May 28: Civic Centre, Roanoke, Virginia May 29: Hampton Roads, Virginia May 30: Civic Centre, Charleston, West Virginia May 31: Freedom Hall Civic Centre, Johnson City, Tennessee June 1: Birmingham, Alabama June 2: Nashville, Tennessee June 3: Omni, Atlanta, Georgia June 4: Mid-South Coliseum, Memphis, Tennessee June 5: Jackson, Mississippi June 6: Van Braun Civic Centre, Huntsville, Alabama June 7: Day off June 8: Riverfront Coliseum, Cincinnati, Ohio June 9: Arena, Hershey, Pennsylvania June 10: Civic Centre, Providence, Rhode Island June 11: Day off June 12: J.F.K. Stadium, Philadelphia, Pennsylvania June 13: R.F.K. Stadium, Washington, D.C. June 14: Day off June 15: Day off June 16: Roosevelt Stadium, Jersey City, New Jersey June 17: Roosevelt Stadium, Jersey City, Nev jersey June 18: Gardens, Boston June 19: Dillion Stadium, Hartford, Connecticut June 20: Memorial Auditorium, Rochester, New York June 21: Wing Stadium, Kalamazoo, Michigan June 22: Civic Arena, Pittsburgh, Pennsylvania June 23: Day off June 24: University of South Carolina June 25: Civic Centre, Savannah, Georgia June 26: Stadium, Tampa, Florida
July 17: Anaheim Stadium, Los Angeles July 18: Balboa Stadium, San Diego July 19: Day off July 20: Qakland Stadium, San Francisco July 21: Day off July 22: Coliseum, Vancouver July 23: Coliseum, Seattle July 24: Coliseum, Spokane July 25: Coliseum, Portland July 26: Day off July 27: Salt Palace, Salt Lake City July 28: McNichols Arena, Denver July 29: Day off July 30: Coliseum, El Paso July 31: Coliseum, Phoenix August 1: Las Vegas August 2: Day off August 3: August 4: Corpus Christi, Texas August 5: August 6: Civic Centre, San Antonio August 7: Tarrant County Coliseum, Fort Worth August 8: Coliseum, Houston August 9: August 10: Myriad, Oklahoma City August 11: Mississippi River Festival, St. Louis August 12: Louiseville August 18: St. John's Arena, Columbus, Ohio August 14: Kaminsky Park, Chicago August 15: Civic Auditorium, St. Paul August 16: Auditorium, Milwaukee August 17: Coho Hall, Detroit August 18: Cobo Hall, Detroit August 19: Cobo Hall, Detroit August 20: Market Sq. Arena, Indianapolis August 21: Coliseum, Cleveland
It hardly seems possible that seven years have drifted past our very noses since that first Yes album made its auspicious, if slightly subdued entrance onto the British rock scene - the end-product of a dream shares by Jon Anderson and Chris Squire that would eventually mature and blossom into one of the most highly-esteemed and successful bands in rock history.
Pinning Yes' music down to a few well-turned phrases isn't easy however, since it's as wide and as varied as the interests and backgrounds of the people in the band - Anderson, Squire, Steve Howe, Alan White, and Patrick Moraz. Synthesising musical flavours that literally span the centuries and the continents - from classical to jazz, to rock, and just about everything else under the sun - they've blended all their diversified, personal musics into the hybrid, multi-hued landscape that's come to be known as Yes music.
Carloads of colourfully descriptive prose have, of course, been rolled out again and again, hailing Yes as 'musicians' musicians', ' the first rock orchestra', 'the progressive band's progressive band', and so on. While it's more than enough to make even Yes themselves a bit squeamish after all this time, it serves to illustrate how important a part they're playing in the rock world of today. Although they've been beset by a fair number of disappointments, setbacks, and internal crisis over the years, the key to their success has always been their unity - sharing a common bond in their total respect for one another as individual musicians, with a firm belief in using everyone's potential to the fullest.
To say that they've made their mark on contemporary music would be something of an understatement. It didn't come easy, but in their long struggle for widespread recognition, they've never compromised on their high standards for the sake of mere convenience. That's what makes Yes so special and it's something that they've every reason in the world to be proud of.
