Following the sad news of the passing of drummer Alan White, YES will go ahead with their forthcoming The Album Series Tour 2022 in June celebrating the 50th anniversary of their iconic album Close to the Edge, dedicating the tour to Alan White.
On 25 May 2022 Steve Howe & Geoff Downes spoke to Prog Magazine Editor Jerry Ewing ahead of the Close to the Edge 50th Anniversary Tour. This interview was recorded before Alan White passed away.
Here’s a link to the interview:
The Album Series Tour 2022 will celebrate the 50th Anniversary of YES’ iconic album Close to the Edge and will feature the album, performed in full, along with other classic tracks from YES’ extensive catalogue.
The Close to the Edge show will comprise full production and high-definition video wall directed by Andy Clark and featuring the artwork of Roger Dean who will also be joining the tour with an exhibition of YES related art.
The tour line-up will feature Steve Howe (guitars and backing vocals), Geoff Downes (keyboards), Jon Davison (lead vocals), Billy Sherwood (bass guitar and backing vocals) with Jay Schellen (drums and percussion).
About YES
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. In 2021 YES released their 22nd Studio album, The Quest, produced by Steve Howe, which went to No.1 in the UK rock chart and entered the Official UK Album Chart at No. 20.
In this piece I talk to Steve Howe about about both the forthcoming Yes UK live dates, why they are not playing ‘Relayer’ this time around and about the ‘Asia in Asia’ box set that is due out in June.
John Wenlock-Smith – Good afternoon Steve, are you keeping well?
Steve Howe – Yes I am, thank you.
JWS – You are in Devon today then?
SH – Yes, in a secret location! I moved here some 26 years ago from London and, whilst I still live in London, I visit as much as I can as my studio is here.
JWS – Fair enough. I have spent many happy times in Devon. It is a lovely area.
SH – Yes, well I certainly like the slower pace as opposed to the madness of London!
JWS – So the tour that you are doing in June, how come you are not going to do the ‘Relayer’ album, as originally announced and intended?
SH – Well, with it being a shorter run of dates, as we cancelled the European leg, it’s now just the ten shows in the UK. We felt that it was better to postpone that particular album, especially as ‘Close To The Edge’ is 50 years old this year, and perform that in its entirety instead. We will also do a few other favourite songs and some of ‘The Quest’ album, although I’m not saying which we will play, keep it under wraps as it were.
So that is the plan now, and save ‘Relayer’ till next year when we can give it the treatment that it deserves, so we chose to concentrate on playing CTTE this time around, to give it a good airing and celebrate the anniversary in this manner.
JWS – Yes, because you have had Patrick Moraz along for some shows doing ‘Gatesof Delirium’ ?
SH – We had Patrick play Soon with us on a tour that Tony Kaye had joined us for, the celebratory tours. We like doing that sort of thing, although we have no plans on that as yet, not that to say that that it’s out of the window but, at the moment, we are concentrating on getting back out on the road after three years enforced time away.
Also, that is why coming back after 3 years away, we are doing what we are comfortable with and can do to the standard that is required and that Yes fans warrant and demand.
JWS – Yes, I can understand that way of thinking, plus it leaves the way open for a further tour with ‘Relayer’ being featured.
SH – Exactly…
JWS – I am glad that tracks from ‘The Quest’ will be featured, as I really enjoyed that album. I thought The Ice Bridge was exceptionally fine, reminiscent of Fanfare For The Common Man in the keyboard sounds, and also your solo Album ‘Love Is’, with Jon Davison on vocals.
SH – Thank you.
JWS – Well I thought it was a good set of songs, well performed.
SH – Yes, Jon did a wonderful job on that, didn’t he?
JWS – I also really enjoyed the ‘Homebrew 7’ album.
SH – Thank you, that was quite different for me in that it did not have the usual Homebrew story but was mostly unreleased tracks and ideas that I was able to work to fruition and completion. It was a retro album of music that was unreleased so thank you again for appreciating that.
