'75 North American Summer Tourbook
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North American Summer Tour 1975
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
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
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.
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
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
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
Favourite singles: 'Stay With Me Baby', Lorraine
Ellison; 'Good Vibrations', the
Beachboys, "Eleanor Rigby', the
Most influential LP's: 'Sergeant Pepper,' the Beatles;
'Bookends,' Simon & Garfunkel;
'Inner Mounting Flame,' The
Mahavishnu Orchestra, and any of
Sibelius, Stravinsky, Mozart, Ilhan
Residence: Country home in Bucks.
Family: Wife Jenny and daughter Deborah
Leigh born 16th December, 1970, son
Damian James born 22nd September,
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
Steve Howe: Guitar
Birthdate: 8.4.1947 London.
Education: Hungerford Primary and Barnsbury
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
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.
Family: Janet and son Dylan, born August,
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
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
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
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
Musical education: Violin, piano, pipe organ,
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
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',
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
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
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
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
Songwriting inspiration: The World.
Most influential LP: The big disc in the sky.
Residence: House in the country and flat in
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
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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
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
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.
Martin Acoustic guitar, Rickenbacker 12 string, various
percussion, pair of Zyldjan cymbals and Gibson ES 140
full-bodied guitar, Gibson Melody Maker, Bass pedals,
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.
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
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,
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
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.
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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