Ten True Summers Tourbook
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Management - Brian Lane
Assistant Management - Sandy Campbell
Secretary - Jacki Field
Personal Manager - Jim Halley
Assisted by - Paul Adam
Production Manager - Michael Tait
Stage Manager - Chip Irwin
Sound Engineer - Nigel Luby
Lighting Designer - Michael Tait
Supervising Engineer - Roy Clair
Jon's equipment - John Martin
Steve's equipment - Claude Johnson-Taylor
Chris's equipment - Ray Jones
Rick's equipment - Toby Errington & Jake Berry
Alan's equipment - Nu Nu Whiting
Sound Crew - Mike Roth, Al Winters, Kathy Sander, Ian
Master Electrician - Ken Fillo
Master Carpenter - Frank McAllister
Master Rigger - Roy Bickle
Sound System - Clair Brothers Audio Enterprises Inc.
Lighting System & Rotating Stage - Tait Towers Lighting Inc.
Trucking - Consolidated Production Inc.
Electronic Engineer - Steve Dove
Travel USA - Roy Ericson, Starflight Travel, Shelly Rubin
Agency - Premier Talent
Press - Dan Hedges
Programme - Hipgnosis
YES logo Design By - Roger Dean
Special thanks to Survival Projects Ltd., B.E.L.
Electronics, Electrovoice, Mike King, Val Joseph of Norlin
UK, Moog, Packhorse Case Co., Sunn Musical Instruments Co.,
Roto Sound Strings, Rickenbacker Guitars, Ludwig Industries,
Zildjian Cymbal Co., Gibson Guitars, John Kelly Electronics,
Rainbow Freight, Greybill Machines Inc., Smythe Engineering
Ltd., Freeman-Munnich Associates, Bartlett Associates,
Warwick School District, Clair Brothers Audio Shop
Personnel, Pat Fairley, Brenda Franklin, Linn Branson and
YES U.S. TOUR 1979 FIRST HALF
9: Wing Stadium, Kalamazoo, Mich.
10: Indiana University, Bloomingdale, Ind.
11: Civic Arena, Pittsburgh, Pa.
12: University of Dayton, Dayton, Ohio
13: Freedom Hall, Louisville, Ky.
14: Civic Center, Huntington, W. Va.
16: Civic Center, Ottawa, Can.
17: Forum, Montreal, Can.
18: Colisee, Quebec, Can.
20: Maple Leaf Gardens, Toronto, Can.
21: Olympic Stadium, Detroit, Mich.
22: Purdue University, West Lafayette, Ind.
23: University of Illinois, Champaign, III.
24: Civic Center, Omaha, Neb.
25: Four Seasons Arena, Cedar Rapids, Iowa
26: Milwaukee Arena
27: Dane County Coliseum, Madison, Wisc.
28: Metro Sports Center, Minneapolis, Minn.
29: Arena, Duluth, Minneapolis, Minn.
30: Arena, Winnipeg, Can.
1: Agridome, Regina, Can.
2: Goliseum, Edmonton, Can.
3. Corral, Calgary, Can.
5: Coliseum, Vancouver, Can.
6: Coliseum, Spokane, Wash.
7: Coliseum, Portland, Ore.
8: Coliseum, Seattle, Wash.
SECOND HALF OF U.S. TOUR
24: Fresno, Calif.
25: Arena, Long Beach, Calif.
26: Arena, Long Beach, Calif.
27: San Diego, Calif.
29: Denver, Colo.
30: Amarillo, Tex.
31: Fort Worth, Tex.
1: Austin, Tex.
3: Houston, Tex.
4: Houston, Tex.
5: Oklahoma City, Okla.
6: Kansas City, Mo.
7: St. Louis, Mo.
8: Amphitheatre, Chicago, III.
9: Amphitheatre, Chicago, III.
10: In Chicago
12: Nassau Coliseum, L.I., New York, N.Y.
13: Madison Square Garden, New York, N.Y.
14: Madison Square Garden, New York, N.Y.
15: Madison Square Garden, New York, N.Y.
16: New Haven, Conn.
17: New Haven, Conn.
18: Springfield, Mass.
19: Boston, Mass.
20: Spectrum, Philadelphia, Pa.
21: Spectrum, Philadelphia, Pa.
22: Wheeling, W,Va.
24: Birmingham, Ala.
25: Atlanta, Ga.
27: New Orleans, La.
28: Mobile, Ala.
29: Lakeland, Fla.
30: Miami, Fla.
MAY 12: Rio De Janiero
MAY 18: Sao Paulo
With their tenth anniversary behind them, Yes, as strong as
ever, are embarking on this tour, the opening event of their
second decade. Although the band is looking to the future
with the same kind of energy that has always made Yes so
existing, it seems not a bad time to recap some of the
events of the last ten years.
