Rick Wakeman will, I’m sure, be known to many of you as he was the keyboard player during the golden era of Yes in the 1970’s, where his talents added significant input to the albums ‘Fragile’, ‘Close To The Edge’ and ‘Tales From Topographic Oceans’ before leaving the group and rejoining for ‘Going For The One’ and ‘Tormato’ after Patrick Moraz had left the band, in part due to the “enormous psychological pressures within the group”.
‘Yessonata’ is the much requested Yes highlights segment of his two shows at the London Palladium in 2023, where he performed his early solo albums in full on the first night. The second evening was a set of classic Yes material along with a performance of ‘Journey To The Centre Of The Earth’. `In among all this was a newly composed ‘Yes Suite’ in three parts, The Meeting, Wondrous Stories and South Side Of The Sky. Also included were versions of Roundabout,And You And I and Starship Trooper /Wurm. This was very warmly received, so much so that fans started to ask where they could get this, other than the 4CD live album where it was included on disc 3. This showed Rick that there was a demand for a recording of that to be made available so, in 2024, Rick set about pulling the three parts together, adding a few more bits and creating his own Yes Sonata, hence the album title.
This new release was a bit too short so Rick also produced a piano variation of the ‘The Myths and Legends of King Arthur…’ album and is entitled The King Arthur Piano Suite. This album, whilst short, is excellently conceived, produced and delivered by Rick using a sole Steinway Model D Concert Grand Piano.
The music is truly sensational but the real fun is in recognising which pieces Rick is playing from which albums. The press release cites ‘more than 30 musical fragments’ but I don’t know the Yes back catalogue that well to recognise them all. Google search would give more insights but for me just hearing Rick perform this piece of work at his age is remarkable, as he still has great dexterity and ability. I grew up as a teenager being introduced to Rick’s music through my brother’s friend who had ‘The Six Wives of Henry VIII’ album and my brother’s copy of ‘Yessongs’, which included Rick’s brilliant solo parts. I was totally mesmerised by his skills, this was further enhanced by a live Rick Wakeman DVD that I acquired in the 2000’s which included his hilarious Nursery RhymeConcerto which is brilliant, extremely funny and superbly delivered. Rick is not only a classically trained pianist but also a fine raconteur with his off kilter sense of humour being well known to all.
A clip of that concerto is here:
In this piece Rick shows his tremendous talents, dismissing it as a simple little thing before then firing off a staggering piano motif or run that repeats throughout the track.
That same skill is on offer on this album of two tracks, ingenuity coupled with complexity and a confident delivery. It’s actually a rather fine collection of piano motifs compiled together to create a concerto that does as it says, it conveys the melodic sensibilities of the Yes canon in one single piano interpretation. It is an easy listen but also offers the listener the challenge of identifying the particular melodies that are so eloquently delivered. The King Arthur Piano Suite is similar in style and concept, again this is impeccably performed and distils the essence of the near 40 minute album to a mere 20 minute piano improvisation whilst still maintaining the feel of the original album.
The cover art from Roger Dean is equally as impressive and conveys the Yes connection through the images. With a sound that is clear and crisp, all in all this is a highly impressive concept and a unique album in which you can appreciate the music of Yes in a unique and possibly simpler manner than the albums.
John talks to legendary prog musician Bill Bruford about his days playing with progressive royalty such as Yes, King Crimson and Genesis and much much more:
John Wenlock-Smith: Over your long and illustrious career you have worked with many of progressive rock’s major artists. Which made the biggest impression?
Bill Bruford: With Yes, at the beginning, I was bright-eyed, bushy tailed, arrogant, famously in love with my own abilities, and didn’t know that I didn’t know shit! It wasn’t until I met Jamie Muir in King Crimson in 1972 that I began with music toddler-steps, when Jamie explained to me, none too patiently, that the music didn’t exist to serve me, I existed to serve the music. Who knew?! By the time I’d been through the Crimson mill for a couple of years, I’d learned to calm down a bit, and even not play if the music didn’t call for it. With Genesis I was a sideman from whom fresh ideas or input was not required, so that was easy. In UK, guitarist Allan Holdsworth had been my suggestion. Brilliant and sensitive as he was, he occupied much of my time just trying to cheer him up and keep him in the band. So I learned from all of these situations. They all made an impression. But I don’t really do superlatives. Life’s too subtle.
JWS: You have played with many excellent bass players. Who was the best, in your view?
BB: There are many musicians of varying capacity making many choices every day. Some come into your orbit for no reason you can think of, and make a good fit, some less so. All musicians have strengths and weaknesses; some more obvious than others.
As an all rounder who can play anything, from classical to metal, Tony Levin takes some beating. He also has a magical way of making you feel he’s making it up on the spot, as much for his pleasure as yours, even though he may have played it a thousand times before. We share a sense of humour. An interviewer once asked him: “What’s the difference between playing with Bill Bruford and Steve Gadd?” Without a pause, came the answer: “One of them shows up on time”.
JWS: Allan Holdsworth was part of both the original U.K. and the Bruford line ups. How was your relationship with him? Was it a positive one?
BB: Allan was a brilliant musician in many ways, but as a person, he was mercurial, changeable and with low self-esteem. He needed a lot of managing, and it wasn’t always possible to make him happy with the group’s performance or his own performance within it, for that matter. But I’ll go to the ends of the earth for someone who could play that blinding solo on ‘In the Dead of Night’.
