June 17th Coliseum Denver, Colorado 18th Salt Palace Salt Lake City, Utah 19th Convention Center Las Vegas, Nevada 20th Convention Hall Tuscan, Arizona 21st Hollywood Bowl Los Angeles, California 23rd Arena Long Beach, California 24th Arena San Diego, California 25th Cow Palace San Francisco, California 27th Coliseum Vancouver, British Columbia 28th Coliseum Seattle, Washington 29th Coliseum Portland, Oregon
July 2nd Pershing Municipal Auditorium Lincoln, Nebraska 3rd Municipal Auditorium Kansas City, Missouri 4th Stadium Chicago, Illinois 5th Roberts Memorial Stadium Evansville, Indiana 6th Mid South Coliseum Memphis, Tennessee 7th Barton Coliseum Little Rock, Arkansas 8th War Memorial Nashville, Tennessee 9th Mississippi River Festival St. Louis, Missouri Edwardsville 10th Market Square Arena Indianapolis, Indiana 11th Cleveland Stadium Cleveland, Ohio 12th Buffalo Bill Stadium Buffalo, New York 13th Roosevelt Stadium Jersey City, New Jersey 15th Memorial Coliseum Fort Wayne, Indiana 16th Arena Milwaukee, Wisconsin 18th Montreal Stadium Montreal, Canada 19th Canadian National Expo Toronto, Canada 20th Rymearson Stadium Ypsilanti, Michigan 21st Spectrum Philadelphia, Pennsylvania 22nd Spectrum Philadelphia, Pennsylvania
When life speaks, its voice is music. Listen.
Brave vibrations fill the air, throb through the earth, stir the still and moving waters. The wings of the crane beat the atmosphere with rhythm. The cricket chirps. Salmon leaps with salmon to the roaring falls of music. Forests never sleep. Oceans are never silent. Silence is a mere idea. But hearts beat time. Limbs harmonize. Brains drum on the very cymbals of existence. There is a universal course which reveals itself in music. Music is order and purest creation. For music plays us things beyond us, within us, without us. Music plays us things as they are. Music plays us things as they will be. There is nothing music cannot play, from the chuckle of the moon to the frightful diapason of the damned. Music embraces all: the All in everyone, the Everyone in all. Even the unseen worm creeps to the beat of music. When Man spoke, his speech was the invention of music. From the first blow of consciousness, music nestled implicit in Man's mind. Music was there, an infinite lyre of feelings waiting to tremble at the touch of existence. And so Man must drum and pipe and sing. Man must resound. As Man must breathe, as Man must think, as Man must suffer, as Man must die, Man must make music. Music is the voice of life in Man.
It is the voice life in you. All music is your music. All music creates you and re-creates you. And you create music. Through music, you are creator and created in One.
Every atom of matter vibrates at its own frequency. Every element possesses a specific vibration. Molecules pulsate Cells quiver. Every event, every phenomenon, every object verberates and reverberates: winds, waves, sunlight, stones, thunder, mountains, flowers, falling leaves, germinating seeds, even the crust, even the core of the earth. Nothing rests. Rest is a mere idea. Everything quavers, quakes, flickers, fluctuates. Every grain of sand, every sun. Man receives vibrations from all of Nature and resonates himself, a huge guitar, uttering music. Spoken language was born this way: when perception or conception first thrilled through Man's mind, it thrilled with musical frequency. The mind responded like a gong, struck by thought, sonorously repeating the frequency. This repetition we call "speech". What is speech, anyway, but inevitable sound? But music is inevitable sound that communicates without reference. Speech must refer. Speech refers first to music, which it imitates; and then to actions or objects, which it indicates. Music suspends from no reference. Music is self-suspension. It needs nothing but itself. There are no objects in music. Music is all subjects. Music is itself the subject. Music is no object. You cannot clutch a harmony. You cannot stroke it like a piece of stone. You cannot touch it. It touches you. Music, then, is primal. It is the foremost the Arts. Other arts are shadows next to music. Music's perfect abstraction from the material reduces all matter to rubble. Music recognizes no three-dimensional barriers. The most perfect bronze is imperfect next to music. Music cannot decay with time. No green patina can smother it. No locks can seal it, like diamonds, in a vault. Music cannot crack or warp or stain. It cannot wither. It cannot wrinkle. It cannot come to dust. It cannot be bought at auction or sold to a private dealer. You cannot put your hands on music. Music is at once priceless and valueless. The condition of music is supreme.