Management Brian Lane and Alex Scott Assistant Management Sandy and Jill Production Manager Michael Tait Sound Engineering Jean Ristori and Neil Kernon Sound System by Clair Bros Audio with thanks to Roy Clair and Mike Roth Lighting by Michael Tait assisted by Adam Wildi Scenery Design by Martyn Dean assisted by Clive Richardson Scenery built by Clive Richardson and Martyn Dean, for Magnetic Storm Laser Operator Adam Wildi Sculpture Backdrop Designed by Roger Dean and made by Felicity Youette Steve's Equipment Claude Johnson-Taylor Chris's Equipment Nigel Luby Alan's Equipment Nu Nu Whiting Jon's Equipment John Martin Patrick's Equpiment Raymond Palmer assisted by Christopher Penycate Trucking Clair Bros Audio Travel Roy Ericson, Starflight Travel Agency Premier Talent Associates Programme Produced by Dragon's Dream for Brockum International Ltd. Special thanks to Sam Li, Roto Sound Strings, Manny's, Tom Field Associates, Rainbow Freight U.K., Global Shipping N.Y., C.P. Cases, Smythe Engineering, Derek Deirden, Paice Electronics ALE Electronics
As a singer, songwriter, and in the soberest sense of the word, visionary, Jon Anderson's maintained a calm, steady course through the often less than placid sea that's the rock scene of the 70's - a serene, reflective, yet stubbornly driving force behind Yes since the very beginning. To burden him with the title of 'leader' however, is something that he'd probably be the first to flinch at. 'Leadership' sounds a bit too much like absolute monarchy - which in a democracy like Yes, really has no place at all.
In his conspicuous role as Yes' front-line man, Jon's always served as more of a focal point - a magnifying lens that brings the myriad collection of ingredients found in Yes music into sharp focus through flowing, free, and often mysterious imagery - word-paintings, if you like, that blend perfectly with the sound patterns generated by the band.
But then, in its purest, most basic sense, Jon's voice merges with Yes as a musical instrument in its own right. The words and concepts are there to be absorbed, but it's often the actual sound of those words - their rhymes, rhythms, and inflections - juxtaposed and interacting with the other instruments, that makes Jon's presence in Yes so striking. It has the maximum effect, but without flash and overkill - straightforward, crystal clear, and always there when needed. Whether it's by way of solo albums like "Olias Of Sunhillow" or through his ongoing association with Yes, the depth and eloquench of Jon's music remains constant and thoroughly individual. It's the sort of thing that makes for a fine reputation - and that's something Jon has first hand knowledge of, a thousand times over.
Music's chosen words reflected on our soul, was music, peace music, love music, we move to it all.
Energy is eternal delight.
'Olias of Sunhillow' Jon Anderson's solo album on Atlantic Records and Tapes No. SD 18180
Even the most well-intended attempt at categorising a musician can be a tricky and arbitrary piece of business these days, particularly when the individual in question is of the calibre of Steve Howe. Although Steve himself prefers to quietly and unobtrusively list himself under the catch-all heading of 'rock guitarist', his work with Yes through five years' worth of what's considerably more than simply 'rock music' bears witness to the fact that it's impossible to cram him into a compact, sum-it-all-up-at-a-glance pigeonhole.
While his music first took root amidst the same late 50's/early 60's influences that sparked off just about everybody who's anybody in British rock, it's sub-sequently branched out and flowered in a multitude of different directions. But whether it's jazz, country, classical, ragtime, or one of his infinite number of expertly brewed hybrid combinations, Steve's total fascination with the guitar and its seemingly endless possibilties is underscored by the fluid, unique, and strikingly off-the-beaten-track approach to rock that he's made his own.
Whether working with Yes or (as he did on 'Beginnings') developing his own solo ideas, what Steve Hove plays is modern guitar - drawing on and assimilating influences, concepts, and techniques that are often light years removed from the flow of mainstream rock, but thoughtfully utilising and expanding on them with taste, style, and a finely-tuned ear for what's 'right'. Without intending to sound stuffy about it, Steve's acclaimed the world over as one of the finest guitarists in contemporary music. Other top musiciand listen to, learn from, and respect him - which in itself says more than any label or category could ever hope to.
I've suffered for my music and now it's your turn.
'Beginnings' Steve Howe's solo album in Atlantic Records and Tapes No. SD 18154.
