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YES TOUR DATES

AMERICA

Jul 30 Toledo, Ohio
Jul 31 Wheeling, W. Virginia
Aug 1 Hampton Roads, Virginia
Aug 2 Philadelphia, Pa.
Aug 3 Philadelphia, Pa.
Aug 5 New York, N.Y.
Aug 6 New York, N.Y.
Aug 7 New York, N.Y.
Aug 8 New Haven, Conn.
Aug 9 New Haven, Conn.
Aug 10 Springfield, Mass.
Aug 12 Boston, Mass.
Aug 13 Boston, Mass.
Aug 14 Portland, Maine
Aug 15 Providence, R.I.
Aug 16 Washington, D.C.
Aug 17 Cleveland, Ohio
Aug 18 Cleveland, Ohio
Aug 19 Pittsburgh, Pa.
Aug 20 Buffalo, N.Y.
Aug 22 Detroit, Michigan
Aug 23 Detroit, Michigan
Aug 25 Atlanta, Georgia
Aug 26 Birmingham, Alabama
Aug 27 Nashville, Tenn.
Aug 28 Louisville, Kentucky
Aug 29 Cincinnati, Ohio
Aug 30 Indianapolis, Ind.
Aug 31 Madison, Wisconsin
Sep 1 Milwaukee, Wisconsin
Sep 3 Chicago, Illinois
Sep 17 Vancouver, B.C.
Sep 18 Seattle, Wash.
Sep 19 Seattle, Wash.
Sep 21 Oakland, Calif.
Sep 22 Oakland, Calif.
Sep 23 Los Angeles, Calif.
Sep 24 Los Angeles, Calif.
Sep 25 San Diego, Calif.
Sep 26 Long Beach, Calif.
Sep 27 Las Vegas, Neveda
Sep 29 El Paso, Texas
Sep 30 Abilene, Texas
Oct 1 Houston, Texas
Oct 2 Dallas, Texas
Oct 3 Oklahoma City, Okla.
Oct 4 St. Louis, Missouri
Oct 5 St. Louis, Missouri
Oct 6 Kansas City
Oct 7 Jackson, Miss.
Oct 8 Shreveport, La.
Oct 9 New Orleans, La.

EUROPEAN

Oct 24 London, Wembley
Oct 25 London
Oct 26 London
Oct 27 London
Nov 2 Stafford
Nov 3 Stafford
Nov 6 Glasgow
Nov 7 Glasgow
Nov 8 Glasgow
Nov 12 Gothenburg
Nov 13 Copenhagen
Nov 15 Dortmund
Nov 17 Dusseldorf
Nov 18 Frankfurt
Nov 19 Nurnberg
Nov 20 Zurich
Nov 21 Heidelberg
Nov 23 Munich
Nov 24 Rotterdam
Nov 25 Rotterdam
Nov 26 Antwerp
Nov 27 Bremen
Nov 28 Berlin
Nov 29 Cologne
Dec 1 Paris
Dec 2 Paris
Dec 3 Lyon
Dec 5 Barcelona
Dec 7 Madrid
Dec 8 Madrid

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Yesshows

Management - Brian Lane & Alex Scott
Assistant Management - Sandy & Jill
Personal Manager - Jim Hailey
Production Manager - Michael Tait
Sound Engineer - John Timperley
Assisted by - Nigel Luby
Sound System by - Clair Bros Audio with thanks to Roy Clair
Mike Roth, Al Winters
Lighting by - Michael Tait
Assisted by - Adam Wildi
Set Design - Clive Richardson, Mike Tait, Adam Wildi
Laser Operator - Adam Wildi
Film By - Special Effects Worldwide Ltd.
Steve's Equipment - Claude Johnson Taylor
Chris' Equipment - Steve Wilson
Alan's Equipment - Nu Nu Whiting
Jon's Equipment - John Martin
Rick's Equipment - Toby Errington
Electronic Engineer - Christopher Penycate
Technical Advance Man - Chip Irwin
Press - Dan Hedges
Trucking USA - Clair Bros Audio & Clark Transfer
Trucking UK & Europe - Edwin Shirley Trucking Ltd.
Travel USA - Roy Ericson, Starflight Travel, Sherrie Rubin
Agency - Premier Talent Associates
Programme - Hipgnosis/Richard Evans with Alwyn Clayden
Yes Logo Designed by - Roger Dean

