Yesshows British Tourbook
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29 TORONTO, ONTARIO, Maple Leaf Gardens
30 MONTREAL, QUEBEC, Forum
1 HARTFORD, CT, Civic Centre
2 PORTLAND, MAINE, Civic Centre
4-6 NEW YORK, Madison Square Gardens
8 PROVIDENCE, RI, Civic Centre
9 BOSTON, MA, Boston Gardens
10 GLENS FALLS, NEW YORK, Civic Centre
11 LARGO, MD, Capitol Centre
12-13 PHILADELPHIA, PA, Spectrum
14 BINGHAMPTON, NY, Bloom County Arena
16 ROCHESTER, NY, War Memorial
17 BUFFALO, NY, Memorial Auditorium
18 PITTSBURGH, PA, Civic Arena
19 DETROIT, MI, Joe Louis Arena
20 CLEVELAND, OHIO, Richfield Coliseum
21 CINNCINNATTI, OHIO, Riverfront Coliseum
22-23 CHICAGO, IL, Amphitheatre
25 ST. LOUIS, MO, Checkerdome
26 TULSA, OKLAHOMA, Assembley Centre
27 DALLAS, TEXAS, Reunion Hall
28 AUSTIN, TEXAS, University of Texas
29 HOUSTON, TEXAS, Coliseum
1 TEMPI, ARIZONA, University of Arizona
2 SAN DIEGO, CALIFORNIA, Sports Arena
3-4 LOS ANGELES, CALIFORNIA, Sports Arena
5 FRENSO, CALIFORNIA, Selland Arena
6 SAN FRANCISCO, CALIFORNIA, Cow Palace
9 MINNEAPOLIS, MI, Metropolitan Sports Centre
11 TERRAHOTE, Indiana State University
12 CHAMPAGNE, IL, University of Illinois
14 LOUISVILLE, KENTUCKY, Freedom Hall
15 NASHVILLE, TENNESEE, Coliseum
16 MEMPHIS, TENNESEE, Mid South Coliseum
17 GREENBORO, N. CAROLINA, Coliseum
18 HAMPTON, RHODES, VA, Hampton Rhodes Coliseum
YES UK TOUR 1980
16 BRISTOL, Hippodrome
17 OXFORD, New Theatre
19-20 BIRMINGHAM, Odeon
22 DEESIDE, Leisure Centre
24-25 LEICESTER, De Montfort Hall
27-28 GLASGOW, Apollo
29-30 EDINBURGH, Playhouse
2-4 NEWCASTLE, City Hall
6-7 MANCHESTER, Apollo
9-10 SOUTHAMPTON, Gaumont
11 BRIGHTON, Brighton Centre
12 LEWISHAM, Odeon
14-16 LONDON, Hammersmith Odeon
17-18 LONDON, Rainbow Theatre
Management: Brian Lane
Assistant Management: Sandy Campbell and Phil Straight
Secretary: Fiona Sanders-Reece
Personal Manager: Jim Halley
Assisted by: Martin Grooves
Production Manager: Michael Tait
Stage Manager: Frank McAlister
Sound Engineer: Nigel Luby
Lighting Designer: Michael Tait
Supervising Engineer: Roy Clair
Monitor Engineer: Mike Roth
Alan's Equipment: Nu Nu Whiting
Chris's Equipment: Richard Davis
Geoff's Equipment: J.J.
Steve's Equipment: Claude Johnson-Taylor
Trevor's Assistant: Stuart Young
Sound Crew: Cathy Sander, Dave Natale
Master Electrician: Ken Fillo
Master Carpenter: Bob Quinn
Maste Rigger: Michael Grassley
Sound System: Clair Brothers Audio Enterprises
Lighting System &
Rotating Stage: Tait Towers Lighting Inc.
Trucking: Consolidated Productions Inc.
Electronic Engineer: Steve Dove
Travel USA: Roy Ericson, Starflight Travel,
Shelly da Cunha
Agency: Premier Talent
YES logo design by: Roger Dean
Programme design: Jubilee, London
Photography: Michael Putland/L.F.I.
David Montgomery - Back Cover and
Special thanks to Survival Projects Ltd., John Kelly
Electronics, Gibson - Kalamazoo, Avedis Zildjian Inc., C.P.
Cases Ltd., Eddie Ryan, Ludwig Industries Inc., Claire Bros.
