November 13th Madison Wisconsin 14th Notre Dame University South Bend, Indiana 15th Convention Centre Indianapolis, Indiana 16th University of Illinois Normal, Illinois 17th Keil Auditorium St. Louis, Missouri 18th Coco Hall Detroit, Michigan 20th Madison Square Garden New York 21st Memorial Auditorium Buffalo, New York 22nd Coliseum Cleveland, Ohio 23rd Charleston Civic Centre Charleston, West Virginia 24th Greensboro Coliseum Greensboro, North Carolina 25th Civic Coliseum Knoxville, Tennessee 28th Sportatorium Hollywood, Florida 29th Lakeland Civic Centre Lakeland, Florida 30th Omni Atlanta, Georgia
December 1st University of St. Louis Baton Rouge, Louisiana 2nd Astrodome Houston, Texas 4th Farrant County Convention Centre Fort Worth, Dallas, Texas 5th Tulsa Oklahoma 6th Henry Levit Arena Wichita, Kansas 7th University of Iowa Iowa City, Iowa 8th Louisville Kentucky 10th Springfield Massachusetts 11th Boston Gardens Boston Massachusetts 12th Civic Centre Baltimore, Maryland 13th Civic Centre Pittsburgh, Pennsylvania 14th Spectrum Philadelphia, Pennsylvania 15th Cincinnati Gardens Cincinnati 16th Chicago Amphitheatre Chicago 17th St. Paul Minneapolis
How the World Learned to say YES.
October 1968 looked grim: cold and grey, no hint of Indian summer. That, at least, was how Jon Anderson saw it. After six years of singing and writing and touring, Jon now found himself sweeping up the floor of Soho's La Chasse Club, sleeping on it too. Frustration, disillusionment, depression such was the atmosphere of Jon's life that colourless autumn (perhaps of rock music in general) when a happy accident introduced Jon, singer and songwriter and Chris Squire, bass player to each other at La Chasse.
From this sudden encounter YES were born. Lots of work and much more courage, very little time and even less money, were the ingredients that Jon and Chris and their three original musical partners (long since departed to play elsewhere) mixed into the creation of YES. Rehearsing, revising, resounding night after day week in and month out, they knew they had to make or break. Their first public performance, at a South London college was a success. Their first out of town appearance at a Brighton youth club was not. "We died the death," is the way Chris Squire puts it. Lesser men may be destroyed by rejection, incomprehension, indifference. Better men convert such negative response into the goad to action. And so it was with YES. They simply played on. It was in December 1968 that YES began to take off, not a sensational launch into the deep space of fame, rather a steady ascent toward the stars. YES appeared at The Royal Albert Hall in a supporting spot during the farewell performance of The Cream. This was the most sophisticated audience YES had vet encountered, an audience used to the best and so able to identify it. They identified it in YES, and rewarded the group with deserved attention. So did the press.
In the summer of 1969 YES released their first record. It was appropriately called 'Yes'. And the record buying public said "yes," too. Thereafter, the group began to move a little faster to get around a little more. They were being heard. They were being seen. They toured Ireland. And in December 1969 the glaciers and valleys of Switzerland were reverberating with their live music as YES made their first continental appearance. YES had survived their first year, were playing better than ever, were now in demand. June 1970 saw the departure of the lead guitarist. And so Steve Howe joined YES. Steve was soon astounding audiences with his solo piece Clap Before long Steve and Jon were putting heads and hearts together to create the kind of music for which the group have become renowned. This partnership has grown more fertile, more imaginative with the passing years and continues with undiminished creativity today.
YES produced their second record, 'Time and a Word', in 1970, and their third, 'The Yes Album', in 1971. By 1971 the group could fill n hall anywhere In March of that year they undertook their first really intensive tour: America, of course. Upon their return to Britain, their keyboard player left. Then Rick Wakeman, already a star in his own right, joined the group, attracting a wider audience still for
YES's music. Another record appeared: 'Fragile'. Throughout this period the style of YES's music had been evolving, becoming more subtle and more complex. With the release of 'Close To The Edge' in 1972, YES were widely acknowledged as a unique and uniquely creative and serious group. 1972 also witnessed the departure of drummer Bill Bruford. At the time this seemed an insufferable blow. The group were on the eve of their second American tour. How could Bill Bruford ever be replaced'? These were days of apprehension, unrelieved tension, for this new tour of America would be critical. It is at moments like this that destiny would seem to stretch out her hand and lead her creatures out of the whirlwind. Alan White sat down at the drums and accomplished something remarkable: he learned the group's entire repertoire in three days flat and then, exhausted, boarded a plane with YES bound for America. The crisis had been surmounted.