Special thanks to Sam Li, Roto Sound, Mannys, Rainbow
Freight UK, Global
Shipping N.Y., C P Cases, Sinythe Engineering, Derek
Deirden, C.J. Frame,
Tait Towers Lighting 'nc., Ken Fillo, Tom Swan, Packhorse
Case Co Ltd.,
Peter Faulkner, Pat Fairley, Jo Baker, Brenda Franklin and
Omsk

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Christ. Where are we now? New York? Cleveland? Oklahoma
City? Or is it London? Or Paris? Or Frankfurt? Or....

Only fooling. We know exactly where we are. Depending on at
what stage along the trail you're reading this however, the
Yesshows '77 tour is, was, or is going to be a big like
setting off on the Crusades. By Christmas, they'll have
played to something like two million people in America,
Britain, and Europe. Nearly five months, close to a hundred
cities, and your guess is as good as mine how many thousands
and thousand of miles. If anything, it shows just how big
Yes are these days - though the size of the crowd you're
probably sitting in the middle of right now is the best
indication of that.

Of course, there's nearly a decade's worth of precedence to
deal with. While it'd be easy to scale the nearest mountain
peak, gaze off into the glorious sunrise, and break out the
usual collection of multi-syllable/million dollar adjectives
to explain who, what, and where Yes are at this point in the
Cosmos, we'll shelve it for now. All that 'Gods Descending
From Olympus To Entertain We Mortals' jazz is beginning to
wear a bit thin anyway. Yes get wet when it rains, just like
the Rolling Stones so let it suffice to say that the reason
Yes have gotten to where they are is due to the simple fact
that they're one of the finest rock bands on the planet.
Full Stop.

Granted, they might not appreciate the aesthetics of sending
entire suites of hotel furniture hurling from twentieth
story windows, or in reducing fashionable downtown eateries
to heaps of smoldering rubble - but then they've honestly go
better things to do with their time. Don't mean to be
tedious about it, buy they really do take their work
seriously.

The new album, 'Going For The One', took eight months to
record - possibly an excessive amount of time in some ways -
but then Yes would be the first to admit that they're choosy
and hard-to-please. No, you're not likely to see Mr. Howe
wrestling Mr. Squire to the carpet over the question of a
diminished fifth, but the process of creating Yes music is
still no early, downhill glide.

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For every hour of heartwarming unity, there's at least
another hour's worth of ...er..'intensified discussion'.
Words are exchanged, tempers become frayed, and there's a
fair amount of mumbling, grumbling, complaining, and
changing before a satisfactory compromise between five very
different (and totally professional) musicians is reached.
They might drive themselves and everyone around them crazy
in the process, but they always reach it in the end - and
the fruits of their most recent labours are among the things
you'll be hearing over the next couple of hours.

It's not all heart-rending drama and mail-biting
intrigue though. Rick's back in the band for a start, so
that any attempt at maintaining a sense of Corporate
Dignity invariable comes up against some pretty stiff
competition. But then, it'd be nice to have a videotape of
Jon hatching his as-yet-unconsummated custard pie plot
against Several Anonymous British Journalist And
Politicians. Or of one of Chris and Rick's bleary-eyed,
brandy-powered Pete n' Dud routines ("Where's the worst job
You've ever had?"). Or of Alan blowing the lid off
the Brown Rice Myth when his hamburger habit got to big to
conceal. Or of Steve defiantly swigging down the fruit juice
and coming no closer to hot chicken dinner than the colour
slides of barnyard animals (not to mention his wife, his
kids, and five years'-worth of summer holiday) that he'll
proudly show you if you've got a few day to spare.