Audio Shop Personnel, Water Studio's, Global Shipping,
Electro-voice microphones, Studer, DBX, Universal Audio,
Eventide Clockworks, Shure Microphones, Pete Cornish, Rod
Argent's Keyboards, Bulldog Cases, Roto Sound Strings, St
Louis Supply Co., Sunn Musical Instruments Inc.,
Rickenbacker Guitars, Barbara Skydel and British Airways
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For over a decade now, Chris Squire has been tailed wherever
he goes, at home, in the streets, shops, restaurants, on
tour with Yas from Tokyo to Toronto. But this is no
cloak-and-dagger story, his tail has been a simple,
four-letter word: "Epic". His admirers use it as a term of
praise, his detractors as a cypher for pretension. He
himself has said, with mischievous understatement, "I
suppose that a lot of my music is on what you might call an
As any student of literature will tell you, epic doesn't
simply mean length or size - the reference books talk of
"Epic" in terms of being "on grand scale, heoric,
incorporating myth, legend, history," and "embodying lofty
or grandiose aspirations." Take a few minutes out to apply
these ideas to Chris, his playing and his writing, and
you'll be halfway towards understanding this enigmatic giant
of the rock bass.
Since co-founding Yes 12 years ago, Chris's playing itself
has expressed a profound disenchantment with the lot of the
rock bass; a Cinderella among instruments, relegated to
hitting it right on top of the beat, four to a bar,
providing an unimaginative vehicle for lazy rock'n'roll.
Chris's classical background and jazz leanings told him that
the bass was capable of much, much more.
It's no wonder that he names such people as Stanley Clarke
and Jaco Pastorius as admired kindred spirits (althought one
cannot resist tagging on the comparison with other,
non-funk, bassists like Miroslav Vitous, Eberhard Weber and
Niels Pedersen). In the way he plays and the role he gives
the instrument in his compositions, Chris is responsible
more than anyone else for the emancipation of the rock bass.
He rescued it from the shadows of "The Rhythm Section",
expanded its sound, broke the chains of the fretboard and
bought the bass stage-front, to a point where it is now a
major voice in the sound-mix, both live and in the studio.
You only have to listen to this rarified solo album, "Fish
Out Of Water", or such Yesworks as "Starship Trooper", "The
Fish" or "On The Silent Wings Of Freedom" (to mention a few
that come easily to mind) to hear how he makes the bass
sing, roar, fly and kick. He has given the bass a majestic
and charmed voice.
And that's what they, he and we mean by "Epic".
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I see a man in a white car
Move like a ghost on the skyline
Take all your dreams
And you throw them away
Man in a white car.
Does It Really Happen?
That's what you say
Does it really happen to you
Does that explain
This is the season for this display.
To take a look
In time to move together
Time is the measure before it's begun
Slips away like running water
Live for the pleasure, live by the gun
Heritage for son and daughter
Down to the slaughter up for the fun
Up for anything
Could this be true
Does it ever happen to you
And can you prove
That wheels go round in reason
You take a step
To move together
You walk, the way
You take, the path
To be, assured
You make, a graph
The scale, you use
Is all, on black
Be brave, the weight
Will make, the heat
There is, no way
To take-it back.
You'd be hard pressed to name a band that demands so much of
its drummer as Yes does. Chances are, in fact, that you'd
have to move into jazz or the "avant-garde" to find that
name. By the nature of the music, ninety percent of rock
bands simply require a steady rhythmic base, veering from
4/4 at its own risk, and allowing little room for individual
ability to shine. Yes presents the pinnaacle of the other
Alan probably knew what he was letting himself in for, but
when he joined Yes in 1972, shortly before the mammoth
"Yessongs" tour, Yes presented him with a list of
requirements extending way beyond the normal call of duty.
Yes needed someone who could provide a basic layer of
rhythm, keep his end up alongside Chris Squire's challenging
bass, grapple with some of the wickedest themes known to
man, change course at a second's notice, rock at Yes's
customary high altitude and provide a percussion backdrop
for the elegiac side of Yesmusic. A job many aspire to but
which few can fulfil...
It's a paradox that for so highly-developed and
perfectionist a unit as Yes, chance or fate plays such a
large part in its existence. As with the arrival of Geoff
and Trevor, the band found themselves minus one member and
with a world tour looming, and Alan just appeared in their
studio one day.
His empathy and standing as a drummer's drummer made it
patently clear he was the man for the job. Previous
alliances with numerous super-names and not-so-super-names
gave him an impeccable grounding in all manner of musical
styles. He also brought with him an impressive set of
muscles - courtesy of his beloved hobby of sailing. (A word
of warning: he sometimes mentions that he'd like to take a
year off and sail off into the sunset. Your petitions should
be sent to...)
