'74 North American Tourbook
| || || || || |
AMERICAN TOUR 1974
Close to the Edge
Tales From Topographic Oceans
Thurs 7 Univ. of Florida GAINSVILLE
Fri 8 Miami Stadium FLORIDA
Sat 9 Tampa Stadium FLORIDA
Sun 10 Univ. of South Carolina COLUMBIA
Mon 11 Georgia Tech ATLANTA
Tues 12 Civic Centre ROANOKE, VIRGINA
Wed 13 Civic Centre BALTIMORE, MARYLAND
Thurs 14 Nassau Coliseum HEMPSTEAD, NEW YORK
Fri 15 New Haven Coliseum CONNECTICUT
Sat 16 Spectrum PHILADELPHIA, P.A.
Sun 17 DAY OFF
Mon 18 Madison Sq. Gdns. NEW YORK
Tues 19 DAY OFF
Wed 20 Madison Sq. Gdns. NEW YORK
Thurs 21 Civic Arena PITTSBURGH, P.A.
Fri 22 Maple Leaf Gdns. TORONTO, ONTARIO, CANADA
Sat 23 Broome County Arena BINGHAMPTON, NEW YORK
Sun 24 Cornell Univ. ITHACA, NEW YORK
Mon 25 Forum MONTREAL, QUEBEC, CANADA
Tues 26 Boston Gdns. BOSTON, MASSACHUSETTS
Wed 27 Cobo Hall DETROIT, MICHIGAN
Thurs 28 " "
Fri 1 Hershey Arena HERSHEY, P.A.
Sat 2 Convention Centre LOUISVILLE, KENTUCKY
Sun 3 Cincinnati Gdns. CINCINNATI, OHIO
Mon 4 DAY OFF
Tues 5 Met Sports Centre MINNEAPOLIS, MINNESOTA
Wed 6 Amphitheatre CHICAGO, ILLINOIS
Thurs 7 " "
Fri 8 Kiel Auditorium ST. LOUIS, MISSOURI
Sun 10 Cook Convention Centre MEMPHIS, TENNESSEE
Mon 11 Fairgrounds Arena OKLAHOMA CITY, OKLAHOMA
Tues 12 DAY OFF
Wed 13 Univ. of New Mexico ALBUQUERQUE
Thurs 14 DAY OFF
Fri 15 Winterland SAN FRANCISCO, CALIF.
Sat 16 " "
Sun 17 Memorial Auditorium SACRAMENTO, CALIF.
Mon 18 Los Angeles Forum L.A., CALIF.
Tues 19 Arena LONG BEACH, CALIF.
Wed 20 Selland Arena FRESNO, CALIF.
Thurs 21 San Diego Sports Arena SAN DIEGO, CALIF.
See the Earth unearthly. Earth without oceans. Without
mountains, valleys, chasms. Earth without rivers, caves,
deserts. Earth without sky. Earth without Moon. Earth
without earth. Earth without you.
Now Earth is new, just expelled from a star that had grown
too great with its own creativity. Earth is whirling in
space, heaving, seething, pulsing a pinpoint of molten
matter 8000 miles thick.
The bowels of Earth and the surface of Earth are the same:
an elemental commotion so hot that every atom seems ready
for breakdown. Or build-up. Earth is swaddled in a blanket
of agitated gases and sublime radiation, thousands of miles
deep. Action and reaction. Electron and proton. Atom on
atom. Nucleus on nucleus. Heavy on light. Light on heavy.
All on all.
Here is a sphere of iron and gold and silver. Of hydrogen
and oxygen and carbon. Of copper and tin and lead. Of
sodium, radium and uranium. Of chlorine, neon, nitrogen. Of
mercury. Of sulfur. Of silicon. Of iodine. Of 92 elements
compacted into a ball. And it's excited. Everything is in
flux. Everything bounds and rebounds. Everything changes.
Currents of iron rush from the center to the surface, from
the surface to the center. Back and forth. Back and forth.
