Jul 31 Wheeling, W. Virginia Aug 1 Hampton Roads, Virginia Aug 2 Philadelphia Aug 3 Philadelphia Aug 5 New York Aug 6 New York Aug 7 New York 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 Aug 23 Detroit Aug 25 Atlanta, Georgia Aug 26 Birmingham, Alabama Aug 27 Nashville, Tenn. Aug 28 Cincinnati, Ohio Aug 29 Cincinnati, Ohio Aug 30 Indianapolis Aug 31 Madison, Wisconsin Sep 1 Milwaukee Sep 3 Chicago Sep 17 Vancouver, B.C. Sep 18 Seattle Sep 19 Seattle Sep 21 Oakland, Calif. Sep 22 Oakland, Calif. Sep 23 Los Angeles Sep 24 Los Angeles Sep 25 San Diego Sep 26 Long Beach, Calif. Sep 27 Las Vegas Sep 29 El Paso, Texas Sep 30 Abilene, Texas Oct 1 Houston Oct 2 Dallas Oct 3 Oklahoma Oct 4 St. Louis Oct 5 St. Louis Oct 6 Kansas City Oct 7 Jackson, Miss. Oct 8 Shreveport, La. Oct 9 New Orleans
Oct 24 Empire Pool, Wembley Oct 25 Empire Pool, Wembley Oct 26 Empire Pool, Wembley Oct 27 Empire Pool, Wembley Oct 28 Empire Pool, Wembley Oct 29 Empire Pool, Wembley Nov 2 Stafford Nov 3 Stafford Nov 4 Stafford Nov 6 Glasgow Nov 7 Glasgow Nov 8 Glasgow Nov 10 Copenhagen Nov 11 Olso Nov 12 Gothenburg Nov 14 Hanover Nov 15 Dortmund Nov 16 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 2 Colmar Dec 4 Lyons Dec 5 Paris Dec 6 Paris
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
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.
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
25000 Million Light Year's ago is as far as the Eye can see on the Clearest of Nights.
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
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
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
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.
CHRIS' STAGE EQUIPMENT
BASSES: Rickenbacker 4-string, 8-string, fretless; Gibson Les Paul Studio, Thunderbird; Fender Jazz, Telecaster; Guide fretless; Earthwood acoustic
EFFECT AND MISCELLANEOUS EQUIPMENT: Custom-built pedal board (including Moog Taurus bass pedals, Du-tron Bass Pedals); TMI Frequalizer; custom-built effect unit
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
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
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
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