In Alan you witness the perfect marriage of technique and
emotion. Whether it's on his unclassifiablly diverse solo
album, "Ramshackled", or post-"Yessongs" Yes albums, rock,
jazz, funk, reggae, classical percssion and Yes's fiersome
rhythm are cooked up by the deft yet powerful hands of what
might best be described as the World's First Vertical
Take-Off Drummer. And this year Alan adds another feather to
his cap; you'll be hearing him supply backing vocals to the
songs from the new album, "Drama".
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Six months ago and a few thousand miles across the Atlantic
Trevor Horn, with the aid of Geoff Downes, unintentionally
scandalized the British music scene. How? Simply by joining
Trevor's vocals, along with Geoff's keyboards, had until
then been know as the distinctive sound of The Buggles, a
studio band that had produced two hit singles of perfect
plastic pop. How dare these two hack purveyors of ear-candy
defile a band of Yes's legendary status, the fans and
critics raged. If they had taken the time to investigate
their backgrounds, their detractors would have hastily
changed "defile" to "complement"...
Trevor's first instruments was the double bass. His father,
a prefessional double bassist himself, trained the fledging
rhythm-man in the complexities of that instrument, his
tutelage enabling Trevor to join the Youth Orchestra of his
home town, Durham, Yorkshire.
As often happens, the call of rock'n'roll was too great, and
Trevor began playing bass with various semi-pro rock bands.
Simultaneously, he was developing an interest in studios and
sound-recording techniques. This interest almost developed
into a profession, with Trevor co-founding a recording
studio in Leicester, England, but we wanderlust struck
before the studio was finished.
He moved to London, pursuing his interest in the more
complex aspects of music through session and production
gigs, and it was during this time that he met Geoff Downes.
Finding that their ideas coincided to an amazing degree,
they went on to form the infamous Buggles, and found
themselves with number one hits in Australasia and across
Then, as if to prove to themselves and others that their
talents extended far beyond the Buggles, they wrote a song
for one of their favourite bands - Yes. They approached the
band with a tape and were awestruck by the enthuasiam that
met their material. And it didn't stop there. Trevor's vocal
and lyric-writing abilities, both self-developed since the
formation of the Buggles, gravitated naturally to the
front-mike of the Yes set.
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Since his schooldays, Geoff Downes has been exploring and
experimenting with giddying variety of musical styles. Off
the top of his head, he can cite such diverse influences and
interests as early Motown, jazz-rock, "impressionist" modern
French synthesiser music and turn-of-the-century(!) French
Romanticists, especially Debussy and Rqvel. An ideal
background, it would seem, for someone to fit in with and
help develop the rock undertow and elaborate
classical-symphonic style of Yes.
Unsurprisingly, he was brought up in a home crawling with
keyboard players. His father was a church organist and his
mother a piano teacher. It was she who took the young Downes
through his five-finger exercises, nurturing his talents to
the level where he was taken under the wing of the
Manchester Cathedral organist for further studies.
If you're are at all surprised by the battered state of the
Hammond organ Geoff is playing on this tour, it's because it
is the self-same organ he bought on hire purchase at the age
of 16 - eleven years ago - to play at home. This faithful,
and amazingly resilient, instrument has accompanied Geoff
through the many twists and turns of his career, and it
seems only right that it should fly around the world with
him on Yes's various tours.
After a 3-year stint at Leeds College of Music Geoff moved
to London at the age of 20, playing with friends and various
smallbands. One such stint was in a dance band with
journalist-drummer Chris Welch (ironically, a champion of
Yes music since the first album), who adds another riband to
Downes' collection when he says that they played dance and
traditional jazz music in working-men's clubs around the
In the late Seventies, Geoff's adept keyboards were much in
demand for advertising music jingles, a sideline that
quickly developed into composing jingles. The next logical
step was on to the studio producer's seat, moulding raw
young bands. The Buggles, of course, followed - and it was
here that Yes first noticed, admiringly, his eclectic
keyboard style. He can stride like the most soulful jazzer,
rock with flair with energy, and pick out the most intricate
classical forms. As part og the Horn/Downes package deal,
Yes knew that Geoff would become a naturally indispensible
part of their sound.
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Run down a street
Where the glass shows
That summer has gone
Age, in the doorways
Resenting the pace of the dawn.
All of them standing in line
All of them waiting for time.
From time, the great healer,
Cables that carry the life
To the cities we build
Threads that link diamonds of life
To the Satanic mills
Ah, to see in every way
that we feel it every
Day, and know that
Maybe we'll change
Offered the chance
To finally unlearn our lessons
And alter our stance.
Friends make their way into systems of chance
(reply- friends make their way of escape into systems of
Escape to freedom I need to be there
Waiting and Watching, the tables are turning
I'm waiting and watching
I need to be there.