JWS: Sadly that version of UK only made one album, were there any other recordings that could be released any live shows ? The original UK could do with an expanded version being issued.
BB: Forgive me, but you’ll know more about this than I. My understanding is that Eddie Jobson now appears to control all rights to the original UK album and has issued as many versions of it as possible, doubtless full of outtakes and alternative versions and the like. He sent me a copy of the ‘Ultimate Collectors Edition’ but I haven’t listened to it.
JWS: You made several albums with Patrick Moraz. What recollections do you have of that period, which saw a change in your playing approach?
BB: In a duo, you have a lot of room to manoeuvre of course, but also a lot of responsibility. The drums have the ability to shape the form of an improvised piece as it’s emerging. For example, on Music for Piano and Drums, the tracks ‘Any Suggestions?’, ‘Living Space’ and ‘Hazy’ are completely improvised. On our second album, Flags, the tracks ‘Split Seconds’ and ‘A Way with Words’ are also improvised. The music may sound as if it’s written, and some of the written music may sound improvised, but that’s our business, not for you to worry about. Some people get nervous if the music just appears, without the benefit (or hindrance) of weeks spent in a rehearsal room. They accord it less value.
JWS: Your latest release (‘The Best Of Bill Bruford – The Winterfold & Summerfold Years’) revisits several eras of your career. How and why did you select the tracks for the set?
BB: Well, you’re looking for a balance of the things you do; a balance between styles, between improvisation or composition, between different eras, between electric and acoustic. The Summerfold and Winterfold labels have about 30 titles between them, so clearly I can only offer what I think is a fair representation of what I consider to be some of the better tracks. There’s music from my 70s band ‘Bruford’, from my duo with Patrick Moraz, from both electronic and acoustic editions of Earthworks over 20 years, and a return to duo music with my second improvising partner, the Dutch genius Michiel Borstlap in the noughties. It’s an excellent package for the newcomer who may have heard my name and would like to hear more.
JWS: You retired from performances for several years but I see that you are involved with a new outfit. What was it about this band especially that caused you to choose to return?
BB: It was a gradual process from complete burnout in 2009, when I couldn’t stand the sight of a drumkit, through 13 years or so in academia, to one day – very suddenly – sitting at some drums and feeling exhilarated all over: urgently and violently keen to start all over. I’d sold all my own drums, years earlier, so I had to go and find a new set and start a daily two-hour daily practice routine.
Then I formed a rehearsal band with Guildford guitarist Pete Roth. Pete had worked as my drum tech in Earthworks 20 years previously . I knew he was an accomplished guitarist, but I was astonished how far he’s come by the time we started working on the highly interactive, jazz-adjacent music and writing that we do today. One thing lead to another through 2023; a few gigs, but only in South-East England. We’re gigging all through 2025 principally in the UK, but also Japan and European clubs and Festivals. It’s a privilege to support and mentor a much younger player, and I get to play whatever I want on the tubs.
JWS: You obviously have a good and realistic approach to curating your own legacy of recordings. Are there plans for any further reissues or releases?
BB: “No plans”, as the politicians say. I’ve downgraded myself from professional musician to amateur. Instead of being a recording artist with an international career and all the hassle that goes with that, I’d rather be simply a performer. I have no wish to generate new music under my own name. I’ve been curated to within half an inch of my life.
JWS: I know you are not a part of the latest King Crimson project, BEAT, but have had any involvement in their construction as they cover the second phase of your King Crimson activities.
BB: I’m in touch with Danny and have let it be known that I’m available should he want any advice, but he has the gig under control. Interestingly, Danny was a keen customer acquiring a ton of Bruford percussion at a huge international yard sale I held. Now you can hear some of my instruments on the current BEAT tour. I was asked to do it, but I declined. I’m no longer interested in large-room repetitive rock composed 40 years ago, when I can have small-room, close-up-and-dirty interactive music, invented today, and still see my grandchildren. I’m low-maintenance and free as a bird.
JWS: What recollections do you have from you days in Genesis?
BB: Genesis was the quintessentially family-minded band. In 1976, we were mostly childless young marrieds, and wives or girlfriends were encouraged on the road. Genesis treated touring as an extension of a trip to Harrods. All necessary requirements were laid on, the partners behaved themselves and didn’t interfere unduly.
They were exceptionally considerate to employees, from the high-status sideman such as myself or, later on, drummer Chester Thompson and guitarist DarrylStuermer, down to the lowly third drum roadie from the left. Even girlfriends of sidemen were welcomed into the bosom of this extended family, an unheard-of generosity.
Easy, I hear you say, when you’re a loaded and successful rock band like Genesis with private planes and plenty of manpower to help. But this warmly accommodating, family-friendly attitude had existed from the beginning in that particular band – it was just built into the fabric. King Crimson was bleak, spartan, and unwelcoming to outsiders; Genesis was generous and gently accommodating. I loved playing in King Crimson because I had an emotional and intellectual connection to the music we originated. As a sideman in Genesis, I was only called upon to play some one else’s drum parts, so I was easily bored, and didn’t behave well. I’ve been apologising to them for this ever since!
JWS: Do you have any contact with you old bandmates at all?
