They were perhaps the last super group to blast out of London's Marquee club and take the world by storm. The Who
and The Stones had lifted off from the Marquee just a few short years before. When singer/songwriter Jon Anderson and
bass man Chris Squire formed YES in 1968, no one could have foreseen the incredible outcome. By 1968 rock and roll
had proven that it was here to stay but what rock had yet to prove was that it was music that could be taken seriously -
that this music could be lifted to unimagined creative heights. Anderson and Squire dreamed that the raw power and
excitement of rock and roll, if blended with the complexities and rich textures of classical music, and the fluid risk taking
of jazz, could produce something magical. YES pioneered what would be called "Progressive" or "Art Rock" and together
with bands like Pink Floyd and Genesis, they created a whole new genre of rock music.
In the summer of 1969, YES, that is, Jon Anderson, Chris Squire, Tony Kaye, Peter Banks and Bill Bruford released their first album, appropriately called
"YES." The record buying public said "yes" too and the band were being heard, seen and were now in demand. Then came the second album "Time And A
Word" in 1970, after which lead guitarist Peter Banks departed and Steve Howe joined.
In the sixties Steve was a hot session player but also played in four different bands including the In Crowd and Tomorrow. Chris Squire spotted Steve
performing and asked him to join the band. With Steve's skillful multi-guitar he was soon astounding audiences with his solo piece, "Clap" and became an
integral part of the band's launch to international fame.
By the time "The YES Album" was released in 1971 the group could fill a hall anywhere and in March of '71 they undertook their first really intensive tour of
America. It was after this tour that keyboardist Tony Kaye left and Rick Wakeman, already a star in his own right, joined the group attracting an even wider
audience. Rick had been heralded by "Melody Maker" as "Tomorrow's Superstar?" The article raved about Wakeman, then with a band called The Strawbs
and with a score of top notch session gigs under his belt. His pioneering approach to synthesizers and flamboyant stage presence helped propel the group
to super stardom.
"Fragile" was released to critical acclaim in 1972 and the album's nine tracks showcased each of the five musicians' talents. Jon Anderson and Steve Howe
penned a tune called "Roundabout," which they used to open shows on tour which followed. The song became a YES trademark. It was everything that they
had aspired to. It was powerful yet majestic and showed the band's individual and collective strengths. "Fragile" was an accomplishment of considerable
significance for YES but the group were not finished pushing the boundaries of rock as they prepared the follow-up to "Fragile."
"Close To The Edge," also released in 1972, is probably progressive rock's definitive recording, containing three long form compositions: "Siberian Khatru,"
"And You and I," and "Close To The Edge." The tour surrounding "Fragile" and "Close To The Edge" yielded an elaborately packaged three record live album
entitled "Yessongs," and a concert film of the same name. The film went on to become one of the most successful concert films of its day, while the live
album and shows establised YES as one of the world's hottest live acts. Alan White joined YES just two days before the "The Close To The Edge" tour and
immediately exchanged Bruford's jazzier, colorful, syncopated style for a more raucous, powerhouse rock and roll fire. White had played with the likes of
John Lennon, George Harrison and Joe Cocker before joining YES in 1972 and has remained a YES man ever since. His contributions can be heard on every
YES album from "Yessongs" to the present release "Keys To Ascension."
From "Fragile" onward the band also established a relationship with artist Roger Dean, whose surreal landscapes and images would provide the perfect
visual accompaniment for YES's music. Roger Dean is considered by many to be the unofficial "sixth member" of YES, so deeply entwined are his images
with the music.
The busiest year for YES was 1973 when they toured Japan, Australia, America and Britain. They also recorded and released a triple album "Yessongs" and
"Tales From Topographic Oceans" an epic double album recorded by Anderson, Squire, Wakeman, Howe and White. "Yessongs" was originally intended as
a tour momento for the band and their associates and for the real "hard-core" followers, but the YES legions had reached such a state that the LP became
the goup's biggest seller up to that time. Playing in front of people has always been a major importance to YES and the album proved that not only could
they reproduce their sophisticated sound live, but that they weren't strictly tied to playing original versions of the pieces note for note. The idea of being able
to play freely within and around a structure has been a feature of YES on stage.
At the beginning of 1974 the group were back in America, this time packing Madison Square Garden and shortly thereafter they toured Europe again with
both tours superbly staged with sets designed by Roger Dean.
In June 1974 Rick Wakeman decided to pursue a solo career and so it was that Patrick Moraz became a member of YES for the release of "Relayer" which,
like "Close To The Edge" featured a single song on one side and two expanded compostitions on the other . The band's popularity continued to soar, as did
their concert drawing capacity. An estimated 100,000 people jammed Philadelphia's JFK Stadium for a series of sold out shows in the summer of '76.
It would be two and a half years before the next group LP of new material would hit the streets. "Yesterdays" released in early 1975 (but actually prepared
prior to Relayer was a single compilation album containing selections from the first two albums plus "Dear Father" and the YES version of Paul Simon's
"America." Another signifcant event of early '75 was the release of the film "Yessongs," and 80 minute concert film enhanced by some animation effects.