JWS – I enjoy listening to latest music, especially music that you have released, so what are the chances of having your two original Atlantic albums (‘Beginnings’ and ‘The Steve Howe Album’) being re-released again?
SH – Warner’s, Rhino, Atlantic or whoever have been so nice to me, they are officially releasing those albums, so I will investigate that. I think it’s marvellous to be part of the story of Ahmet Ertegun (Atlantic label founder).
Howe Sound, the label that releases many of my albums, is quite diverse really and I feel comfortable with what they release for me, plus I like to do things differently and not be stuck in a treadmill way of things.
JWS – I do not blame you, variety is the spice of life, or so they say.
SH – Indeed.
JWS – Now Asia, that new Boxset (‘Asia in Asia’) that is coming out in June (10th) is very impressive…
SH – BMG have released the Reunion albums, with Fantasia releasing the DVD but this one is even nicer. That is, I especially like the diligence, I like detail anyway and this set really has an elevated level of detail to it, making it worthy of attention. When we did those shows some forty odd years ago, Greg (Lake) was really inspiring in that he was singing John’s (Wetton) parts, playing his bass lines too and doing it all with dignity and aplomb.
The Asia story is all told within those sets really, the two original albums, ‘Go’ and ‘Asia In Asia’ and then the years where Geoff was holding the banner, keeping the flame alive as it were, with various people drifting in and out including myself. Then there’s the reunion and subsequent albums and tours, it’s all in those albums and the ‘Asia In Asia’ especially shows a period where Greg really rose to the occasion magnificently as the set testifies in such a great way.
JWS – The only criticism I have, and it is a minor one really, is that, in the booklet, it mentions a documentary filmed around that time in which each member traces their Asia journey and, although mentioned, I cant see it on the Blu-Ray?
SH – Well, I thought it was there, but I will investigate that and see. Although Blu-Rays are notorious for not being easy to find things on, I know that from experience, so I will check into that for sure.
JWS – I agree that Greg did an outstanding job. This is borne out in the remixed audio on the CD’s where he sings, albeit in a lower register on some tracks, but in a very accomplished manner and his bass playing is equally as inspiring too.
SH – When I heard the audio for the mix, it was good until we got to the last two tracks, Heat Of The Moment and Sole Survivor, where they sounded awful. So I took it up with the label and they said Steve’s really on the ball, those two tracks hadn’t been remixed. I insisted that they were brought up to the same standard and I’m glad to say that they did just that and now they sound fantastic.
JWS – Good, I am very much looking forward to seeing you in Manchester on the tour.
SH – Good, well I love the Bridgewater hall, I played a solo concert there several years ago and thoroughly enjoyed the experience. It reminded me of those early shows where I learnt my craft, like the one when I played support to Delaney andBonnie along with Eric Clapton and George Harrison etc, remarkable times and music.
JWS – Have you heard Geoff’s Downes Braide Association stuff at all?
SH – Yes, I have heard that it is an exciting outlet for his music.
JWS – Plus Roger Dean participates in the artwork for that.
SH – Yes, well Roger is a big part of the Yes story, he will be on the tour too.
JWS – Well Steve, my time has gone, so may I just thank you for your time today and I will hopefully see you in Manchester next month.
SH – Thank for talking to me and for your interest in my music and of Yes too, thank you John.
You’re going to need time, lots of it too, to get maximum enjoyment from this pretty exhaustive and, at times challenging, box set of 6 CDs. If you do then you can evaluate the career of Sevenoaks born drum maestro William (Bill) Bruford. The box set covers the 40 odd years of his often-erratic career choices and defining drum work.
Bill was an original member of Yes, leaving them shortly after the success of the ‘Close To The Edge’ album for what could be considered more challenging music as offered by King Crimson, with whom he made several seminal albums like ‘Lark’s Tongues inAspic’, ‘Starless and Bible Black’ and ‘Red’, before Crimson fractured and took a hiatus for several years. This was considered an odd move by many, but Bruford wanted to challenge himself, rather than playing the same music ad-nauseum. He was also a part of the original U.K. project with John Wetton and Alan Holdsworth but, again, left after their debut album and tour to concentrate on forming his own band, Bruford, who made three excellent albums and played some fine live shows.