I care to see them walk away
And, to be there when they say
They will return.
Search for a higher
Take me to the fire
And hold me
Show me the strength of your
History dictating symptoms of ruling romance
Claws at the shores of the water upon which we dance.
All of us standing in line
All of us waiting for time
To feel it, all the way
And to be there when they
Say they know that
Maybe we'll change
Offered the chance
To finally unlearn our lessons
And alter our stance.
Machine, Machine Messiah.
Take me into the fire.
Hold me, machine Messiah
And show me
The strength of your singular eye.
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It's a common ploy of "Serious Music" critics, when faced
with rock talent of some moment, to aver that all rock
musicians are a lowlym inconsequential breed, and that rock
itself, tainted with the original sin of having begun as a
blues-based dance hall entertainment is incapable of
withstanding the ravages of changing tastes and times.
Unintentionally - because he never intended to do so and
would modestly dismiss the accolade - Steve Howe has knocked
that arrogant claim sideways.
Steve cut his teeth on the British rock scene of the mid
Sixties, playing guitat with a number of London bands and
soaking up the spirit if the burgeoning "progressive rock"
movement. Hindsight strongly suggests that he viewed the
British scene with an aloof, if not cynical, eye; for no
outfit existed then that could hang onto his increasingly
personal style of guitar playing. It wasn't until 1970 that
his gaze fell upon a band that could both accept the
challenge with its music. You do not win a prize for
guessing the name of that band.
Since his debut with Yes, on "The Yes Album", Steve has
twisted the dusty metaphor around and proved himself a
master of all trades and jack of none. For once, that hoary
old superlative abour spanning all musical styles has a
chance to live up to its much-abused claims. Stev has blown
down the walls confining rock guitar and composition roaming
out to find the time complexities of jazz, blues melancholy,
the swagger of r'n'b, the delicacies of classical guitar,
the bitter-sweet melodies of soul and the splendour of high
And while admitting a closeness to many rock guitsr heavies,
he feels a greater affinity with the likes of Segovia, John
(sky) Williams and Williams' mentor, Julian Bream.
Considering how much space classic "hot" jazz consumes in
his record collection, we can probably add the legendary
Django Reinhardt to that list.
The most important point to Steve's crossing of the
no-man's-land between these various styles becomes apparent
on the first hearing of either his two solo albums or his
work with Yes. He never falls into that rock'n'rollers trap
of lampooning other musics, or producing a poor man's
alternative to them. There sometimes is humour, but it is
always tempered by his all-too-obvious respect for other
musics and his relationship with them as composer and
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Into The Lens
Memories, how they fade so fast
Look back, that is no escape
Tied down, now you see too late.
Lovers, they will never wait.
I am a camera
Take heart, I could never let you go
And you, always let the feeling show
Love us all, how you never broke your heart
You lose them
If you feel the feeling start.
I am a camera, camera, camera
And you, may find time will blind you
This to just remind you
All is meant to be.
There, by the waterside
Here, where the lens is wide
You and me
By the sea
Taken in tranquility.
Taken, taken so easily
To pass into glass reality
Transform, to transfer, to energy.
Taken, taken, so easily
To pass into glass reality
Transformer, transferring energy.
Run Through The Light
I asked my love to give me shelter
And all she offered me were dreams
Of all the moments spent together
That move like never ending streams.
Run to the light
Everything is alright
Run thro' the light of day
You run to the light of night
And every movement made together
Till every thought was just the same
And all the pieces fit forever
In the game
Welcome to the light
Now everything is okay
Run thro' the light of night
You run to the light of day.
Born in the night
She would run like a leopard
That freaks at the sight
Of a mind close beside herself
And the nearer I came
How the country would change
She was using the landscape
To hide herself.
More in the mind
Than the body this feeling
A sense at the end
Of a circular line
That is drawn at an angle
I see when I'm with you
To navigate waters and finally answer to - Yes.
If you were there you would want to be near me
Innocence, you could hold the materials
And tho' nothing would really be living
It would shock your fall into landing light
In the north sky time flies
Fast to the morning
The cold of the dawn it meant nothing to us
You were keeping your best situation
An answer to - Yes.
And the moment I see you
Its so good to be near you
And the feeling you give me
Makes me want to be with you
From the moment you tell me - Yes.
If you could see all the roads I have travelled
Towards some unusable last equilibrium
Run like an athlete and die like a
Dead beaten speed-freak
An answer to all of your answers to - Yes.
If I wait for an answer
Will the silence be broken
Do we wait for an answer
Do we leave it unspoken.
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