This, like the album, was originally intended as a band momento but following general release, it became one of the largest grossing films of its genre.
It was only natural that a group of such talented individuals would eventually feel the need to express their creativity outside of YES. Steve Howe's
"Beginnings" appeared first in November '75 followed by Chris Squire's "Fish Out Of Water," Alan White's "Ramshackled," Patrick Moraz' "i" and Jon
Anderson's "Olias Of Sunhillow."
The summer of 1976 was marked by the return of YES and their biggest ever U.S. Tour. Despite the fact that there had been no group product for a year and
a half their audience had continued to grow and in a period when a number of top groups were failing to fill the arenas and halls, YES pulled off a sellout
series of concerts - playing to over 1.2 million people.
News broke at the end of 1976 that Rick Wakeman had rejoined the group after a three year absence, and in mid 1977 "Going For The One" was released
and featured "Awaken," probably YES at its most majestic, its most powerful and its most electrifying. "Awaken," like the best of YES music, is timeless.
Fueled by the energy derived from this release the band was hard at work again and the eleventh YES album "Tormato" was completed, containing no less
than eight separate songs, continuing the shorter-song trend partially begun on "Going For The One." The album put them on the road for a series of shows
that would present them at their finest. The band toured "In The Round" - using a revolving stage, which was a new innovation at the time and furthered YES'
live appeal.
For over ten straight years YES had been either on the road, or in the studio and it was taking its toll. Jon and Rick left to pursue outside projects but never
really left YES in the hearts of their fans. "Drama was released by Chris Squire, Steve Howe, Alan White, Trevor Horn (vocals) and Geoff Downes
(keyboards). This marked a turning point in the music that would take YES into the '80's. This release was followed by an intensive tour after which the band
went on hiatus.
In the early 80's, Chris, Alan and original keyboards man Tony Kaye hooked up with South African born guitarist/songwriter Trevor Rabin, known in the
musical community but not by the public at large. Rabin was a profile writer and an experienced and talented producer. The band were going to call
themselves Cinema but as recording of their album continued they felt something was missing and old friend Jon Anderson was invited in. When they were
finished the band had created YES' multiplatinum comeback album "90125" attracting legions of new fans.
This was followed by "Big Genereator" and a dizzying world tour pursued. Anderson then took leave of YES and spent time composing music with his friend
Vangelis. YES continued to work as a four piece and also pursued individual careers.
Meanwhile Anderson had contacted Bill Bruford, Steve Howe, Rick Wakeman to go about forming a band and things came together quickly. "Anderson,
Bruford, Wakeman, Howe" was released to the delight of YES fans everywhere.
"Union" came about when it was suggested that YES and ABWH work togeher to produce an album. It didn't reflect the powerful talent that existed in this
supergroup and most of the band members would agree that it was a difficult project from the outset.
Following this in 1994, the "Talk" album which included Jon Anderson, Chris Squire, Trevor Rabin, Alan White and Tony Kaye was released. It was recorded
completely on computer and it took Rabin almost eighteen months to produce. After the release and subsequent tour Trevor Rabin left and the band went
quiet, that is until Jon Anderson and Chris Squire discussed the idea of writing and working together again.
"The plan was very simple" says Anderson, "I said to Chris and Alan that we really should work with Rick and Steve again and take it into the 21st century.
The main point in getting back together was really to explore the classic line-up of the 70'S, to find out how we would work together more than 18 years
later." (Apart from the participation in the "Union" album in '91).
As it became clear that the magic was most definitely still there, a series of 3 concerts was organized for March 1996 in the Fremont Theatre in California's
San Luis Obispo. News traveled quickly and fans arrived from as far away as Japan, hearing of it on the Internet, in the hope of getting a ticket to the already
sold out shows.
The band performed magnificently and the fruits of this homecoming can be heard on "Keys To Ascension," the first of two albums recorded live during the
San Luis Obispo concerts (the second part to be released in Spring 1997).
The quintessential line-up of Anderson, Squire, Howe, Wakeman and White proved they still had stunning technical ability, and the music sounds as fresh
and timeless as ever. The album features the classics "Roundabout," "Starship Trooper," "America," "Awaken," "Onward," "Siberian Khartu," and "The
Revealing Science of God," plus two new studio tracks "That, That Is," a combination of four pieces of music all interwoven, and "Be The One" the first song
that Anderson and Squire wrote together in almost 20 years with later contributions from Steve Howe and Alan White. "Be The One" is about commitment,
and that's what we did. "We made a commitment about being together again," says Anderson.
The writing sessions that spawned the new material were indeed fruitful and Anderson reveals that there is enough material for a new studio album, which
YES plan to record this winter and release next summer. "We're not making a comeback, we're moving forward. It's the right place and the right time and the
music sounds better than it ever did," says Anderson.