BB: Steve Howe, Tony Banks, Tony Levin and Iain Ballamy are accessible and we see each other regularly but not often. I can pick up the phone to all my old colleagues and get a warm reception, which I think speaks to a degree of compassion for the man, not just the musician.
2024 has been a most interesting and agreeable year musically with some real top draw releases. This has been further accentuated by this spectacular release which arrived somewhat from left field. ‘True’ sees the triumphant return of icon and legendary original Yes singer Jon Anderson who, at 79 years of age, is proving there is definitely still life in this old dog yet!
After the years of exclusion from the group that he was one of the original founders of and, in the wake of vocal issues that led to his ultimate departure and subsequent meandering around the outskirts of music, it must offer a real sense of immense pride and satisfaction that this new album from Jon Anderson & The Band Geeks has received such a positive reception, with many hailing it as the album that Yes should be making. Whilst Yes are maintaining their own particular version of the music, albeit to seemingly diminishing returns and in a way that possibly dilutes their legacy, on this album Jon And The Band Geeks craft something that captures much of the original magic that Yes enjoyed with Anderson and offer some real quality material and sound textures that evoke the spirit of prime Yes music in both a modern and yet nostalgic manner. All this whilst managing to avoid sounding like a tribute act.
Apart from the questionable cover image, this album ticks all the boxes, certainly for me at least. However, that aside, this album is actually a complete shock in just how consistent it is, with a slew of excellent songs and sterling performances throughout. With more than echoes of the glory days of the classic Yes era and while embracing the Trevor Rabin, ‘True’ also capitalises on the promise that Anderson, Rabin, Wakeman and Howe had offered. That is all history now as this album really delivers what most people expect of a Jon Anderson project. In short, this is a most excellent new album, I approached it with few expectations and found myself completely convinced by it’s tunes and musicianship. I can see what all the fuss is about, this album runs just shy of an hour in duration and within its grooves we find a distillation of all that is Jon Anderson.
Jon is in extremely fine voice and TheBand Geeks are certainly more than proficient enough to pull this off in style. The excellent guitar work of Andy Graziano, who plays classical guitar lines like Steve Howe most convincingly, is really on point. Chris Clark provides the keyboards while Ritchie Castellano covers bass, Robert Kipp provides secondary guitar parts and Andy Ascolese covers the drums. The Band Geeks actually came together to cover Yes songs which they posted to YouTube and, in the process of doing so, they attracted the attention of Jon who reached out to them. Eventually they agreed to work together on this album and various tour dates.
The album has nine tracks with seven shorter pieces and two lengthier epics, namely Counties And Countries and the truly epic song Once Upon A Dream. These longer tracks are certainly complex in content but are also extremely well executed, the former piece is a distinct nod to the former glories of Yes but not being carbon copies in any way. These songs have life, vigour and vim in spades and we see a completely re-energised Anderson thoroughly enjoying himself and offering some superb music as a result. It’s so good to hear this reinvention again and this album deserves all the plaudits it gets as it is a truly excellent and convincing release.
Once Upon A Dream also really captivates with a vocal opening that evokes the opening bars of ‘Tales from Topographic Oceans’ in its chant. After this the music really begins properly with some strong guitar lines and choppy rhythms and some great guitar runs and a bass that Chris Squire himself would definitely approve of. This song really shines and sparkles showing just how great a band this unit truly is and, it’s a revelation really.
This absolutely wonderful release shoots itself in the top ten of 2024 and I’m sure it will feature prominently in many end of year lists. Intentional or not, Jon Anderson & The Band Geeks have produced the best Yes album of the last twenty years…
The Classic Tales of YES Tour 2024 will include many iconic tracks from the YES back-catalogue covering fifty-plus years. The tour will also include a celebration of the 50th Anniversary of Tales from Topographic Oceans as well as music from their current album Mirror To The Sky.
YES are: Steve Howe (guitars, vocals), Geoff Downes (keyboards), Jon Davison (vocals and acoustic guitar), Billy Sherwood (bass guitar, vocals) and drummer Jay Schellen.
The evening will begin with an on-site presentation by world-renowned artist and designer Roger Dean, whose masterful artwork of striking other-worldly landscapes has graced classic album covers and posters, most prominently by YES and Asia. Every show will feature a Roger Dean gallery in the venue’s reception/foyer area. His work – which also appears on the cover of their current album Mirror to the Sky – has sold more than one hundred million copies worldwide.
“We’re all excited to be bringing our show home to Europe and the UK!” says Steve Howe, “We’ve selected a new playlist of Yes music but with some firm favourites in there too, of course! To keep our performances fresh, we ‘now’ carry our own lights, so we can present a consistent show each night, designed for us by William …….. Looking forward to seeing you out there!”
“We are very much looking forward to the 2024 European leg of our YES Classic Tales Tour. Having recently completed the US, we are now really excited to bring that out to all our fans in the UK and Europe. It promises to be one of our most interesting sets to date, scanning through much of YES’s history and with some previously unheard pieces as well as music from our latest album, ‘Mirror To The Sky’. Bring it on and see you all out there!” Best, Geoff Downes
The Classic Tales of YES European and UK Tour 2024 dates are as follows: Go to www.yesworld.com/livefor all ticketing information.
