which makes it at times unpleasant. The third track "The Nature Of The Sea" is the first instrumental song of the album, and that is a good thing because we haven't to hear the voice of Howe. It's an interesting musical piece with good guitar passages and it's very interesting to listen to. This song is, in my humble opinion, well constructed and represents, I think, one of the best musical moments on the album. The fourth track "Lost Symphony" is a good composition dominated by the influence of jazz with the appearance of diverse saxophone works and where the presence of the Howe's voice appear only for a bit. It represents one of the best progressive moments on the album and consequently a must for any progressive rock fan. The fifth track is the title track "Beginnings". This is another instrumental song. It's the lengthiest song on the album and is a classical piece of music, with an accompanying section of several classical musical instruments, including a harpsichord played by Moraz. It's also, in my humble opinion, a very well orchestrated piece by Moraz. This song represents Howe's love for the classical music and represents, in my humble opinion, the most beautiful moment on the album too. The sixth track "Will O'The Wisp" is another song sung by Howe but at times we can hear two voices, and I really think that is Moraz doing a backing vocal work. This is a song where Howe plays guitars, bass and moog, White plays drums and Moraz plays piano and mellotron. The song sounds nicely with a very distinctive guitar work, but overall, the song doesn't attract much attention and I also think this is one of the weakest songs on the album. The seventh track "Ram" is the smallest of all tracks on the album and is an instrumental acoustic song in the same vein of "Clap" of "The Yes Album" or "Mood For A Day" of "Fragile". Despite it isn't as good as those two songs are, here Howe, is showing that he can play a great variety of acoustic guitar instruments. The eighth track "Pleasure Stole The Night" is another short song in the style of a ballad. Despite this is a calm and pleasant song, with several singers which are fortunately better, than we have Howe singing on solo. However, it hasn't really great interesting musical moments, and this is the main reason why it becomes the second weakest moment on the album with "Will O'The Wisp". The ninth and last track "Break Away From It All" represents a good way to close this album. Here, we have once more good guitar moments and un-crediting backing vocals. Here, we have more pleasant vocals too. This is the only track that features Bruford on drums.

Conclusion: Of the five solo albums of Yes' members, all released between 1975 and 1976, the only one I haven't yet listened to is White's "Ramshackled". I rated Anderson's "Olias Of Sunhillow" and Moraz's "Story Of I" with 5 stars and Squire's "Fish Out Of Water" with 4 stars. "Beginnings" is, without any doubt, the weakest of the all four. I know all these four albums since they were released and I must confess that I always was very disappointed with "Beginnings". It isn't as good as it should be. Definitely, it lacks to it some cohesion, passion and flame, and its music isn't even very well elaborated. It's true that it has some good musical moments and technically the performance of Howe is great and absolutely perfect and irreproachable as ever. However, this is very few and it isn't at the same level that a musician like Howe should be. Anyway, I think the main problem with this album is the vocals. Howe has a very weak voice to sing as his experience on vocals are only when he works as a backing vocalist on Yes. Unfortunately, he hasn't a voice as good as the voice of his colleague of Yes, Squire. I think he has the same problem of Tony Banks of Genesis but Howe's voice is, in my humble opinion, even worse. Without this problem I'm convinced that it would have been a better album. Definitely, this wasn't a great beginning for one of the finest and greatest guitarists of the progressive rock world.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Steve Howe Trio: The Haunted Melody by HOWE, STEVE album cover Studio Album, 2008
3.83 | 30 ratings

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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
3.34 | 66 ratings

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Turbulence
Steve Howe Crossover Prog

Review by kev rowland
Special Collaborator Crossover 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
3.46 | 139 ratings

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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 !!!
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