Ah, but we're getting off the basic track - the point being
that Yes are on of the finest rock bands on the entire
planet. If you don't already know that, it's safe to say
that you will before the concert's over.

At any rate, next year marks Yes' tenth anniversary. Ten
years since "Jon Anderson was sweeping up and sleeping rough
on the floor of London's La Chasse Club when he chanced to
run into Chris Squire." Quite a lot's gone down since then.
For them. For all of us. But whether you're an old Yes
fanatic from way-back-when, or a brand new recruit to the
cause, Yes with you well - and thank you very much for
coming.

- DAN HEDGES

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25000 Million Light Year's ago is as far as the Eye can see
on the Clearest of Nights.

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JON ANDERSON

If you haven't seen Yes in awhile you'll probably notice
that Jon Anderson's branching out quite a bit these days.
He's still Yes' front-man, still the guiding influence
that's been there since the beginning, but his role's been
steadily expanding over the past couple of years - and he
hasn't stopped yet.

In the early days, he was quietly content to stand and sing
while the others provided the instrumental muscle. Today,
he's rapidly stepping out of the shadows as a musician in
his own right, via guitar, harp, and the battery of
percussion instruments of all shapes and sizes that fill his
newly staked-out corner of the stage. No, he's not trying to
compete with anyone for the Player Of The Years award, but
this relatively recent development really adds a fresh new
dimension to the band's sound and stage presence.

Of course, it's still secondary to Jon's primary function
and importance in Yes - which is (as it's always been) that
of singer and lyricist. Clear, high, and pure, his voice is
still the cornerstone of those unmistakable Yes harmonies,
And his lyrics? Well, if you'll excuse the expression,
they're like work-paintings - often involved, and often
mysterious in their imagery, but a unique and essential
facet of Yes' music (and Jon's solo ventures like 'Olias Of
Sunhillow') just the same. Don't red him wrong though: Jon
Anderson doesn't claim to be Yes' leader, Nobody is. If
anything, he's their voice and their spokesman. Looking back
over the past nine years, it's plain to see that it's a job
he handles very well.
JON'S STAGE EQUIPMENT

GUITARS: Gibson Melody Maker, Les Paul Jr., Gibson acoustic;
Martin 00-18 acoustic, Alvarez 10 string

AMPLIFICATION: Fender Twin Reverb amp; Yamaha mixer with two
wedge monitors (powered by Crown amps)

MISCELLANEIOUS EQUIPMENT: Irish harp; electric drums;
assorted percussion

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STEVE HOWE

If you let him, Steve Howe will quite happily sit and talk
about guitars, guitarists, and guitar playing all day long.
It's in the blood, you see. He's a card carrying 'guitar
fan'. Stick him in a room with a rare, 19th Century
Something Or Other, and he'll shine like a kid on Christmas
morning. Introduce him to one of his all-time guitar heroes,
and he'll positively glow.

The fact that many of his heroes hold an equal amount of
respect for him is beside the point - though since joining
Yes in 1970, Steve's become on the most critically acclaimed
guitarists on either side of the Atlantic. That
well-deserved praise comes from many different corners of
the guitar world too, because his love for the instrument
doesn't limit itself to the some times claustrophobic
boundaries of rock n' roll.

Rock obviously forms the foundation , but Steve's music
culls its influences from country, classical, ragtime, jazz,
and ... well ... you name it. He's mastered the
not-so-simple art of listening - subsequently
absorbing and synthesizing the things he hears into
something new and fresh. On stage, he often looks as if he's
grinding his guitar to sawdust, but his playing is always
precise, Always sure. Always unmistakable. You can here it
on Steve's solo album, 'Beginnings', and on every Yes album
since 'The Yes Album'. It's some of the finest guitar work
you'll come across anything - and that's the truth.