Aluminum, tungsten, magnesium, calcium, silicon bubble and
dance, spurt in jets; sink, rise; sink rise. Action and
reaction. All on all.
Thus, a gigantic cauldron, Earth begins its voyage around
the Sun, the first of some four billion six hundred million
still to come.
For millions and millions and millions of years, Earth
revolves and rotates, cooling, always cooling. And as it
cools, it becomes more complex. It keeps changing. The
heaviest matter condenses into a core, the liqhtest floats
like a scum. Elements combine, make minerals, make liquid
rock - make something utterly unmade before. Its dense
envelope of gas and radiation thins. In time, Earth is cool
enough for water to form without being instantly vaporized
by the burning surface. And it rains. It rains for a billion
years. Electrical and magnetic storms sweep from pole to
pole, then sweep back again. The equator is an unimpeded
highway for tornadoes that roll straight around the globe.
Again. And again. And again. And again.
And a light crust forms. And primitive seas form. And the
crust cracks from the weight of water. And water rushes to
the interior, and is explosively ejected, and rushes in, and
is ejected, and rushes in, and is ejected. The crust
contracts, expands, deforms: some crust sinks deep towards
the center of Earth; some rises high above the waters and
land appears: the first continent, the super continent from
which all subsequent continents will be derived. And Earth
begins to settle down. But not completely. Earthquakes and
massive volcanic eruptions shake Earth daily if not hourly.
Water encounters everything, every old element, every new
mineral. A little bit of everything - and a great deal of a
few things - go into solution. And now the seas are a rich
chemical soup such as no star could ever create, even though
all this has come from a star. And so the foundation for
life is laid. All the essentials are there, nothing is
missing. And there is no eye to see it, no ear to hear it.
It is as if nothing were happening at all. Yet history has
already begun, is already very old.
Within the Earth already lie the rise and fall of countless
species, the birth and death of hundreds of civilizations.
Sharks are there, ready to swim; dinosaurs are there, ready
to rage; and gibbons, ready to gibber; wolves, ready to
howl. The ruins of Nineveh, Troy, Petra, Carthage, Copan and
Angkor Wat are already there. The Egyptians with their masks
of gold, the Jews with their sacred tablets, the Chinese
with their porcelain bowls, the Indians with their thought
of Krishna, the Babylonians, the Assyrians, the
despair. Earth waits for you.For just as Earth is the child
of a star, you are the child of the Earth, and no less
descended from a star. Earth waits for its star-child, Man,
to come and give it the name of Earth.
You and Earth and history are one. You do not belong to a
race or a nation, to a time or a doctrine. You belong to
Earth. Through you - through Man - Earth has sought and
found a mouth to speak with, eyes to see with, hands to work
with. Through Man, Earth discovers itself and reveals itself
to itself and to the rest of the universe. Early Man -
unblinded by science and institutional religion, undeafened
by economic and political theory - seemed to know this.
Early Man was not alienated from the Earth. For him, every
tree and stone, every river and mountain possessed a spirit
that was inextricably entangled with Earth. Kings felt and
understood their descent from the Sun. Their people felt it
too. And if they could not express it in cold equations as a
fact of physics, believing in it as a divine truth, that
does not make them more naive or less sensible than anyone
alive today. What they had, what we have lost, is a sense of
wonder, a sense of union with every living and non-living
entity on Earth and in the universe.
Man has come a long way since he first appeared as a
species. He has a long way to go. Perhaps Man will go.
Perhaps Man is a stepping stone to a higher species with
powers of consciousness over mind and matter that are
impossible to imagine right now. For, surely, Earth is still
waiting, waiting for more to emerge. Earth is not finished.
Earth has all the time in the world.
Everything about Earth is a mystery. Geologists do not know
the structure of the core. Biologists do not know why or how
life began. Physicists cannot explain gravitation or
magnetism. Psychologists are defeated by telepathy.
