----------------------------------------------------- APRIL 1997 ----------------------------------------------------- Source: RockNet http://www.rocknet.com/apr97/yes.html Commentary: Yes By Bud Yeager Yes has been thrilling listeners with their totally unique sound for almost three decades, and as we wait for parts 3 & 4 of their latest "Keys To Ascension" to be released, one can only marvel at the quality of music brought by this band even in the face of vast and frequent adversity. The key to the longevity of this band is simple. They know how to grow on each album while still maintaining a clear focus on the sounds that made them so popular. On their first effort, "Yes," it is evident the band is experimenting with their sounds while staying on a firm, and sometimes giddy footing. Like most good bands, there are stories of hardship and general difficulties in forming the group. For these fellows it was hard. Keeping them together was harder. Bringing the back together was next to a miracle. Lead singer Jon Anderson was born in October 1944 in a war-torn Accrington, England. He put together one of the longest musical backgrounds as he can be traced backed to his brother Tony's band "The Warriors" in 1963. Only lending backing vocals, Jon soon got his chance to front the band, and toured with them through Europe until 1968, when he met a 20-year-old Chris Squire at La Chasse. Squire had been in the band "The Syn" in 1966 but nothing came of it except a honing of his fine style, but more of that later. Bonding with guitarist Peter Banks who completed "The Syn" more or less ending up being an agitating force. While the band changed their name to "Mabel Greers Toyshop," Anderson jumped on the boat, leaving his brother behind. It was then Banks' idea to change the name of the band to "Yes." Now needing a drummer for the band, 18-year-old and quite seasoned rocker Bill Bruford joined forces. His strong hands beat a rampant rythym while still holding a delicate feeling for the drums. Rounding out the first version of Yes was keyboardist Tony Kaye who since 1964 had bounded from band to band. from "Yellow Passion Loaf" to the equally forgettable "Jimmy Winston and His Reflections." They played their first gig at the East Mersey Youth Camp in Essex, followed the next night by their first marquee gig at a club in London. Their first official tour took them around England as a supporting band for the likes of Joe Cocker and The Who. By the end of 1968, they were their own band, and opened at the Royal Albert Hall for Janis Joplin. Several singles followed, but the band wanted more. It was now time to cut an album. In April of 1970, Steve Howe got his first taste of the band as he sat in on a session. Keyboardist Tony Kaye did likewise. What a pleasure it was to hear a debut album where the band let the music do the talking while the members kicked back and had fun with it. In a weary 1970, this band was determined to stand out. Topped off by the hit "Survival," the only thing lacking is the flesh ripping guitar of Steve Howe. Peter Banks' guitar is very uninvasive and this allows bassist Chris Squire to play a knock them dead performance. Vocalist Jon Anderson wove a sweet, earthly web of vocals and drummer Bill Bruford and keyboardist Tony Kaye shine brightly in this better than average debut. Unfortunately for the time being, this as just a UK release. Their next album "A Time And A Word," another UK release, produced more fine music as the band began to take new liberties with their sounds. Sorely lacking again however is Howe's guitar. Fortunately this would be the last album for Banks, and Howe would join in for the rest of the outings. Oddly enough however, Howe was depicted on the cover of A "Time And A Word" but he played on none of the songs. It was Banks taking his last call as a member of Yes. Banks' career waned after this joining "Flash" in 1972, and recording three albums all called "Two Sides Of Peter Banks." The band finally came into their own by adding Howe and creating 1971's "The Yes Album" which served as a signpost pointing the direction of Yes albums to come. This release contains the first of Yes' "big songs" or tunes which were guaranteed no airplay due to their incredible length. Fans of Yes know however that these songs are special markers of each era the band has played in. Loaded with hit tracks, this one included, "Yours Is No Disgrace," "Starship Trooper," "I've Seen All Good People," and Howe's virtuoso performance of "The Clap." This was the band's first US release, but they stayed mostly in Europe playing gigs in Italy, Denmark, Germany and the UK. In July of 1971, the band got their feet wet on U.S. soil playing gigs in the Bronx of all places, and New Haven, CT. Proving that "The Yes Album" was not a fluke, the band released the even more successful "Fragile." With this release, the world as a whole (including the media) had to acknowledge that some of the tunes may be long, but they can still be hits and should get airplay. Crashing onto the scene were tracks like "Roundabout," "Long Distance Runaround" and the live crowd favorite, "Heart Of The Sunrise." Rick Wakeman replaces Kaye on this recording, and he makes his presence clearly felt. This album served as an excellent barometer of where the band was going. The "Yes Album" tour was a success as they opened for Ten Years After and played five straight nights in L.A. followed by gigs in Milwaukee and Baltimore. The Fragile tour saw the band opening for Black Sabbath and King Crimson. Coast to coast US gigs followed and the band began to establish a foothold. In the middle of the tour, Bill Bruford walked out on the band looking for something more. Alan White filled in with great vitality and added strength to the band. Regarded by fans as their best album, Yes' next release "Close To The Edge" broke new ground while building on foundations of past as well. This album contains only three songs. Yes they are lengthy, and it must have took some serious guts by Atlantic Records to release this one in 1972 when most songs were less than 3 minutes. The title track, "And You And I" and "Siberian Khatru" make this album one which will endure into the millennium. Clearly needing a breather, the group released the greatest hits disc "Yessongs." This album marked the debut of Alan White on drums. "Tales From Topographic Oceans" really broke new ground for the band. Many called this one of the worst albums ever made, period. Yes fans, however, found another treasure trove of magical, mystical music making. Standing tall above the crop here is "Ritual - Nous Sommes Du Soleil." With four 20 minute tunes, this one is only for die-hard Yes fans. For everyone else -- Wake Up! The tour for this album