Europe
April 2024
Tuesday 30 Portugal Lisbon Sabres Sagres Campo Pequeno**
May 2024
Thursday 2 Spain Madrid Riviera
Friday 3 Spain Barcelona Sala Paral·lel 62
Sunday 5 Italy Rome La Nuvola
Monday 6 Italy Milan Teatro Arcimboldi
Wednesday 8 Italy Padova Gran Teatro Geox
Thursday 9 Switzerland Zurich Kongresshaus**
Saturday 11 Austria Vienna Simm City
Sunday 12 Germany Berlin Theater am Potsdamer Platz
Tuesday 14 Germany Halle Steintor-Variete
Wednesday 15 Belgium Antwerp De Roma
Friday 17Netherlands Arnhem Music SacrumTheatre**
Wednesday 18 Germany Moenchengladbach Red Box**
Monday 20 France Paris Salle Pleyel**
Tuesday 21 Luxembourg Luxembourg Rockhall**
UK Dates
Thursday 23 May Manchester Bridgewater Hall*
Friday 24 May Glasgow Royal Concert Hall*
Sunday 26 May Liverpool Philharmonic*
Tuesday 28 May York Barbican*
Wednesday 29 May Southend Cliffs Pavilion*
Friday 31 May Bristol Beacon
Saturday 1 June Birmingham Symphony Hall*
Sunday 2 June Gateshead Sage*
Tuesday 4 June London Royal Albert Hall
**European shows in bold are rescheduled from 2023 and tickets remain valid
*UK Shows rescheduled from 2023, all tickets remain valid.
Formed in 1968 by Jon Anderson and the late, and much-missed, Chris Squire, YES have been one of the most innovative, influential and best-loved bands in rock music history. Their 1970s albums The Yes Album, Fragile, Close To The Edge, Yessongs (a triple live album set), Tales From Topographic Oceans,Relayer and Going For The One were ground-breaking in musical style and content. Their music also became synonymous with artist Roger Dean whose distinctive YES logo design and artwork adorned the lavish gatefold presentation sleeves of many YES albums.
With sales of over 50 million records, the Grammy-award winning YES were inducted into The Rock And Roll Hall Of Fame in 2017 where they performed Roundabout from the album Fragile and the FM radio-friendly Owner Of A Lonely Heart from the 1985 album 90125.
YES released their 22nd studio album in 2021, The Quest, produced by Steve Howe and which went to No. 1 in the UK Rock Albums Chart and entered the Official UK Album Chart at No. 20.
In 2022 came the sad news that drummer Alan White, ever-present in the YES line-up for 50 years, had passed away. The news came shortly before the band embarked on their classic, genre-defining album Close To The Edge50th Anniversary Tour which they dedicated to Alan.
In February 2023, ahead of the news of the new studio album Mirror To The Sky, YES confirmed Jay Schellen as the new permanent drummer with YES, hand-picked to step into his mentor and friend Alan White’s role. “I had done the 2016 tour on my own for Alan,” says Jay. “From late 2017 onwards, we had a beautiful partnership. I learned and discovered so much about Alan’s style. His passion and creativity was phenomenal. The new album has Alan’s presence all over it. It is inside of us. So, this is still, in my heart, Alan just being present and with us, and with me, in a big way.”
Mirror To The Sky, YES’ 23rd studio album, was released on 19 May 2023 to universally positive reviews in the music press. ‘Mirror to the Sky is very much a band album, where all five members… have been at the top of their game’, stated The Progressive Aspect. ‘YES will continue to have a role to play in shaping the future sounds of prog.’
John Wenlock-Smith: Good day Steve, trust you are well?
Steve Howe: Hello John, yes, I’m fine thanks, trust you are too?
JWS: Let’s talk about the new Yes album, ‘Mirror To The Sky’.
SH: If you have questions, I should have the answers!
JWS: Is there an underlying theme to the album?
SH: Yes have only done one themed album (‘Tales From Topographic Oceans’), other things we have talked about but aren’t really thematically related as such.
JWS: I’ve heard the new album, I like it and the fact that you are doing longer songs. Once again, I think it is an approach that really works for you.
SH: After ‘The Quest’ and the good reaction it received, we were inspired to carry on and content to make more new music as we had songs written to work with. This album is the result of that time.
JWS I saw you in Manchester, it was very good and I enjoyed it a lot. You turned in a good show that day.
SH: Thank you, glad you enjoyed it. We enjoyed that short run of shows and it went down well, apart from York which didn’t go so well, I’m afraid.
JWS: I have a question from my friend who asks about your involvement with Queen’s‘Innuendo’ album. How did that come about?
SH: I was in Montreux in a restaurant that I like when a guy called Martin spotted me and invited me to the studio (Mountain Studios, where Yes recorded the ‘GoingFor The One’ album). As I’d finished my meal, I happily went with him to the studio and the band wanted to play me the album. After which they asked me to play on the track Innuendo, as they wanted something extra in the guitar department.
When I pointed out that Brian had done lots of guitar they said they’d still like me to play on it and gave me free rein to play whatever I liked. So they played me the track and I just improvised as I am quite used to doing that, jumping in and creating on the fly. They liked what they heard so, after we’d had dinner together, we returned to the studio and put the two takes together, making what you hear on the album. It was a fun day with great friends.
JWS: I have a question about GTR. Wow come you didn’t record a second album? Is that something you would consider revisiting 30 years on?