Throughout 1973 YES toured Japan, Australia, America and Britain. As if that was not enough, the group also recorded and released a triple album, 'Yessongs', and 'Tales From Topographic Oceans'. At the beginning of 1974 the group were back in America, this time even packing Madison Square Garden. Not content to rest, they toured Europe once more. Both tours were superbly staged with sets designed by Roger Dean, who had been creating the group's record covers since 'Fragile'.
In June 1974 Rick Wakeman decided to leave the group, pursuing the rewards of a solo career. And so it was that Patrick Moraz became a member of YES. Patrick is a versatile musician who plays the violin, organ, piano, harpsichord and (of all things) the alpine horn. Although Patrick was born on an aeroplane, he came down to earth in Switzerland and so is the only non British member of the group. Today YES are acclaimed throughout the world. They stand apart from trends and fashions. They rise above the ordinary plains of pop. They are acknowledged as artists not only by the millions of fans who crowd their concerts and buy their records all around the world, but also by serious musicians and critics whose sympathies are usually reserved for the more traditional or conventional modes of music. They may be heard, for example, on the BBC's Radio 3, where Mahler and Mozart and Monteverde are the usual sounds of almost any day.
YES have evolved from writing simple 32 bar songs to creating complete, complex works that are not symphonies or operas or oratorios or anything else the world has ever known. What they produce has no recognizable name for their work is utterly new. Their work is truly the result of group activity rather than the child of a single dazzling mind. The whole group is a single dazzling mind. Instruments and voices are employed as an orchestra and choir, weaving a tapestry of sound that is overwhelming in its final impact Their music must be appreciated as a whole rather than as a series of pieces that may be contemplated in isolation. Listening to the music of YES is like listening to the wind and the sea and sunlight and the humming core of the planet all at once: it is unity, it is totality It is the sound of affirmation. It is the sound of life. And to life you can say only "yes."
Jon Anderson: Vocals Birthdate: 25.10.1944 Accrington, Lancs. Education: St. John's School, Accrington. Musical education: 12 years on the road with many good musicians. Career progress: Listening to lots of music. Started in brother Tony's band 'The Warriors'. With them for 5 years working in Britain, Germany Sweden. Formed YES with Chris Squire in 1968. Musical influences: Anything good and moving. Principal compositions: Wrote on all YES albums specifically 'Close To The Edge', 'Tales From Topographic Oceans'. Favourite songwriter: Joni Mitchell, Steve Stills, Lennon-McCartney, Nilsson, Paul Simon. Favourite singles: 'Stay With Me Baby', Lorraine Ellison; 'Good Vibrations', the Beachboys, "Eleanor Rigby', the Beatles. Most influential LP's: 'Sergeant Pepper,' the Beatles; 'Bookends,' Simon & Garfunkel; 'Inner Mounting Flame,' The Mahavishnu Orchestra, and any of Sibelius, Stravinsky, Mozart, Ilhan Mimaroglu. Residence: Country home in Bucks. Family: Wife Jenny and daughter Deborah Leigh born 16th December, 1970, son Damian James born 22nd September, 1972. Awards: Gold albums for: 'the Yes Album', 'Fragile,' 'Close To The Edge', 'Yessongs', 'Tales From Topographic Oceans'. Top Group in U.K. and U.S.A. in Melody Maker, 1973 and 1974. Top Songwriter with Steve Howe Melody Maker, 1974. Instruments: Martin Acoustic guitar, Rickenbacker 12 string, various percussion, pair of Zyldjan cymbals and Gibson ES 140 full-bodied guitar.