As an on-going idea, Yes have been around for ten years now,
yet they've collectively got this strange disinterest in
most things remotely concerning their past. Sure, they'll
walk out on stage and blast through 'Roundabout', 'Starship
Trooper', 'Siberian Khatru', and 'Close To The Edge'. That's
music. They still love those as much as always, and they'll
probably be playing some of them tonight. But when it comes
down to things like times, dates, places, events, and
slapping themselves on the back for past achievments, you'll
more often than not get a mystified shrug with a "... but
does it really matter?".
Maybe that's a good thing. Maybe that's why a band called
Yes is still alive - long after so many others (just as
popular and just as talented in their own right) have gone
to the wall. Without wanting to cart out the gypsy violins
or start passing around the Kleenex, they'd be the first to
admit that it's been no easy ride, what with insane
financial scenes in the early days, musicians leaving the
band at crucial points, murderous criticism from certain
corners of the music press, and the dozens of lesser crises
that could've split Yes into a million pieces ages ago.
Mind you, the high points have been in the majority by far -
albums that clicked so perfectly, tours that buzzed in their
heads for weeks afterwards, the awards for outstanding
musicianship, and all the other good things that have
happened to Yes in their rise from 'Britain's
Brightest Hope of 1969' to one of the world's most
successful and highly respected bands. But it's possibly
that tendency they have to regard the past in the past
tense, and not worth worrying about (even if you're only
talking about last week), that's helped them weather the
storms and slippery patches they've had to pass through. If
money was scarce, they'd hang on and wait. If somebody left,
they'd find somebody new. If certain critics gave them a
hard time, they'd learn from the valid points, reject the
rest, then move on to the next stage.
It sounds simple, but plenty of other bands haven't found it
that way, unable or unwilling to flow with the changes. With
Yes, it's always been a matter of looking forward, not
behind. It'd be silly to get all heroic about it though -
conjure up a lump in the throat and ramble on in hushed
tones about 'Anderson and Squire's Golden Vision.. ' Maybe
Yes are just lucky.
But despite the low profile, they're not oblivious to the
fact that ten years means something in the scheme of things.
Jon and Chris nurtured the concept between them during those
early times in '68. Steve Howe, Rick Wakeman, and Alan White
came along, in turn, to expand the idea into totally new
directions and keep the music flowing. Then again, Yes are
totally aware that it's you - the people who buy their
albums and come to see them - who are the main reason why
Yes remain alive and well.
Ten years on, they thank you for that.
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It's about fourteen years since the Syndicats (featuring a
teenaged Steve Howe on lead guitar) were unceremoniously
fired from a regular spot at a London club for playing
fourteen Chuck Berry numbers in a single night.
Apart from the occasional blast at home, Steve doesn't get
around to playing much Berry anymore - though the essence of
what those early years were all about (along with the
lessons learned in bands like the In Crowd, Tomorrow, and
Bodast) forms the basis of the distinctive kind of guitar
he's been playing with Yes since joining them in 1970.
Late last year, the readers of Guitar Player magazine voted
Steve 'Overall Best Guitarist' - an honour explicit in its
inexplicitness but, as he says, "it's the best possible
award I could've been given".
It's the only one that really seems to fit. Obviously, in
the broadest terms, Steve's a rock guitarist - though his
influences, interests, and styles branch into so many
different areas that the term 'rock' tends to seem a bit
limiting after a while. It's only a question of works
anyway, so if you really have to call him something, call
him a 'modern' guitarist. One who has managed to absorb an
awful lot of music over a long career, and shaped it into
something unmistakably his.
He'd probably sell his soul to play on the same stage
with....well....that's another story. As a guitarist, and
most specifically as guitarist with Yes, he's earned the
sort of respect that plenty of others would gladly sell
their souls for, but it's a safe bet he wouldn't trade it
for anything else in the world.
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There was a time when Jon Anderson would stroll into Yes
recording sessions with an easel, an artist's pad, a box of
watercolours, and sit behind his microphone, calmly painting
away, while the rest of them slugged it out tooth-and-nail
over the intricacies of this solo, or that harmony, or the
hundred possible inversions of...
Tension would build, psychic daggers would shoot across the
room, and right at the point where it looked like somebody
might just pick up that ashtray, Jon would look up from his
paints, calmly say, "Well...what we could do is..." - and
offer a perfectly logical compromise between four valid but
stubbornly different points of view.
This isn't meant to make Life With Yes sound like a non-stop
brawl, but it's a good way to illustrate what's one of Jon's
most crucial roles in the band. Obviously, he's their
principle voice. That, and his free, open-ended lyrics,
forms one of the most instantly recognizable facets of Yes
music. But he really shines in the behind-the-scenes areas
that might not be so obvious. In the midst of the varied
personalities and musical temperments in Yes, he serves as
an anchor - the keystone of the operation. Helping to
channel all those diverse ingredients and energies into an
even, cohesive flow. Viewing Yes music from as objective a
viewpoint as possible (without actually leaving the band!).