In an area of rock musicianship that's often been the setting for far too much self-indulgence and far too little imagination, Alan White is part of a small, select group of drummers who stand apart from the horde - his work with Yes combining strength and professional precision with adaptability and a discerning sense of subtlety making far-reaching and crucial contributions to the shades and textures found in Yes music.
With a list of past credentials ranging from Alan Price's group, to Ginger Baker's Airforce, to the Plastic Ono Band, his career's been something of a Grand Tour through a host of different musical climates that extended his range and broadened his knowledge of music in general - even if the benefits weren't always clear to him at the time.
Since joining Yes in 1972 his task has been a challenging one in keeping the band's often complex and ever-shifting brand of music firmly anchored to Mother Earth, while maintaining a consistently spacious level of inventiveness as an all-important catalyst for the Yes sound. Then again, his keen interest in exploring the hitherto unexplored possibilities of electronic drums and percussion is something that's only just beginning to move to the fore, and will undoubtedly play a key role in the band's music in the very near future. Having made a positive and often surprising assertion of his musical tastes and individuality with a solo album called 'Ramshackled', Alan's proven that he's far more than 'just the drummer' - a fact that Yes themselves rediscover every time they walk out on the stage.
And the ramshackled sea exhaulted thus.
'Ramshackled' Alan White's solo album on Atlantic Records and Tapes No. SD 18167
In the event that there are still a few dreary souls lurking about who question the talent, discipline, and dedication that goes into the best of what's broadly referred to as 'rock music', they need only to look as far as Patrick Moraz for a sudden, if gentle, reversal of their opinions. Although his keyboard work as the newest member of Yes has helped introduce his music to a massive, world-wide audience, his musical history stretches back over a multi-faceted array of experiences - including classical training in his native Switzerland and the United States, well over two dozen film scores, and a critically-acclaimed sojourn with Refugee before joining Yes in 1974.
But while it would be all too easy, particularly in an open-ended situation like Yes, to stray into pointless flamboyance and complexity, Patrick preserves a totally sensible outlook when it comes to fulfilling his role within the band. He uses his armoury of keyboards... well, like a painter's palette (if you'll excuse the expression), to colour, shape, and add texture and balance. It's an orchestral approach really - powerful where necessary, but always in harmony with the flow and moods of his fellow musicians. Although many of his ideas are realised through electronic, rather than traditional forms of instrumentation, Patrick nevertheless has the rare ability, as Chris Squire says, to make machines sound very human'.
With a recently released solo album called under his belt, and his exploratory journey with Yes having really only get gotten underway, Patrick's scope as a composer and musician with an ear tuned into the past, both feet firmly planted in the present, and a keen eye cast towards the future, is only just beginning to reveal itself - and the best is yet to come.
There is no limit to time, there is no limit to music, there is nothing new except what has been forgotten and there is no limit to love.
'I' Patrick Moraz's solo album on Atlantic Records and Tapes No. SD 18175.
When it comes right down to basics, it's pure, undiluted musicianship that's placed Chris Squire into a category all his own. As a founder member of Yes, he's one of the most critically- acclaimed and closely listened-to bassists in all of contemporary rock - powerful, majestic, warm, and imaginative - pushing the electric bass out of its traditional, low-profile limbo, and transforming it into a devastating assault weapon that's simultaneously a sensitively 'musical' musical instrument as well.
Still heavily influenced by the grand and often ancient melodies he once sang as a choirboy, there's a thundering touch of monumental pagan grandeur in Chris' approach to his craft. It's wide screen, technicolor opulence really - dark, foreboding and uneasily apocalyptic one moment yet soft, fragile, and hauntingly elusice the next. The morning gray, afternoon yellow, twilight blue, and night black kaleidoscope of moods that wing their way through his music typify the emotional way he views the art of bass playing - a rare perspective on the instrument and its capabilities that he shares with all too few.
After years of open-minded experimentation and self-evaluation in London-based bands like the Syn, Mabel Greer's Toyshop, and ultimately Yes, Chris' penchant for soaring melodies and awesome spectacle wasfully realised his first solo epic, 'Fish Out Of Water'. As both a solo artist and, first and foremost, as a member of Yes, he's established himself at the very pinnacle of the best in rock musicianship - and the proof, as they say, is all right there in the playing.
'Fish Out Of Water' Chris Squire's solo album on Atlantic Records and Tapes No. SD 18159.