STEVE'S STAGE EQUIPMENT

GUITARS: Gibson 175D, 345 Stereo, 'The Les Paul', 6/12
double-neck; Fender Telecaster, 'Stratocaster, twin-neck
steel guitar; Sho-Bud pedal steel; Rickenbacker 12-string;
Coral electric sitar; Martin 00-18 acoustic; vachalia

AMPLIFICATION: 2 Fender Dual Showman amps; 4 Fender Dual
Showman cabinets

EFFECGS AND MISCELLANEOUS EQUIPMENT: Pedal Board
(custom-built Kelly Electronics and Claude Taylor,
incorporating MXR Phase 90, DBX Flanger, Gibson Fuzz Tone,
Cry Baby wah-wah, Maestro Boomerang, DBX Noise Reduction
Unit, 4 Sho Bud volume pedals, and 2 Electro-Harmonix Big
Muffs); Echoplex Groupmaster; Eventide Digital Delay;
custom-built direct injection unit for acoustic guitar;
special guitar picks made by Claude Taylor

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CHRIS SQUIRE

Given a little advance notice from the Almighty, Chris
Squire could probably provide the soundtrack music for the
End Of The World. He's a bassist who other bassists listen
to very carefully, and his musicianship's that
powerful. Real Cecil B. DeMille stuff, in fact - full of
heathen magnificence and apocalyptic doom that's the
building of the pyramids, the sack of Troy, and the Fall of
the Roman Empire, all rolled into one.

Hmmmm.. sorry if that sounds a bit pompous, but there's
really no other way to describe it. Listen to Chris' solo
epic, 'Fish Out Of Fish', or the best of his work with Yes
over the past nine years, and you'll get the full picture.
On a good night, when the moon's right, he could give a
thunderstorm a run for its money. But then, Chris is one of
the very few rock bassists who've made an all our effort at
exploring (and exploiting) the full depth and power
of the instrument.

There's cool aggression and proud arrogance in the Squire
Approach, but it's carefully balanced out and complemented
by an unusual streak of musical sensitivity - a rare, calm
feel for melody and dynamics. It's won him more awards that
he knows what to do with, and possibly more admirers that
nay other bassist in rock today. In other words, nobody
plays bass like Chris Squire - and though imitation might
well be the sincerest form of flattery, very few even come
close.

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CHRIS' STAGE EQUIPMENT

BASSES: Rickenbacker 4-string, 8-string, fretless; Gibson Les
Paul Studio, Thunderbird; Fender Jazz, Telecaster; Guide
fretless; Earthwood acoustic

AMPLIFICATION: Marshall 100 watt bass amp; 2 Sunn 6x12
cabinets

EFFECT AND MISCELLANEOUS EQUIPMENT: Custom-built pedal board
(including Moog Taurus bass pedals, Du-tron Bass Pedals); TMI
Frequalizer; custom-built effect unit

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RICK WAKEMAN

For someone who was 'asked to leave' the royal College Of
Music because he was spending more time in London's
recording studios than in the lecture hall. Rick Wakeman's
done pretty well for himself. The awards and critical
acclaim that've come his way over the past eight or nine
years are ample proof that, though the Strawbs, Yes, and his
own solo projects, Rick's probably done more than anyone
else to raise the caliber of 'rock' keyboard playing to an
incredibly evolved level of musical and technical
proficiency.

Surrounded by a formidable arsenal of synthesizers,
mellotrons, organs, pianos, and what-have-you, Rick's merged
the positive aspects of his classical background with an
open-minded penchant for change and experimentation. At the
same time though, he's made his mark without resorting to
the overstuffed, holier-than-thou tactics that you'd almost
expect of someone with his musical abilities. All that
business about Rick being 'comfortably down to earth' is
true. While high standards provide the primary drive in the
Wakeman Method, humour and a free-wheeling sense of
theatrics are never far behind.

'Going For The One' and the Yes shows '77 tour mark Rick's
second incarnation with the band, After playing on four Yes
albums (From 'Fragile' through "Topographic Oceans') he left
in early '74 to devote his full energies to his rapidly
expanding solo career. Sheer coincidence (he had time off
between projects, Yes needed a keyboards man) and the
realization that he could play with Yes and maintain
his place as a successful solo artist led to his rejoining
them late last year. So he's enjoying the best of both
worlds right now. He's happy. Yes are happy. And it looks
like everything's going to work out fine.

