------------------------------------------------------- OCTOBER 14, 1972 ------------------------------------------------------- Source: Melody Maker, p. 22 (from the Legendary Roxi Collection) Yesquire By Chris Welch Yes are such a tightly woven musical endeavour, that a sudden departure from the ranks has much more impact and importance than in most other bands. If the drummer quits Reg Catsmeat and His Rhythm Boys, well, that's just too bad. But when Bill Bruford quit Yes, it seemed like a prime mover, and original inspiration had gone. What difference did his departure last month make and how had Alan White settled into one of the more difficult percussion chairs in rock? Said Chris Squire, "Bill leaving was very odd. When he announced his intentions we presumed he wanted to get a different viewpoint for his drumming. He felt he could get something different by working with Bob Fripp that he couldn't get with us. I hope it works out. "Playing with Alan is equally enjoyable. It's a case of some things people can do better than others. Obviously Bill can play some things better than Alan, but Alan can play things Bill can't. As drummers go -- they are equally good. And after our tour with Alan, his playing is really excellent. "My playing hasn't changed really but Alan pushes you along. Bill had some strange ideas about hitting the snare drum when he should have been hitting the bass drum, and the other way round. Alan is heavier, but although he has made his name working with Balls and John Lennon, he's into settling down and being more than just a sideman. He wants not to be a part of the group." Was Bill's departure a shock? "Yes, it was a surprise. We went to the studio for a mixing session and it was laid upon us when Jon said something important had happened. Bill had told Jon the night before. "Interestingly enough, Yes seem to thrive on setbacks. The more that is thrown in our face, the harder we work and try to come up with something better. A lot of groups just give up and give in. But I really think this will be a lasting situation and I can't see any reason for any one else leaving now, until after the group breaks up in ten years time. "There is so much more potential in the band and I still can't figure out why Bill left. There was no bad personal relationship, and I can only think he wanted to take a look at music from another angle. He could have advanced himself with us just as much as with Bob Fripp. "Strangely enough, Yes is a well-balanced group, and is the reason we are successful. It's not a good thing to abuse it. We should think of the public who put us there. We should try the hardest we can." Part of trying hard is devoted to improving Yes's stage presentation. And the big tours they make of America help finance their growth. "Basically we have to spend a lot of money to put the Yes show on the road, because of the care and trouble we take. We spend a tremendous amount on equipment and the more we earn, the more we spend. It's really endless. No sooner have we got it all sorted out, then someone wants something new. "It's even got to the stage where we take a spare Moog synthesizer on tour, and a spare Mellotron. We don't use it, but we take it around with us -- in case. In the States we use a 100 foot articulated truck to carry the equipment. It was the most amazing sight I've ever seen. "We have a road crew of three and Eddie Offord in charge of the sound. And Michael Tate organizes the lights. We get letters saying: 'Why do Yes only work in America?' Well the point is English audiences had us for three-and-a-half years, when they didn't complain if they saw us or not. And it's not just the money. It's a good feeling to work in the States. The promoters are so efficient. One feels everybody is working to put on a good show." Returning to the subject of Alan, how did he actually get to join the band? "It was more or less by accident really. He knew Eddie Offord from a few sessions they had done together. He expressed an interest in the group and said he liked what we were doing. He mentioned to Eddie how much he'd enjoy playing with us. "I liked what he had been doing with Joe Cocker, but he was capable of a lot more technique than he'd been rated for. His playing with us was a pleasant surprise. He's been though all the technique thing and he gets more enjoyment ouf of playing with people, rather than playing flam-triplets. "The band sounds different now -- it must. But none of us could tell you exactly how. You'll have to tell me. Certainly I'm sure the band will seem more solid and I gel more with Alan than I did with Bill. There have been some changes, but I can't define it." Close Window YesInThePress.com For site comments, inquiries, corrections, or additions, contact yitp@yesservices.com