SH: Well we did record a live album for King Biscuit Hour in Germany, I think? (it was actually in Los Angeles in 1996) but we split the band after that and, whilst certain parties wanted us to do it again, it adds a certain complexity with managers and timings etc. Finding time in what I’m doing now means doing it all again would be a huge undertaking. I’ve moved on from those days, although I did enjoy that time, we had a lot of fun doing those tours. It was easier to revisit Asia actually but, again, I had to curtail that as I was busy with Yes.
JWS: So, Yes is your main focus these days then?
SH: It is really, especially as we are on a creative roll at the moment, things are going well, plus I still have my solo stuff around to keep me occupied.
JWS: So the tour this year was postponed because of insurance issues? I was looking forward to the ‘Relayer’ shows actually.
SH: Yes, we decided to postpone those shows after a few years of uncertainty over them and the insurance was a major factor, but not the only factor.
JWS: You probably have lots of demand on your time with everything you are involved with?
SH: Well, actually, I don’t. I have Yes and my solo stuff and I control what I do so that I run it, not the other way around.
JWS: I’ve written a review about it (the new album), I was generally positive about it, I said that Genesis and King Crimson have ended and Deep Purple and BOC are nearing the end and, really, we should respect that and appreciate you while we still have you.
SH: Good perspective and insight for us all, I think!
JWS: Well, I think that’s it from me apart from to say thank you for your time and trust the album goes well for you and hope to see you next year in Manchester
SH: Thank you John.
The new Yes album, ‘Mirror To The Sky’, is out now and available to order here:
It’s May 2023 and the world of Yes has been busy with stuff, namely cancelling the previously, hotly anticipated ‘Relayer’ tour because of insurance issues and also the soon to be released second blast of creativity that began with 2021’s ‘The Quest’ album and short UK tour in the wake of the passing of Alan White! That album, ‘TheQuest’, was an interesting one as it firmly established Steve Howe’s ongoing leadership and steerage of the band, of which he is now the sole link to the ground-breaking group he joined in 1970. Steve was also very instrumental in their achieving significant success with their golden age of Atlantic albums in the early to mid 1970’s with the classic releases ‘The Yes Album’, ‘Close To The Edge’ and ‘Fragile’.
‘Mirror To The Sky’ definitely has more than a touch of those halcyon days with it consisting of six longer tracks and three extra tracks on a second disc. All very promising you may say but is it any good or does it paddle previously visited waters and add very little of merit? Both good questions, I personally think that any new Yes music warrants a listen as, despite many folks dismissal of Yes now as a poorer version of the real thing, I actually see much merit in having the band still active. After all, with both King Crimson and Genesis calling it a day now and Deep Purple and Aerosmith possibly approaching their last days of existence, to still have these stalwarts prepared to go out and tread the boards is both heart warming and very worthy of seeing. The last time I saw Yes in Manchester, they played a strong set with Steve being on especially fine form, yes, notes may have been missed but the intent was still there and the fire still burned for sure.
This album opens strongly with the vibrant Cut From The Stars, which is about dark skies, light pollution and the beauty of being able to see the stars clearly without the disturbance of excessive urban lights. Many folks won’t have experienced the clarity that is offered when urban lighting hasn’t reduced the amount of stars visible to the naked eye. This song is a good one with strong vocals and Billy Sherwood’s bass lines being very reminiscent of Chris Squire and really grace the track. All Connected continues the trend with some graceful pedal steel guitar lines opening the track. This has definite nods to earlier Yes days, Jon Davidson having definitely grown into his role as lead singer and here he really convinces as his vocals certainly evidence the spirit of Jon Anderson while also retaining his own stamp on proceedings, a difficult task but one he manages with style. Steve Howe’s strong guitar work is very prevalent on this track, playing some great lines and licks throughout. Steve has always been a tasteful player who plays to support the song rather than to overpower it. His restraint is important and that knowledge allows the music to swell and pulsate in a pleasing and satisfying manner.
Luminosity is another longer song and these longer format tracks really suit the group as they allow the band room to improvise and explore musically, which suits and reaffirms their validity and raison d’etre. It also harkens back to their 1970’s heyday where longer tracks were their normal way of working. I feel this method and manner of working suits them best. It also makes for good listening, well it does for me at least and I think they have really made an important musical statement with this album saying in effect, yes we are still here, making the music we want in a way that you can hopefully want to connect with, appreciate and enjoy. Come and join us, judge for yourself we are not a tribute act and we do still have validity and worth. This album shows that commitment to me, Yes may have had their problems and issues over recent times but here we see a band still hungry for approval and not content to fall back on former glories. They are still keen to make good progressive music for the 21st Century and get out to folk and deliver that same quality of experience as they have previously done.
This album may not have the same strength and impact as ‘Close To The Edge’ but it certainly tries and plays to their strengths remarkably well, well that’s what this says to me anyway! I also must mention the albums longest track, the epic Mirror To TheSky which, at nearly fourteen minutes in length, is the albums centrepiece. The song opens with some solid guitar lines from Steve and a gentle acoustic guitar before being joined by Billy’s fine bass and strong drumming from Jay Schellen and more solid fluid guitar parts from Steve, all before a word is sung. This three minute instrumental opening section leads into emotive vocals from Jon Davidson, ‘dreamof a sky without fire’ being the refrain. This is a moody soundscape that builds slowly and solidly and the song progresses well with its various sections combining to create an epic whole. It is a well crafted track that shows the sum is greater than the whole and that, only together, does the group really make sense. There is a great guitar riff that runs throughout that really elevates the track as it is very impressive and effective sounding. More clipped arpeggios lead to a mellow keyboard section in which atmospherics and harmonic touches add to the overall sound palette. This is all most impressive sounding with great bass playing holding it all together and a superb descending guitar riff with orchestrations from Geoff Downes before SteveHowe takes flight delivering a fiery solo which, along with Geoff’s elegant orchestrations, brings this satisfying track to a mighty fine conclusion.