Somebody once compared him to your traditional,
baton-wielding bandleader, but maybe director is a little
closer to the point. Although he isn't heavily versed in the
actual hardcore mechanics and theories of music, he's a
catalyst. He gets things moving.
It's anybody's guess where that ability comes from, but it
works. Maybe it took root when he sang with the Warriors all
those years ago; maybe not. Asked to analyse it, Jon admits
that he doesn't really know. As he says, "it's something
that just happens."
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"I suppose," Chris Squire once said in a moment of
characteristic understatement, "that a lot of my music is on
what you might call an epic scale."
There's a terrible temptation to start unpacking all the
wide-screen phraseology again. Maybe slip in a few flash
references to 'heathen magnificence' or 'pagan grandeur', or
put Chris' musicianship on a par with the eruption of
Vesuvius, the sinking of North America, or the Utter
Annihilation Of The Universe As We Know It.
It's probably less pretentious to say that Chris is one of
the most powerful and influential rock bassists in the
business. In many ways, he's more responsible for putting
the instrument on the musical map than just about anyone
else around - though that sizeable achievement is the result
of a long, slow buildup of musical experiences over the
It started with the church choirs he sang in as a kid,
followed by his early outrages in the cause of British
Psychedelic with the Syn and Mabel Greer's Toyshop, then on
through the long months he spent off on his own, refining
what he'd learned, until that inevitable meeting with Jon
Anderson led to the formation of Yes itself.
Chris will sprawl in whichever chair happens to be rest and
expound on his theories on innovative, ploratory, and
'interesting' bass playing for hours, and wind up
acknowledging that the three note funk merchants might just
have something going after all. But whether he's playing it
economically or well into he complicated bits", Chris
Squire's sole aim is (and has always been) to be thoroughly
musical. From the sound of it, he's definitely succeeded.
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During a ninety mile-an-hour game of pool in Buffalo on the
last U.S. tour, David Bowie's 'Space Oddity' began blaring
from a radio in the hotel lounge. It's a record Rick Wakeman
played on during his early days as a session man. Before the
Strawbs. Before Yes.
"Best thing I've ever played, that is," he announced as he
lined up his cue for a second shot. Waiting a second for his
comment to sink in, he stopped, looked up, and glanced slyly
around the room,"... until the next Yes album, of course."
Then he ordered another dozen bottles of beer and happily
charged them to manager Brian Lane's room tab.
Granted, Rick needs no real introduction as one of the
finest keyboard artists anywhere. All those Yes Albums, his
solo projects, and a ton of awards speak for themselves, and
his endless fascination with new musical colours and
textures has helped develop the scope of electric keyboards
(both musically and technically) to an incredible degree.
Years of classical training form the basis of it all, yet
Rick's saving grace is that he's never been content to
confine his music to the straightjacket of what tradition
says is 'right'. He's a maverick in that respect, though at
the same time, he's always been aware of the necessity of
keeping his music accessible. It's the closely-aligned
combination of the two that makes him the highly regarded
and invaluable asset to Yes that he is.
He'll knock your head off playing table tennis - though if
he keeps aces up his sleeve during poker games, nobody's
ever caught on. Rick's one of those people who prefers to
write his own rule book, and his music's that much better as
Mervyn Schultz, from Normal, Illinois, ecstatic at receiving
the Billboard Rick Wakeman look-a-like contest in Las Vegas
in September 1977.
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It's surprising to realize that fan White's been playing
drums with Yes for about six years now. Partially because it
just doesn't seem that long, but particularly in light of he
number of bands and performers he worked with before joining
Yes less than 8 week prior to their '72 American tour
During years of roadwork and session with the likes of Happy
Magazine, Billy Fury, the Plastic Ono Band, Bell and Arc,
Balls (with Denny Laine), Ginger Baker's Air Force, Terry
Reid, and Joe Cocker, Alan's moved through the whole gamut
if different musical styles and situations. None of then
bore much resemblance to Yes, it's true, but that's plain
proof of the value of that kind of background, in that he
was able to climb onto the Yes drum rostrum on such short
notice and with comparative ease.
He can rock like it's going out of style, laying down a
barrage that'll get them reeling even up there in the cheap
seats. Just as importantly however, he knows when to lay
back, when to take it easy and allow the subtleties of Yes
music to come through, while contributing more than a few
carefully thought-out subtleties of his own.
The probably has a lot to do with the fact that, unlike many
drummers, he has a highly developed melodic sense to
complement the rhythmic side. In the studio, he'll spend
many free moments at the pieoo (he played it on parts of
Topographic Oceans), and poking around Wakeman's arsenel of
Walk in at the right time, and you're liable to see him
behind the microphone adding backing vocals.
His first love might be the drums, but it's those other
sides of his musical nature which might well make all the
difference between Alan White being a good drummer (which he
could've been), and a great drummer (which he is).
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