Steve Howe: Guitar Birthdate: 8.4.1947 London. Education: Hungerford Primary and Barnsbury Comprehensive. Musical education: Selftaught. Career progress: 'Syndicats' 3 singles EMI; 'In Crowd' 3 singles EMI; 'Tomorrow' 2 singles, 1 LP EMI; 'Bodast' unreleased LP. Joined YES in 1971. Musical influences: All guitar music, and music in general. Compositions: Composed with Jon Anderson: Roundabout 'Close To The Edge,' 'Tales From Topographic Oceans,' and other joint YES compositions Own guitar compositions: 'Clap', and 'Mood For A Day'. Songwriting inspiration: Personal experiences. Favourite songwriter: John Dowland (1563-1626), Bob Dylan and Jon Anderson. Favourite single: 'It's Been a Long Time', by Les Paul and Mary Ford. Most influential LP: Vivaldi; 'The Four Seasons' by Piero Toso, Evato STV 70679. Residence: London. Family: Janet and son Dylan, born August, 1969. Awards: Gold albums for: 'The Yes Album,' 'Fragile', 'Close To The Edge', 'Yessongs', 'Tales From Topographic Oceans'. Top Group Melody Maker 1973, 1974. Instruments: Ephiphone guitars: Howard Roberts; Al Galia; Acoustic Broadway. Gibson: Super 400; L5; ES 5 Switchmaster; ES 295; ES 175D; ES 345 Stereo; ES 223T; ES 140 % scale; Tal Farlow; F.D.H.; L 50 Acoustic; Country & Western Acoustic; Les Paul Jnr.; Gold Top Les Paul standard; Les Paul Custom; Les Paul % scale; Student Steel; EH 150 Steel; Double neck 12 & 6 string; Florentine Electric Mandolin guitar; F4 Artist model; V Style Harp; 'O' style Artist model; EB2 guitar; Banjo/Uke. Martin: 'Antique' Stauffer; 'Antique' 0.21; 00.18; D.18 1958. Gretsch 'G' Chet Atkins. Fender: Telecaster; Twin Steel; Single Steel; 6 string Bass; Precision Bass. Danalectro: Sitar Coral; 12 string; 6 string Bass. Showbud: PRO I; WO II. Khono model A. Contraras Supreme. Reso-Presonic Silver. Vega acoustic 1930-40. Framus Tenor. Portuguese 12 string. Antique Rouldoff. Germany copy Antique Rouldoff. Early Spanish guitar.
Chris Squire: Bass Birthdate: 4.3.1948 London. Education: Public school: Haberdasher's Aske's, Elstree, Middlesex. Musical education: Selftaught. Career progress: Started in a band called 'The Syn' and formed YES with Jon Anderson in 1968. Musical influences: Too many to name. Principle compositions: Songs with YES. Songwriting inspiration: Jon Anderson. Favourite songwriter: Paul Simon. Favourite single: 'Dancing In The Street' by Martha & The Vandellas. Most influential LP: 'Bookends' by Simon & Garfunkel. Residence: House in Virginia Water, Surrey. Family: Wife Nicki and daughter Carmen born 1970 and Chandrika born February 1973. Awards: Gold Albums for: 'The Yes Album', 'Fragile', 'Close To The Edge', 'Yessongs', 'Tales From Topographic Oceans'. Voted Top Bass Player in Sounds and runner up in Melody Maker 1973, and Top Bassist in Melody Maker 1974. Instruments: Rickenbacker: 2x4 string, 6 string, 12 string, 8 string. Fender: Telecaster 4 string; Jazz 4 string; Stratocaster 6 string. Gibson: Thunderbird; Ripper 4 string; Double-neck 4 string & 6 string; EBI violin bass 4 string; Melody Maker 6 string. 'Guild Fretless 4 string; 12 string acoustic. Danalectro Longhorn 6 string, Ampeg 4 string stand up electric, Earthwood 4 string acoustic, Hohner Clavinet C, Kentucky Mountain Dulcimer.