The final track of the main album, Circles Of Time, is a gentle, mostly acoustic driven, track with more fine Jon Davison vocals and a gentle tambourine helping to deliver some rhythmic impetus. A suitably subdued Steve Howe solo also graces the track and this one really works for me as it is a gentle close to a really good solid set of tracks.
The bonus disc has three tracks, a longer piece called Unknown Place that is bass heavy and is a rather good, medium-paced, number yet is one that allows good guitar and bass interaction. It is quite punchy number and repeated plays reveal it to be a very strong track. Billy Sherwood really shines and you can see why Chris Squire wanted him to take his place in Yes. Also impressive on this track are GeoffDownes‘ commanding organ parts that sound great, very Wakeman-esque really and, overall, this track is really rather a good one. The other two songs, One SecondIs Enough and Magic Potion are good but don’t really generate the same excitement for me, both are pleasant and well delivered but not essential for me, although I really do like that bass!
So there you have it, nine tracks over two discs and the vast majority is really great music. In today’s era, compared to some of the bland music being made, this will do very nicely thank you! It will be interesting to see how this translates to a live environment next year on the UK tour.
Progressive legends YES have announced UK dates for the Classic Tales of YES Tour 2024. The 9 UK dates includes a visit to London’s Royal Albert Hall and the Bristol Beacon together with 7 dates rescheduled from the 2023 UK tour, for which all tickets remain valid.
YES are delighted to include the Royal Albert Hall among their 2024 UK tour dates having first played this prestige venue in 1968 and many times since through their illustrious career. Tickets for the Royal Albert Hall show (Tuesday 4 June 2024) and Bristol Beacon (Friday 31 May 2024) go on sale on at 12noon on Friday 12th May 2023.
The tour will feature Steve Howe (guitars, vocals), Geoff Downes (keyboards), Billy Sherwood (bass guitar, vocals), Jon Davison (vocals and acoustic guitar) and new drummer Jay Schellen. Jay began playing with YES, in 2016, when long-serving drummer Alan White was beset by health issues. Following Alan’s untimely passing in 2022, it is with Alan’s blessing that Jay has permanently joined the band.
The Classic Tales of YES Tour 2024 promises to include many iconic tracks from the YES back-catalogue covering fifty-plus years and, possibly, music from the new album Mirror To The Sky (to be released on InsideOutMusic/Sony Music on the 19th May 2023).
Looking forward to the Classic Tales of YES Tour, Steve Howe said: “We’re putting together a great setlist covering the length and breadth of YES’ career.”
“As always, we are committed to pushing new boundaries and are very excited to be performing another chapter in the rich legacy of the band,” added Geoff Downes.
The Classic Tales of YES Tour 2024 dates are as follows:
Thursday 23 May Manchester Bridgewater Hall*
Friday 24 May Glasgow Royal Concert Hall*
Sunday 26 May Liverpool Philharmonic Hall*
Tuesday 28 May York Barbican*
Wednesday 29 May Southend Cliffs Pavilion*
Friday 31May Bristol Beacon
Saturday 1 June Birmingham Symphony Hall*
Sunday 2 June Gateshead The Sage*
Tuesday 4 June London Royal Albert Hall
*Show rescheduled from 2023, all tickets remain valid.
Formed in 1968 by Jon Anderson and the late, and much-missed, Chris Squire, YES have been one of the most innovative, influential and best-loved bands in rock music history. Their 1970s albums The Yes Album, Fragile, Close To The Edge, Yessongs (a triple live album set), Tales From Topographic Oceans,Relayer and Going For The One were ground-breaking in musical style and content. Their music also became synonymous with artist Roger Dean whose distinctive YES logo design and artwork adorned the lavish gatefold presentation sleeves of many YES albums.
With sales of over 50 million records, the Grammy-award winning YES were inducted into The Rock And Roll Hall Of Fame in 2017 where they performed Roundabout from the album Fragile and the FM radio-friendly Owner Of A Lonely Heart from the 1985 album 90125.
YES released their 22nd studio album in 2021, The Quest, produced by Steve Howe and which went to No. 1 in the UK Rock Albums Chart and entered the Official UK Album Chart at No. 20.
In 2022 came the sad news that drummer Alan White, ever-present in the YES line-up for 50 years, had passed away. The news came shortly before the band embarked on their classic, genre-defining album Close To The Edge50th Anniversary Tour which they dedicated to Alan.
In February 2023, ahead of the news of the new studio album Mirror To The Sky, YES confirmed Jay Schellen as the new permanent drummer with YES, hand-picked to step into his mentor and friend Alan White’s role. “I had done the 2016 tour on my own for Alan,” says Jay. “From late 2017 onwards, we had a beautiful partnership. I learned and discovered so much about Alan’s style. His passion and creativity was phenomenal. The new album has Alan’s presence all over it. It is inside of us. So, this is still, in my heart, Alan just being present and with us, and with me, in a big way.”