Bruford joined a reformed Crimson for their popular 1980’s reinvention, Adrian Belew and Tony Levin appearing alongside Bill and Robert Fripp for the albums ‘Discipline’, ‘Three Of A Perfect Pair’ and ‘Beat’, that tell the story of that era. When Crimson took an extended break, Bill started his own jazz project, BillBruford’s Earthworks, which was significantly different to all that he had done before. Much of this can be explored on the other four discs within this set along with his involvement as a supporting musician to the likes of Roy Harper, ChrisSquire, Al Di Meola, Steve Howe and David Torn. There are also a slew of collaborations with Patrick Moraz and Michael Borstlap, in their piano and percussion ensembles.
Bear in mind that a lot of this was improvisation at its rawest, so this is not always easy to listen to, yet there is much of worth and value to these discs. It’s not all about the big groups, much of Bill’s joy has been found in the less high profile works. This set is challenging and you can hear how Bill uses space in his music to fine effect and how he has a ‘less is more approach’ to making music. He is a skilled musician and he prefers to underplay as opposed to overplaying, subtlety being the key here, which is why he is so highly regarded by his fellow musicians and his contemporaries. Neal Peart of Rush says that the advancements that Bill made in the realm of electronics were a benefit to everyone.
The Bruford tracks are really fabulous music with a strong bass presence from Jeff Berlin and urgent sympathetic drumming from Bill. Tracks like Joe Frazier from ‘Gradually Going Tornado’ really show Bill’s skill as a band leader. In contrast, the Earthworks tracks are far mellower in the main but still with enough going on to make them of interest and investigation. The band’s revision of Downtown, as made famous by Petula Clark, is exceptionally inventive as they play around with a well-known piece to make it something rather different and exciting.
I really liked the spontaneous elements in the Bruford-Moraz tracks with just piano and drums playing together. The sound is full ,even though there are only two people playing and both Bruford and Moraz use the space in the music to create something pretty remarkable really. As are the tracks with Michael Borstlap which also fuse Bill’s drumming with piano in free form jazz tracks that again use the space to improvise across. This is especially the case on The 16 kingdoms of the Five Barbarians, with it’s thunderous drums and tense piano fills and flourishes, this track really makes an impression as does the highly rhythmic interplay on display on the Stand on Zanzibar, which features a graceful piano melody line and delicate yet informed drumming from Bill.
Equally fascinating are the trio of tracks from David Torn on which Bill appears as part of the rhythm section. Some of this jazz is pretty brutal and harsh, such is the way with the unconventional Torn, but it makes for interesting listening once you get used to it.
The set is split into three sets, discs 1 & 2 represent The Collaborator, discs 3 & 4 are The Composing Leader, disc 5 is The Special Guest and disc 6 Is The Improviser. Much of the first two discs will be familiar, as this encompasses his time with Yes and KingCrimson whilst discs 3 and 4 cover the Bruford and Earthworks era, with everything else on discs 5 & 6. Either way this set is simply fascinating and one that will appeal to the more broad-minded prog fan as its grooves contain much very fine music indeed. The included book and poster are decent too and give a good overview from Bill himself, who was fully 100% involved in this project.
YES, who are Steve Howe, Alan White, Geoff Downes, Jon Davison and Billy Sherwood, recently released their new studio album The Quest on InsideOutMusic/Sony Music The album was produced by Steve Howe. “Much of the music was written in late 2019 with the rest in 2020. We commissioned several orchestrations to augment and enhance the overall sound of these fresh new recordings, hoping that our emphasis on melody, coupled with some expansive instrumental solo breaks, keeps up the momentum for our listeners,” said Steve.
Today the band are please to reveal a video for the track ‘Future Memories’, watch it now here:
‘The Quest’ also sees its physical release in North America, as of today.
