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AMERICAN WINTER TOUR 1974 PROGRAM

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

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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

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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."

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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.

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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.

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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.

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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.

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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.

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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.

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