YES, who are Steve Howe, Geoff Downes, Jon Davison, Billy Sherwood & Jay Schellen, are pleased to announce their new studio album Mirror To The Sky on InsideOutMusic/Sony Music on the 19th May 2023. “This is a very important album for the band,”says Steve Howe, Yes’ longest serving member, master guitarist, and producer of Mirror To The Sky. “We kept the continuity in the approach we established on The Quest, but we haven’t repeated ourselves. That was the main thing. As Yes did in the seventies from one album to another, we’re growing and moving forward. In later years, Yes often got going but then didn’t do the next thing. This album is demonstrative of us growing, and building again.” For Yes, that “next thing” is a collection of high energy, intricate, lush and layered new studio songs for an album which adds to the band’s much heralded legacy, while charting a path to exciting future times ahead.
Today, the band are pleased to launch the video for the album’s second single. Listen to and watch ‘All Connected’ here:
Jon Davison comments: “I, along with my Yes band mates are excited to announce that the second single from our new album, Mirror to the Sky is out now. It’s entitled, All Connected, and it’s a longer piece, clocking in at a challenging 9 minutes. Steve added a beautifully poignant instrumental steel part which starts the journey. This section emotionally builds and crescendos into a glorious lead way for the vocals to begin telling their story. Billy composed complex and compelling musical themes which I helped to arrange, and we both composed vocals and lyrics, each of us singing our respective parts, making for a rich vocal tapestry.”
Billy Sherwood adds: “The initial idea came from a musical sketch I’d created using the idea of our “connectivity” in regards to communications in the modern age. It’s very exciting to know YES are maintaining that edge and energy we all know and love, this track is firing on all cylinders. Hope you enjoy it as much as we did creating it.”
As they were wrapping up The Quest, Yes found themselves with song sketches, structures, and ideas that were demanding attention. Yes received unconditional support from InsideOut boss Thomas Waber, who encouraged them to keep going in the studio, months before The Quest would even go on sale. It was like throwing gasoline on their creative fire.
“When we delivered everything, and they were just getting the vinyl and everything into production for manufacturing, we were still very much in that creative zone,” explains Steve Howe. “That belief that Thomas had in us really meant a lot,” he says.
“We truly get along as people,” says Jon Davison. “I feel like everyone’s focused inward to the greater circle, concentric to the core of highest standards that define Yes. It’s a wonderful thing to witness and of which to play a part. I believe this reflects vibrantly in the music and the creative input that each one is willing to apply, not for the benefit of the individual, but for the greater whole that is Yes.”
“There was a lot of material floating around because the band hadn’t done anything in the studio for so long. Ideas were just copious,”says bassist Billy Sherwood. “The pace of it was fast. As soon as we were finished with The Quest, and the mix had come out, we took a couple of little breaks there to catch our breath. But there was still music flowing around in the loop. It was just constantly being looked at and worked on. As we were all home and in that mode, things started progressing quite swiftly. We just went one album into another without really announcing, ‘Hey, we’re working on a second record right now.’ We just continued to work on material. It came about pretty naturally, and then we refined it as the process went on. But the initial bursts — there was a lot of material around!”
Much to everyone’s delight, including that of longtime-fan Thomas Waber, Yes have pushed into territory they practically invented — the prog rock epic — albeit in a thoroughly new and modern way. “I always felt that it would be great to have stuff that’s a little bit more epic,”he says, although he resisted the temptation to push for something that would be too formatted and could come off as contrived. He just gave the band space to do what they do and let things develop. “They were so excited by The Quest and the momentum they had that they went straight back in to the studio. What they were writing, even early on, was obviously headed in that epic direction — what Yes music really is to me. It is almost a genre onto itself. It is ‘Yes Music.’ Mirror To The Sky certainly is Yes Music.”
Mirror To The Sky features not one, but four tracks clocking in at over eight minutes, with the sweeping and cinematic title track coming in just shy of fourteen minutes. What’s more, the tracks, like Yes’ best, take the listener on a wide dynamically ranging journey of soundscapes which also showcase Steve Howe’s dazzling guitars, Jon Davison’s angelic, crystalline vocals, Billy Sherwood’s deftly dancing bass, keyboard wizard Geoff Downes’ impeccable sounds, exquisite melodies and fills, and Jay Schellen’s masterfully controlled explosions, on drums.
Jay Schellen, who has been touring with the band since 2016, was hand-picked to step into his mentor and friend Alan White’s role when White sadly passed away in 2022. “I had done the 2016 Topographic Drama tour on my own for Alan,” says Jay. “From late 2017 onwards, we had a partnership, and a beautiful partnership, I might add. I learned so much, and discovered so much about Alan’s style, and why it was the way it was. It fit his personality so perfectly. This album has Alan’s presence all over it. It is inside of us. So this is still, in my heart, Alan just being present and with us, and with me, in a big way.”