was huge across many nations, but there was a let-down when Wakeman left the band after the tour on his 25th birthday. "Relayer" was a "calm after the storm" album so to speak. Patrick Moraz steps in here to play keys, and although a slightly new Yes sound is generated, this album failed to gain the attention of it's predecessors. A very short but sweet album, it is highlighted by the rock/fusion "Soundchaser." Much attention was paid to the "new guy" Moraz, but he added his own delightful touch to the music both in the studio and on the road during a long stint in the US. The band took a three year break before releasing a new studio album on July 12, 1977. "Going For The One" marked the return of Rick Wakeman to keys. This release turned out to be a favorite of band members and fans alike. Jon Anderson was noted as saying that this album "has everything I would ever of dreamed of in a group of musicians." The band's most ambitious tour followed with dates across the US and throughout Europe. Jon Anderson's dream must have been short-lived as he left the band after the tour. Citing a need for inner-exploration, other Yes members were not ready to call it quits. Chris Squire, who had just as much rights to the Yes name as Anderson did, brought aboard long time producer and singer Trevor Horn to do vocals for the "Drama" album. A very short album, it's straight to the point. Anderson was not missed as the band belted out classics such as "Machine Messiah," "Does It Really Happen" and "Tempus Fugit." The tour was successful, but after this effort, I believe that no one in the band knew for sure where they were going. This led to Steve Howe leaving for the band "Asia," where he teamed with "Drama" keyboardist Geoff Downes and Carl Palmer of ELP. Anderson experimented with Greek musician Vangelis, and created some very thought provoking melodies. Asia went on strong for several years, and Squire and crew were virtually lost. Needing a new vehicle, Squire brought into his camp young guitarist and vocalist Trevor Rabin. With Alan White on Drums and Tony Kaye on keys, they named their new band "Cinema," and cut only two tracks written by Rabin and Squire. "Make It Easy" was a signal for what was to come of Yes, as well as the other single "It Can Happen" which was re-written for the 90125 album. Rumors are abound as to why the band got back together with the exception of Howe who reportedly had personality conflicts with Squire. Whether Squire called Anderson and asked for his help, or the more believable story that Anderson heard what was going down and wanted to be a part of it. When 90215 was released, it spawned a huge new fan base for Yes as many of the songs found wide spread commerciality. Musically the album was excellent though, and when I reviewed it in 1983, I cited the album as being "Better than sex." The Howe sound was missed, but Rabin didn't insult us by trying to emulate the former member. Instead he added his own unique and very special style. The tour was absolutely huge, and the "new Yes" was welcomed in by most with open arms. Their next album as the reformed Yes, "Big Generator" was a tour de force for Anderson, Squire and Rabin. Anderson came through with some very meaningful and sensitive lyrics such as on "Holy Lamb." Rabin lent an occasional lead vocal, but that was not what made things so special. With Anderson being one of the finest front-men in the business, Squire and Rabin were superlative as backing vocalist as their harmonies echoed in listeners minds for some time. After a two year lay-off, we were given a surprise by the Yes boys. Jon Anderson orchestrated a reunion of old Yes members, which Squire wanted to be no part of. Squire even took legal precedents to keep Jon's new band from using the Yes name. So we got ABWH (Anderson, Bruford, Wakeman & Howe). With tastes of old Yes, and some new flair which showed what had been influencing the members lately, this album was a success both commercially and for many hard-core Yes fans. Bruford's drum lines were crisp and right on the money. Wakeman proved he hadn't lost his flair for "musical theatrics" and Anderson and Howe were like knives that could cut to the bone yet leave no scars. 1991 brought the Union album. All major members of Yes past and present checked their egos at the door and created an album with it's brilliant points as well as low points which detractors eagerly pointed out. It was like a bunch of duels going on. Who's sound gets the amp turned to 11? Howe or Rabin? This was the only battle I noticed, and if I had a choice I would always take Howe. Bruford and White's drums accented each other, while Kaye and Wakeman knew not to get on the other's toes. There are tracks here which can almost be classified as brilliant as those on "Tales From Topographic Oceans," but they just fall short. Too much Rabin and too many instruments make this one some what of a muddled mess despite it's high points. The 1994 album "Talk" brings back the "new" Rabin Yes and also welcomes a sorely missed Squire. Quite honestly I didn't enjoy this album much, and the public didn't either. It wasn't a huge hit, and the tour seemed to be one of obligation and not to have fun and give back to the fans. That was something I never saw in Yes. Their latest 1996 release "Keys To Ascension" is a two-disc effort with a second half coming soon. Some Yes of olde is captured here along with some new sounds. The live tracks are solid, while studio tracks are tight as a drum. Much love and care was put into this one, and it shows to the experienced Yes listener. There are many live Yes albums out there which I didn't mention in full due to space constraints. They include: Yessongs, Yesterdays, Yesshows, 9021Live:The Solos and Yesyears. There are also some greatest hits compilations and many UK and bootleg releases. To me, Yes is a band which needs to be fully understood in it's grand form to be truly appreciated. One cannot be scared off by a 60 minute album with only three songs. This is where Yes is their most brilliant. I call them their "epic" songs, taken from Greek epic poems which were long but loaded with meaning and deep feelings. For someone who doesn't know much about Yes, or only knows songs like "Roundabout" or "Owner Of A Lonely Heart," my suggestion is to try a studio greatest hits album. There you basically know what your are getting. For me, if stranded on a desert island, and able to have a Yes album from each phase, I would take "Close To The Edge," "Drama" and "90215." NOTE: Yes will be touring soon, so watch your local paper or ask me for concert dates.  I'd be happy to help. Close Window YesInThePress.com For site comments, problems, corrections, or additions, contact YesinthePress@aol.com