Historians and modern architects cannot even agree about how
the Pyramids were built. It is as if Man had forgotten his
origins, like an Easter Island figure staring sightless and
forever toward an unknown shore. But how can this be so?
Since every single thing on Earth derives from the same
source, every single thing must carry the memory of that
source. Like some text in a lost language, the history of
Earth - of the universe - must be written in the mind of
everyman, but inscrutable, indecipherable. For us, then, is
the task of recovering, of finding what has been found and
lost a hundred times before.
Man must return to the source of his being and drink from
it, or man will perish, which (clearly) Earth will not
permit. Earth will not allow four and a half billion years
of creativity to be annihilated by its principal species in
a few hundred years. Earth has shown itself to be too
flexible, too productive, too loving for that. Earth is not
on a suicide trip around the Sun. It has much to do, much
more to do. And so has Man.
To find out where he is going, Man must first find out where
he came from. Music and poetry help him remember, as they
always have, for they are basic, uncorrupted and
incorruptible. They are the original magic out of which
religions were formed, and though those religions may be
extinct (even if still practiced), the magic of music and
poetry is not extinct. It lives in evevy one of us. The
contemplation of art helps Man remember. Meditation helps
Man remember. Communal action helps Man remember. Love helps
Look at Earth. See its oceans and mountains and valleys and
chasms. See its rivers and plains. See its webs and spiders,
its foxes and grapes, its vultures and flamingoes. They are
all sacred. See its sky and Moon. And then see yourself. You
have been alive since the moment of Earth's creation. And
you will remain alive as long as Earth continues its daily
round of light and dark, and yearly round of miraculous
Gibson ES 175D
Gibson Stereo ES 345
Gibson Les Paul Junior
Gibson Twin Neck
Fender Twin Neck Steel Guitar
Danalectro 12 String
Danalectro Electric Sitar
Kohno Concert Guitar
Martin 0018 Acoustic
Dual Showman Amp.
2 Dual Showman Cabinets
Fender Quadraphonic Amp &
4 Channel Echoplex
Showbud Volume Pedel
Mainly Gibson effects
Pair of Zyldjan Cymbals
Fender Twin Amp.
Ludwig 22" Bass Drum
Ludwig 14" Snare Drum
213 X 10" Tom Toms
14 X 6" & 13 X 6" Timbalies
216 X 16" Floor Tom Toms
4 Dresden Timpanies
1 Set Tubular Bells
1 Cymbal Tree
1 Tenor Pan Jamaican Steel Drum
24 X 16" Concert Bass Drum
5 assorted Symphonic Gongs
1 Thunder sheet
2 African log drums
Fender Twin Reverb
1 Moog drum
6 Zyldjan Avidis cymbals
Fender Telecaster Bass
Fender Jazz Bass
Jumbo Acoustic Bass
2 Sunn 6 X 12" speakers
1 Sunn Amp.
1 Marshall Amp.
Custom built Pedal & effects board
C3 Hammond Organ
Concert Grand Piano
RMI Electric Piano
Clarinet D6 Piano
Church Organ built by Mander's Organs
8 channel Quad mixer built by Walsall
Various assortments of foot pedals
2 300 watt SAE Amps.
3 way crossover
2 JBL monitor cabinets
2 JBL monitor cabinets with Horns
Helpinstill Piano pickup
Sound Production & Engineering by Eddie Offord assisted by
Sound Equipment by Clair Bros Audio with thanks to Roy Clair
& Mike Roth
Production Manager Mike Tait
Lighting by Mike Tait assisted by Andrew Barker
Slides by Alistair Robinson
Stage Design by Roger/Martyn Dean made by Clive Richardson &
Felicity Youette A & B Welding
Stage set managed by David Goldberg & Adam Wildi
General Tour Manager Phil Hepple
Phil Hepple Stage Monitoring
John Cleary Keyboards assisted by Fred Stones
NuNu Drums assisted by Ian Peacock
Nigel Luby Bass
Personal Manager Alex Scott
Photos Martyn Dean
YES would like to give special thanks to: British Optical
Lens Co., E.S.P. Lighting, Dede Gandrup for Rick's cloaks,
Richard Hartman, IES, Ludwig Drum Co., Mander & Son, Manny's
Music, Roy Ericson, Union Air Transport, & all the Health
Food restaurants on tour that fed us.