YES, who are Steve Howe, Geoff Downes, Jon Davison, Billy Sherwood & Jay Schellen, are pleased to announce their new studio album Mirror To The Sky on InsideOutMusic/Sony Music on the 19th May 2023. “This is a very important album for the band,” says Steve Howe, Yes’ longest serving member, master guitarist, and producer of Mirror To The Sky. “We kept the continuity in the approach we established on The Quest, but we haven’t repeated ourselves. That was the main thing. As Yes did in the seventies from one album to another, we’re growing and moving forward. In later years, Yes often got going but then didn’t do the next thing. This album is demonstrative of us growing, and building again.” For Yes, that “next thing” is a collection of high energy, intricate, lush and layered new studio songs for an album which adds to the band’s much heralded legacy, while charting a path to exciting future times ahead.
Today also sees the launch of the first track taken from the album. Listen to Cut From The Stars & watch the video here:
‘Mirror To The Sky’ will be available on several formats, all featuring artwork by longtime Yes artist & collaborator Roger Dean:
Ltd Deluxe Electric Blue 2LP+2CD+Blu-ray Artbook with poster
Ltd Deluxe 2CD+Blu-ray Artbook
Ltd 2CD Digipak
Standard CD Jewelcase
Gatefold 2LP+LP-Booklet
Digital Album
The blu-ray editions include the album as Dolby Atmos, 5.1 Surround Sound, Instrumental Versions & Hi-Res Stereo Mixes.
As they were wrapping up The Quest, Yes found themselves with song sketches, structures, and ideas that were demanding attention. Yes received unconditional support from InsideOut boss Thomas Waber, who encouraged them to keep going in the studio, months before The Quest would even go on sale. It was like throwing gasoline on their creative fire.
“When we delivered everything, and they were just getting the vinyl and everything into production for manufacturing, we were still very much in that creative zone,” explains Steve Howe. “That belief that Thomas had in us really meant a lot,” he says.
“We truly get along as people,” says Jon Davison. “I feel like everyone’s focused inward to the greater circle, concentric to the core of highest standards that define Yes. It’s a wonderful thing to witness and of which to play a part. I believe this reflects vibrantly in the music and the creative input that each one is willing to apply, not for the benefit of the individual, but for the greater whole that is Yes.”
“There was a lot of material floating around because the band hadn’t done anything in the studio for so long. Ideas were just copious,” says bassist Billy Sherwood. “The pace of it was fast. As soon as we were finished with The Quest, and the mix had come out, we took a couple of little breaks there to catch our breath. But there was still music flowing around in the loop. It was just constantly being looked at and worked on. As we were all home and in that mode, things started progressing quite swiftly. We just went one album into another without really announcing, ‘Hey, we’re working on a second record right now.’ We just continued to work on material. It came about pretty naturally, and then we refined it as the process went on. But the initial bursts — there was a lot of material around!”
Much to everyone’s delight, including that of longtime-fan Thomas Waber, Yes have pushed into territory they practically invented — the prog rock epic — albeit in a thoroughly new and modern way. “I always felt that it would be great to have stuff that’s a little bit more epic,” he says, although he resisted the temptation to push for something that would be too formatted and could come off as contrived. He just gave the band space to do what they do and let things develop. “They were so excited by The Quest and the momentum they had that they went straight back in to the studio. What they were writing, even early on, was obviously headed in that epic direction — what Yes music really is to me. It is almost a genre onto itself. It is ‘Yes Music.’ Mirror To The Sky certainly is Yes Music.”
Mirror To The Sky features not one, but four tracks clocking in at over eight minutes, with the sweeping and cinematic title track coming in just shy of fourteen minutes. What’s more, the tracks, like Yes’ best, take the listener on a wide dynamically ranging journey of soundscapes which also showcase Steve Howe’s dazzling guitars, keyboard wizard Geoff Downes’ impeccable sounds, exquisite melodies and fills, Jon Davison’s angelic, crystalline vocals, Billy Sherwood’s deftly dancing bass and Jay Schellen’s masterfully controlled explosions, on drums.
Jay Schellen, who has been touring with the band since 2016, was hand-picked to step into his mentor and friend Alan White’s role when White sadly passed away in 2022. “I had done the 2016 Topographic Drama tour on my own for Alan,” say Jay. “From late 2017 onwards, we had a partnership, and a beautiful partnership, I might add. I learned so much, and discovered so much about Alan’s style, and why it was the way it was. It fit his personality so perfectly. This album has Alan’s presence all over it. It is inside of us. So this is still, in my heart, Alan just being present and with us, and with me, in a big way.”
YES are delighted to announce that drummer Jay Schellen has joined the band as a permanent member. Following the sad passing of our iconic drummer, Alan White on 26th May 2022, Jay will fulfil Alan’s wishes in becoming the new drummer with YES.
Jay Schellen was Alan White’s choice to stand in during the Topographic Drama tour, in 2016, and shared drumming duties with him from 2018 onwards. Jay had previously played alongside YES’ keyboardist Geoff Downes and late bassist Chris Squire together with long working relationships with Alan and YES bass guitarist Billy Sherwood. This gave Jay a deep insight into the workings of the dynamic rhythm section that drives YES’ music.
Steve Howe says “We’re all delighted to welcome Jay officially into the fold! He’s been a great support throughout the last seven years, and we couldn’t have found a better all round team player.”
“I am thrilled to become the new drummer with YES,” says Jay. “I grew up playing along to YES records and I am proud to have worked so closely with my musical hero and great friend Alan White these past few years. I will strive to honour his memory as we drive towards the future with the band.”