RICK'S STAGE EQUIPMENT

KEYBOARDS: grand piano (with Hempinstall pickup); Mander
pipe church organ; Hammond C3 organ; Polyphonic Moog; 4
Mini-Moogs; 4 Birotrones; Fender Rhodes piano; R.M.I.
Computer Keyboard; R.M.I. Rock-Si-Chord piano; Baldwin
harpsichord; Godwin organ

EFFECTS AND MISCELLANEOUS EQUIPMENT: Soundcraft 1612 mixer;
2 Phaselinear amps; Clair Bros. electronic cross-over;
Delter digital delay; FBL speakers and horns; assorted
effects (phasing, flanging, etc.) by Greg Hockman, Systems
Tech Inc., Kalamazoo, Michigan

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ALAN WHITE

When Alan White joined Yes just prior to the start of their
1972 American tour, he had exactly three days to learn all
the arrangements. Suppose taht's what they call a 'trial by
fire'. After all, it was a tall order - and though Alan
admits that he nearly singed a few feathers in the process,
he came through the ordeal with flying colours.

It's not really surprising though, because he's an amazingly
good drummer - and that's all there is to it. To play with
Yes, he'd have to be - though it's not a simple matter of
holding back until The Big Drum Solo and then seating nicely
for the photographers in the orchestra pit. Yes music is
complex, it's tricky, and it's often frighteningly unwieldy
- and keeping the whole thing firmly nailed to the
floorboards calls for not only first-rate musicianship, but
a certain crazy brand of heroics. Alan's got both - though
far from being content with merely serving as the proverbial
anchor, he's taken his role more than a couple of steps
further - approaching the art of percussion with rare skill
and imagination.

At the same time, his drumming is never needlessly flash, or
cluttered, or flowery. Everything's there for a reason - to
embellish, expand, and contrast, but never dominate. In the
end, on both his solo album, 'Ramshackled', and on the four
LP's he's done so far with Yes, he's combined a basic
workman-like approach with a finely-tuned feel for variation
and change. Yes are lucky to have him.

ALAN'S STAGE EQUIPMENT

DRUMS: Ludwig kit (consisting of 22" bass drum and 13" x 9",
14" x 10", 16" x 16", 16" x 18" tom toms); 3 North tom toms
(8", 10", 12"); 2 Ringer tympani

CYMBALS: Zildjian 18" Hi Hat, 3 20" Sizzles, 2 18" crash,
22" crash ride, 20 " Pang,; Paiste 20" Chinese; 22" Chinese

MISCELLANEOUS INSTRUMENTS AND EQUIPMENT: Musser vibes, four
octaves of crotales, drum synthesizer (custom-built by
Survival Projects), Premier 550C sticks

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DONOVAN

There's got to be a way to get around it - the 'legendary'
angle, that is - though if anybody's managed to make a
much-respected name for himself over the past thirteen
years, it's Donovan.

Don't know where or when you first heard him, but it's an
even bet that somewhere in just about everyone's musical
memory, there's a Donovan song or two that'll spark off a
few warm recollections of a particular time or place. Maybe
those memories go all the way back to the beginning - say
1964, or so, Early Donovan, down from Scotland. The Dylan
cap. The harmonica, The acoustic guitar with 'This Machine
Kills' (a phrase borrowed from Woody Guthrie) plastered
across the font of it. Lots of TV appearance - from
England's 'Ready Steady Go' to America's 'Shindig'. Lots of
now-classic songs like 'Catch The Wind' and 'Colours'. It
was committed, meaningful, and intelligent - at a time when
the music business had little interest in intelligence,
meaning, or commitment. Needless to say, the public knew
better.

But then, maybe you picked up on him a bit later on - once
his music had really begun to grow. With people like Jimmy
Page (and later Jeff Beck) helped out, Donovan's hit singles
started arriving one after the other - 'Sunshine superman',
'Mellow Yellow', 'Hurdy Gurdy Man', et al. All unique. All
reflecting the spirit of a new era - crackling with
acid-tinged electricity. Psychedelic? Well...Maybe yes.
Maybe no. Those records still hold up though. Listen to the
radio. They still play them.