No wonder, then, that music is magic. Circe's magic. Calypso's magic. The Sirens's magic. The magic of Joshua and the magic of Gabriel. The magic of the Piper of Hamelin. It is every kind of magic. Silver trumpets summon dead pharaohs. Orpheus conquers hell with a lyre. St. Cecilia sings through a gash in her throat. Krishna Gopala rules his flock with a flute. Tezcatlipoca tips his smoking mirror and casts a spell with divine melody. These are sacred events. For music is above all sacred.
Music and religion are inseparable. There has never been a tribe of peolpe anywhere - no matter how primitive - without music. There has never been a tribe anywhere without religion. There have been tribes without agriculture, without pottery, without writing, without the wheel, but none without religion or music. Just as religion addresses itself to feelings too deep for words - to the most human in most humans - so music is the means of that address. Religion and music appeal to the Invisible. Music's invisibility is the visible evidence of its mystery.
What, then - in the end, in the beginning - is music?
When the mind speaks, it sings music. Music is the language of the mind. The language of Man's mind. The language of the universal Mind.
The very word music is the music of its meaning. MUSIC comes from the Greek, mousa (Muse), which itself derives from the Indo-European base, mendh - (to direct the mind). Mendh - is older still. It comes from the Sanskrit manas (Mind, Spirit) and manyate (he thinks). Music is mind.
Music is the vibration of thought and feeling rippling through the mind. Music is the sound of reflection, contemplation, perception, reception, creation. It is active and passive, male and female. The true business of the mind is music. Music turns the thoughts away from transitory powers and perishing values, and in turn our thoughts make music. The expanding universe is a harmonious whole which implies the whole of music. The whole universe oscillates as an immortal note. There are no dischords. There is no disorder. Any dischord or disorder we may imagine that we perceive, is merely the invention of our own imperfect perception. Dischord and disorder are mere ideas. Order is there even if we do not know it.
Music alone, perhaps, is perfect. The pursuit of music is the pursuit of perfection. Music alone succeeds. Where music succeeds, Man succeeds at his greatest. Not vast cities or empires glittering gold are the symbols of human achievement. Human achievement is universal. Human achievement is music - whether the tribal dance invoking the fertility of the fields or the grandest Mass scaling the walls of Christian heaven.
Music is your voice. Music is the voice of life in you. When you travel beyond yourself, beyond your earth, beyond the center of the stars, you travel on music. Generations come and go to music. Music keeps the time of life. The subject of music is life. The subject music is mind. The subject of music is the universe. The subject of music is music.
You are more than human when you let the music become you. Listen. You are in tune with space. You become the music when the music plays.
So, listen. The air is full of music. You hear the music, now, for you are the music. And the music is you.
-Donald Lehmkuhl May 1975
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.
Sound Mixer I.E.S. 30 chan quadrophonic mixer with eventide phasers and digital delay A.K.G. echo unit, custom built for Eddy. Sound System Clair Bros. stereo 4 way crossover-system. 20,000 watts for indoors and 40,000 watts outdoors, utilizing phase Linear and S.E.A. amplifiers, W Boxes, J.B.L. drivers and speakers.
The lighting equipment used by YES was designed and built by Michael Tait. The total power of the system is in excess of 120,000 watts, and the main structure is supported by 2, "Air Lift" Pneumatic towers. The most important part of the system is in the controled board, radio controled remote operation, 2 programed chasers, and stereo cigarette lighters.
Alan White 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.
Jon Anderson Instruments
Martin Acoustic guitar, Rickenbacker 12 string, various percussion, pair of Zyldjan cymbals and Gibson ES 140 full-bodied guitar, Gibson Melody Maker, Bass pedals, Electronic springs.
Gibson ES 175D-345 stereo - Les Paul Junior - twin neck 6 & 12 string, Fender Telecaster, Martin 0018, Khono Nylon string, Danelectro Sitar Guitar, Sho-bud Pro 1 pedal steel, Fender Twin Neck steel, Fender Dual Showman Amp, all with JBL Speakers, Echoplex Groupmaster plus Sho-bud volume pedals and Big Muff Sustain, suctom made guitar stand and pedal board.
Patrick Moraz Instruments
Hammond C3 organ through 2 leslie 760's, A.R.P. Pro Soloist, Clavinet D6, 2 single Moogs, 1 double Moog, 1 single Mellotron, String Thing Synthesizer, 1 triple Orchestron thru an 11 channel Tasscan Mixing Desk to Crown Amps., 4 x 15 Gauss Cabinet and 2 JBL Horns, Monitors for the band, 18 ft. Alpine Horn, Double AKS Synthesizer and Random Voltage generator, Drum Machine, Compact and Maestro phasers, Cry Baby and De Almond Wah Wah pedals, Sho-bud volume pedals, Echoplex Groupmaster.
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.