| || || || || || || || || |
What makes a great group? Sense of purpose, unity and a
streak of genius are handy ingredients in the mouldinq
process, and when assessing the triumph of Yes, it can be
fairly said they have their share.
But what makes Yes unique is their ability to both adapt to
new circumstances and continue to progress, renew and
regenerate their music. Right from the start, when Yes were
struggling for a living amid the small rock clubs, pubs and
dance halls, the rules were laid down in the sense that they
would devote themselves to a kind of perfection and always
place their music above all considerations. They have never
swerved from that path. And the fact that Yes have made it
on merit, is a credit to their musicianship - and the
calibre of their audience.
There are now Yes fans from New York to Tokyo. In recent
years they have played in every rock receptive country in
the world, and they are held in esteem and affection that
few bands can command. All this the selling of records, and
selling out of concerts has been achieved without theatrics,
or super-hype. Yes have never even been a cult band, or
elitist's delight. They have always played for the people,
and the rate of acceptance has been at a steady, natural
rate. They were a marvellous band in 1968 playing to a
handful of people. It was the handful who spread the word to
the rest of the world.
Although they have been through some changes over the years,
Yes have a strong life-line that runs through the band, and
affects and changes whoever comes into the fold. And the
influence of past members is still felt, like a ghostly
presence. New players joining have often likened Yes to a
school. Rough edges are smoothed off and new demands are
placed on ability, concentration and vision. And at the same
time, the new contributors subtly alter and improve on what
has gone before. Technically, Yes are equipped today with
some of the finest players to emerge in rock. And they use
that power to create a rich and sophisticated form of music
that is quite without precedent. From their earliest days of
arranging songs like Simon & Garfunkel's "America," and Jon
Anderson's own tunes like "Sweet Dreams" and "Dear father."
Yes have always loved adaptinq, evolving and building
musical structures based firmly on melody and good lyrics.
And today that process has reached a loqical conclusion in
extended works like "Tales From Topographic Oceans."
When Yes first arrived in America in 1971, quietly slotted
into second and third billings, and supporting the likes of
Mountain and Humhle Pie, they were virtually unknown. Those
that knew the band waited with bated breath for the
reaction. At Gaelic Park in New York that year, they went
into their usual routine that had already made them the
Toast of the Continent (Europe that is), and succeeded in
pinning back the ears of fans bent on hearing some boogie.
Yes, don't exactly boogie, but they certainly provided a
From then on the conquest of America nnd the rest of the
planet, was just a matter of a few thousand hours flying
time and several tons of health food.
But the matured and exciting Yes entity that first swooped
over the States two years or more years ago, was not an
overnight success. Before that were the years of evolution
and survival against financial odds. There were the
experiments, like the fnmous Yes PA system invented by sound
and lighting wizard Michael Tait, consisting of a series of
small hi-fi speakers linked together to give a stereo
effect. Now each member of Yes has a pile of unused speakers
in their home. It wasn't until Yes toured with Iron
Butterfly in 1970 and bought their PA system that the music
could be delivered with the power and clarity it deserved.
There was a time when Yes could hardly afford the cab fare
to a gig.... They formed in 1968 as the brain child of Jon
Nervous, and barely rehearsed they launched their
imaginative arrangements on an audience of hard core blues
fans waiting to hear their idols Eric Clapton, Jack Bruce
and Ginger Baker for the last time. The support band was
well received and stood up to the test with honour. In those
days their influences included the 5th Dimension, Simon &
Garfunkel and the Nice. Vanilla Fudge were also one of their
favourites, and thus was laid the foundation of Yes music, a
balance between the power of organ, guitar and drums allowed
a free range of expression, and strong vocal harmony as a
kind of alternative front line.
