careers. By mid-1993, Wakeman withdrew his involvement as Carson and Yes manager Tony Dimitriades required him to cut all ties with his own management, which Wakeman was not prepared to do. With a recording deal secured, Rabin joined Anderson in a motel in San Clemente, California where Anderson had been staying, to write new material. During the next two or so weeks they came up with a group of songs either from scratch or ideas that they had both put down for potential development, using an acoustic guitar and two boomboxes for putting down what they came up with. This occasion marked the first time Anderson had been involved in the songwriting for a Yes album from its initial stages since his return to the group in 1983, as his involvement on previous records came at the latter stages of production, which limited his input. Rabin knew the importance of forming a strong musical bond with Anderson for Talk as on Big Generator, he felt "the frustration in Jon that, although he was involved, it was basically me writing the songs and Jon trying to work on top of them [...] So I realised, the best possible way is [...] I need to work really closely with him to provide him the best possible platform to sing on [...] which led to its being a better album for us". Anderson noted that having such an instant collaboration with a songwriter in the band makes "a true Yes album", and recalled that the album's direction was set after four days of writing which was to include one long track. Squire made a conscious decision to reduce his involvement in the songwriting to ensure Rabin and Anderson came up with strong enough material that they were happy with, although he is credited as a co-writer on "The Calling" and "Real Love". Squire too, was "very happy" with the material on the album. Among the early working titles of Talk were Blueprint and Crunching Numbers. Recording The majority of Talk was recorded and mixed at Rabin's home studio in Hollywood, California which he named The Jacaranda Room. Additional recording took place at A&M Recording Studios in Hollywood. Rabin took charge of the album's production and opted for digital non-linear recording and editing over traditional tape, which allowed for audio tracks to be saved onto a hard drive in real time. He recalled: "Everyone