Patrick Moraz: Keyboards Birthdate: 24.6.1944 Morges, Switzerland. Education: Diverse Colleges in Switzerland and U.S.A. Musical education: Violin, piano, pipe organ, harpsichord. Career progress: Formed Patrick Moraz Trio, Quartet, & Quintet and then Mainhorse. Joined Refugee 1974. Joined YES August 1974. Musical influences: Stravinsky, Jimi Hendrix, Beatles, Rachmaninoff, Stockhausen, classical music and modern jazz. Compositions: Music for 29 films; 'La Salamande', 'The Invitation', 'Mileu du Monde' etc., music on Mainhorse and Refugee albums. Favourite Singles: 'Good Vibrations', the Beachboys; 'Hey Joe', Jimi Hendrix; 'With A Little Help From Friends', Joe Cacker; 'Killing Me Softly', Roberta Flack. Favourite albums: 'Sgt. Pepper', the Beatles; 'Electric Ladyland', Jimi Hendrix; 'The Rite of Spring', Stravinsky; 'Inner Visions', Stevie Wonder. Favourite musicians: John Coltrane, Keith Jarret, Christian Vander, Jean-Luc Ponty. Favourite songwriters Lennon-McCartney, Frank Zappa, Stevie Wonder, Elton John-Bernie Taupin. Favourite singers Nina Simone, Joni Mitchell, Jon Anderson, Stevie Wonder. Residence: Home in London and studio and home in Geneva. Family: Single. Instruments: Hammond C3 organ, Fender 73 & 88 pianos, 2 String Thing Synthesizer, 3 minimoogs, D6 Clavinet, 2 EMS AKS. Synthesizers, 2 mellotrons, ARP PRO Soloist, Rhythm Ace drum machine, 2 Binson Echos, Alpine Horn, Electronic Slinky, Grand piano, Electric Harpsichord.
Alan White: Drums Birthdate: 14.6.1949 Pelton, Co. Durham. Education: Ferryhill Technical School. Musical education: Two or three rudimentary lessons, but mostly reading derived from piano lessons since the age of 6. Played drums on stage since 13 years old. Career progress: Included working with: Downbeats, Billy Fury and the Gamblers, Happy Magazine, Alan Price, Plastic Ono Band, Balls, Ginger Bakers Airforce, George Harrison, Joe Cocker and various other artists in intensive session work. Joined YES in July 1972. Musical influences: Charles Mingus, Miles Davis, Beatles, Neil Young, Joni Mitchell, Sibelius, and Monty Python. Songwriting inspiration: The World. Most influential LP: The big disc in the sky. Residence: House in the country and flat in London. Family: Single. Awards: Gold Albums for: 'Close To The Edge,' 'Tales From Topographic Oceans' and 'Yessongs'. Instruments: Ludwig Drum kit includes; 22" x 14" Bass drum, 2 13" x 9" Tom Toms, 3 Timbalies; 14" x 6," 13" x 6," 13" x 6," 2 Floor Tom Toms 16" x 16," Moog Drum 8" x 5%." 4 Dresden Timpanies 23," 26," 29." 32," Janco Vibraphone, Jamaican Steel drum, Tubular Bells, RMI Electric piano, Mini moog, Set of Symphonic Gongs; 14," 20," 22," 26," 32," Octaplus Drums; 8 various sizes, Crotales, 4 Roto- toms, Marimba, African Twanga, Ceremonial African drum, Square frame African drum, 2 Taboor African drums, log drum, 2 Cymbal Trees, 3 Ludwig snare drums; 14" x 5," 14" x 6, 14" x 5," Gretch snare 14" x 5." Assorted Cymbals from 4" to 24." 3 Thunder sheets, Bell Lyra, 2 bell trees, cow bells and box assorted percussion. Gibson acoustic guitar, Guild Les Paul guitar.
Production Manager Michael Tait. Sound Production and Engineering by Eddie Offord, assisted by Genaro Rippo. Sound System by Clair Bros Audio with thanks to Roy Clair and Mike Roth. Lighting by Michael Tait assisted by Adam Wildi and Ian Peacock. Stage Design Martyn and Roger Dean. Stage Design Modification Clive Richardson. Stage Set Managed by Adam Wildi and Clive Richardson. Guitars, Brian George, Claude Johnson-Taylor. Bass, Nigel Luby Incidental Percussion, John Martin. Keyboards, Ray Palmer. Drums and Percussion, NuNu Whiting. Keyboard Electronics/Engineering, Jean Ristori. Personal Manager Alex Scott. Program Design Martyn Dean. Secretary Krissy Travel Roy Ericson. Trucking Clair Bros Audio.
Yes would like to give special thanks to: Sandy Ludwig Drum Co. Rotosound Strings. Michael Phillips. Sam Li. Mannys Music. Dede Gandrup. Rainbow Freight.