On the other hand, maybe it was Donovan's softer side that
first caught your ear. The love songs, the child ballads,
and the tales of the sea. The beads and the incense. Flower
power? Could be. If you wanted it to be at the time. That's
always been Donovan's specialty though. Variation - and
songs you could take on several particular levels. Or no
particular level at all.

But the 70's suddenly brought a whole new crop of changes
for most of us. Often drastic ones too - and if things
weren't quite as rosy and innocent as they were before, that
realization was echoed in Donovan's music. He took on a much
lower profile - even disappearing from the concert stage for
awhile. Though albums like 'Cosmic Wheels' and '7-Tease'
still bore the mark of the romantic, the dreamer, and the
troubadour (as the 60's press often like to describe him),
they were the products of a harder, more realistic outlook.
As hopeful and as musical as ever, but not quite so
head-in-the-clouds.

That's pretty much where Donovan's at today, as a matter of
fact - still something of the 'wandering minstrel' (without
being twee about it), but definitely keyed-in to the
realities of the 70's - as the new album, 'Donovan Rising',
clearly shows. Mind you, he's never claimed to be an
instigator or a trendsetter. If anything, his contribution
to the 60's and now the 70's what goes on around him with
sensitivity and quiet humour. Stopping just long enough to
record the scene and make his point, before moving on the
something new.

Although he's often performed solo in the past, this tour
marks the debut of his new band - new to sharing the stage
with Donovan, that is - though each has a long musical
history stretching out behind him.

Ronnie Leahy (keyboards) and Colin Allen (drums) were both
members of Britain's much-revered Stone The Crows,. Ronnie's
also worked with Alvin Lee, Jack Bruce and David Essex;
Colin's played with Focus and John Mayall. Then again,
Miller Anderson (guitar) played with the Keef Hartley Band
and Savoy Brown, while Nick South (bass) has worked with
British blues legend Alexis Korner, as well as with Vineger
Joe and Steve Marriott. Together, they're placing Donovan's
music in a brand new setting.

Not that he's forgotten what's gone before. From then until
now, Donovan sees it all as being part of the same
uninterrupte

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Rick's Crossword
1--.--.--2--.--3--.--4--.--.--.--5--.--6--.--7--.--8--.--9--.
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| | | | | | | | | |##| |##| |##| |##| |##|##| |
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| |##| |##| |##| |##| |##|##| | | | | | | | | |
-----------------------------------------------------------

ACROSS:

01. The area of the sky Yes prefer (5-4)
10. Vocally bearing no relation to his instrument (5-6)
12. What a roadie can manufacture on needing a day off (6-4)
13. Roadies don't do this very often (3)
14. Unheard of in Yes music (1-3-2-3)
16. What Sun Artistes office resembles (4)
17. What Yes give their management and vice versa (8)
18. Yes have been doing this (3)
20. Some Yes songs could end up as these sorts of works (3)
21. Soared (anagram) (6)
22. An early group of Jon Anderson renowned for fighting (8)
24. The feeling Yes' manager gives Atlantic Records (8)
27. The mental age of the manager of Yes (3)
28. An inbuilt sense in each roadie (6-5)
32. At it's best when 70 percent proof (4-7)
35. Rick tried to do this in Lisztomania (3)
36. Sure Test (anagram) (8)
39. How Briane Lane regards himself (8)
40. How you would describe some roadies exploits with women (6)
43. & 46. Fond of stanley until he folded (3-8)
44. A large bird controlled by Australian arm (3)
47. A possible name for a biblical group (4)
48. To conduct with this could be a hoot (4-5)
52. Yes management tell at least one a day (3)
53. All the sailors playing together (5-5)
54. Hopefully what all Yes songs are (11)
55. Another way of saying God (5-4)
DOWN:

01. Has a mood for a day (5-4)
02. An unhappy part of Alan Whites drum kit (3-3-4)
03. A good one is imperati

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