The frail, endearing qualities of Jon's voice, contrasted
with the unexpected strength of the instrumental department,
came as a breath of air to a scene dominated by years of
adherence to the jamming blues band formula. It was not to
everyone's taste of course, but those with ears were
intrigued and finally converted.
In 1969 Yes embarked on their first trips out of England.
Two particular tours should go down in the annuls of rock.
The first was a week in Ireland, where Yes were supporting
the Nice and the Bonzo Dog Doo Dah Band. It was a hilarious
disaster, climaxed by the final gig, an outdoor festival
where none of the groups got to play as the only power
supply consisted of an electric kettle flex which "blew"
when the first stage light was switched on.
But when Yes did play the writing was on the wall. They
actually did far better than their senior partners and
considerably more interest was taken in that first LP "Yes".
Towards the end of the year they toured Switzerland which
was also something of a financial disaster, and they had to
play in tiny night clubs, totally unsuited to rock music.
But even here the dinner jacketed Swiss businessmen and
their ladies were charmed by the strong melodic content of
the music, which had to compete with a Yugoslav dance band,
and a team of plate spinners from behind the Iron Curtain.
One club manager, at first visibly disturbed by the sight of
unkempt musicians loose on the premises, was so delighted at
their performance, he presented them with bars of highly
ornate Swiss chocolate.
In 1970 just as their second album "Time And A Word" was
released, Peter Banks left the group, the first traumatic
split to hit them. Musicians frequently come and go in
lesser groups and nobody worries too much. But when it
happens to Yes, it always seems somewhat painful. In the
event, Peter's replacement, was to be the first of a series
of upheavals that were in the long run to prove beneficial.
Without denigrating Peter, who went on to form his own band,
Steve Howe's arrival speeded up a major breakthrough.
Combining superb technique with an inherent feel for Yes
music, Steve quickly became a major asset to the band and
with his work on 'The Yes Album," contributed to their
After the American tour of 1971, Tony Kaye left the group to
form Badger, and once again there was upset at his departure
among old fans. But Yes were eager to expand into the realms
of synthesisers and Mellotrons. The ideal man to replace
Tony, who was happiest with his basic Hammond, was the
sensation from the Strawbs - Rick Wakeman.
With a flair and technique that made him a hot rival to
Keith Emerson, Rick added tremendous zest to Yes and he was
introduced on the highly successful "Fragile" album, which
was followed by "Close To The Edge." By now Yes were
spending months in the studio perfecting their recordings,
and after the completion of "Close To The Edge." Bill
Bruford decided to quit to explore new pastures with Bob
Fripp in King Crimson.
As Bill was a founder member, a man of great intelligence
and wit, and one who had long championed the cause of Yes,
his departure seemed like a crippling blow. It came
particularly hard for Rick, who was st
power and supreme artistry remain undiminished, and those
high standards Yes set themselves six years ago are pursued
with greater tenacity than ever.
Tonight you'll see and hear five musicians who have
dedicated themselves to involving not only themselves but
their audience in a shared experienced in which love is not
too strong a word to apply. That is certainly at the basis
of much of Jon Anderson's lyrics, together with a plea for
ever growing awareness of self and others.
Jon is not a schooled musician. He'll clutch a tambourine
and rock back on his heels, eyes closed while his band roar
around him, then step diffidently, almost nervously up to
the microphone to disclose his ideas, part idealism, part
fantasy, part romance. While he seems almost buffeted by the
gusting gales of music, he is actually in full command, and
living out every note that is played, as if the band were
Jon from Lancashire (born 1944), is soft spoken and often so
wrapped up in Yes music as to appear cut off from the rest
of the world. But beneath the surface vagueness is a
resiliance that can help him make decisions, alter course,
and ensure Yes do the right thing at the right time. And
because he knows what he wants, he is respected by his
fellow musicians who give their absolute best for him. His
career, apart from stints with the Warriors and the
aforementioned Gun, has been totally devoted to Yes, and his
family. Jon lives with his wife Jenny, daughter Deborah aged
three and Damian (15 months) in a small house in Central
London. Plans to move to larger premises are constantly
being held up. Originally the whole of Yes shared a two room
flat and none of them have got the bug for big mansions yet.
Steve Howe, good looking perfectionist of the guitar, was
born in London in 1947. Although he has a classically
developed style, he is self-taught. Among his first groups
were the Syndicats, the In Crowd, and the band where he
achieved his first degree of fame, Tomorrow.
Steve was quite a guitar hero on the Underground (when it
existed), in London, famed for his work on wah wah pedal and
already furious turn of speed. He had a stint with a
promising group called Bodast before the call of Yes came.
Then his sgle blossomed out, and his writing abiliiy quickly
became apparent too. On instrumentals like "The Clap," a
kind of pot-pourri of effective ideas, and works like
"Roundabout" and "Close To The Edge," Steve became a vital
contributor and star performer. Steve and Jan have one son -
Dylan aged four.
Chris Squire, a founder member and corner stone of the
rhythm section has long been regarded as one of the best
bass guitar players in rock with a readily identifiable
sound. He took the bass guitar and gave it status by
intelligently blending lines with the main themes and making
it something more than a rhythm machine. Chris is tall,
quiet and of measured speech, who used to be nicked named
The Fish from the length of time he spent in the bath during
apartment sharing days. Another Londoner, he is also
entirely self-taught and one of Jon's main collaborators in
Yes-writing. He and wife Nikki, live not far from Elton
John's abode, they have a daughter Carmen aged four, and
daughter Chandrika aged one.
Alan White had the immensely difficult job of filling the
shoes of Bill Bruford and did it so well that he is now a
fully-fledged Man o' Yes - it would be difficult to imagine
the band without him. He brpught a harder, more solid sound
to the percussion department. He learnt his craft with a
variety of bands since he left his Durham home, where he was
born in 1949. Alan drummed for British rocker Billy Fury,
Happy Magazine, Balls, Ginger Baker's Airforce, and worked
for George Harrison and Joe Cocker. Some of his best work
was with John Lennon in the incredible Plastic Ono band.
His vast experi
Of good looks and good cheer, Rick has achieved considerable
personal success with his solo album, "The Six Wives of
Henry VIII" and his own concert at London's Royal Festival
Hall which will be his next solo album, "Journey To The
Centre of the Earth."
Born in Middlesex in 1949, he studied classical piano and
theory, and was in great demand for session work for nearly
two years before he joined Dave Cousins and the Strawbs, in
1970. He joined Yes in 1971 and plays Hammond organ,
Melotrons, synthesisers, electric piano and harpsichord, and
Rick lives in Buckinghamshire with wife Ros and their son
Oliver, aged one.
Assisting Yes in their recording concerts and travels around
the world are a small but dedicated team who are virtually
members of the band. There is Michael Tait who has been with
them since the early days, and now is their lighting
engineer, assisted by Andrew Barker. Phil Hepple is in
charge of the road crew, which includes John Cleary, Claude
Johnson-Taylor, and Nu Nu. Alec Scott is designated as "good
vibes man," while Eddie Offord is solely in charge of sound.
The PA system in America is supplied by Clair Brothers, and
Roy Clair personally travels with the band during a tour to
offer his expert help and advice. Keith Goodwin is their
enthusiastic publicist and press relation man, and last and
most important - Brian Lane is the manager who has helped
and guided Yes to success and security since he took them
over three years ago.
By now the road crew should have completed their final
adjustments and a can of beer should be placed near the
grand piano. Enjoy the show - after all, it took them a long
time to get here! CHRIS WELCH. MELODY MAKER.
| || |