Pick up your copy here: https://yes-band.lnk.to/TheQuest The album has also been hitting charts worldwide, find a selection of them below: #7 German Album Charts
#20 UK Album Charts
#1 UK Rock Album Charts
#5 Swiss Album Charts
#8 Japanese International Weekly Charts
#23 French Physical Album Charts
#37 Belgian National Album Charts
#54 Dutch Album Charts
#60 Italian Album Charts
The Quest was recorded across the globe, The sessions took place in the UK with Steve Howe, Geoff Downes & Jon Davison, while Alan White & Billy Sherwood got together in the studio in the US. “Billy Sherwood and myself did all the rhythm sections, bass and drum, in America,” says Alan White, “down in Los Angeles at Uncle Studios, where he works a lot. It helps when you’ve got a good place to work,” Alan laughs, “and Billy’s really good on the recording desk, so we got things down relatively quickly. I spent quite a while studying the music before I went down to LA so I was prepared.” The Quest is also now available for pre-order on various formats, including a Limited Deluxe Box-Set that features a Gatefold 180g 2LP on exclusive coloured vinyl, 2CD+Blu-ray Digipak (featuring 5.1 mix & backing tracks), 36-page perfect bound booklet, enamel pin badge, 60x90cm poster, slipmat & hand-numbered certificate of authenticity, all housed in a rigid lift-off box.
Containing 11 songs, 8 on the main CD with 3 extra tracks on a bonus CD, The Quest will also be available as Limited 2CD+Blu-ray Artbook, 2CD Digipak, Gatefold 2LP+2CD & as Digital Album. Order now here: https://yes-band.lnk.to/TheQuest
The Quest – 2CD Digipak tracklisting: CD1: 01. The Ice Bridge 7.01 02. Dare To Know 6.00 03. Minus The Man 5.35 04. Leave Well Alone 8.06 05. The Western Edge 4.26 06. Future Memories 5.08 07. Music To My Ears 4.41 08. A Living Island 6.52
CD2: 01. Sister Sleeping Soul 4.51 02. Mystery Tour 3.33 03. Damaged World 5.20
Formats are:Limited Edition Deluxe 2LP & 2CD plus Blu-ray Box-setLimited Edition 2CD & Blu-ray ArtbookGatefold 2LP & 2CD plus LP-booklet2CD DigipakDigital Album Cover artwork designed and created by the band’s long term collaborator Roger Dean.
YES Story For half a century YES have been the definitive band of the progressive music genre, the band by which all others are judged. Their ground-breaking albums of the 70s set the standard for the genre and influenced countless others who followed in their wake.
The current line-up of YES was completed in 2015 when Billy Sherwood replaced founder member Chris Squire, at Squire’s insistence, as he bravely fought a losing battle with leukaemia. Since then, YES have concentrated on touring with their Album Series tours, each featuring a classic YES album in its entirety. During this period YES have released three live albums Topographic Drama – Live Across America (2017), Yes Live 50 (2019) and The Royal Affair Tour: Live in Las Vegas (2020).
The music of YES has endured over the years and has been handed down through generations of music lovers.
‘The Quest’ is the first new Yes music in seven years. During that time much has happened with the death of founder member and bassist extraordinaire Chris Squire. Chris wanted the band to continue without him and had readied a replacement in Billy Sherwood. Sherwood was already known to Yes fans as he had been involved with the ‘Open Your Eyes’ and ‘Live at the House of Blues’ albums from the early 2000’s.
After the somewhat disappointing ‘Heaven and Earth’ album from 2014, this album needed to be a significant improvement over that somewhat lacking release and I can say that, whilst it may not be the absolute triumph that was needed, it is at least a far better and more convincing album all round. When you consider that the album was created across various continents and times, all whilst in the midst of the Covid pandemic, I think you will agree that this is a very worthy effort by the band to move onwards once again.
The release comprises of the main album and a second disc with 3 bonus tracks, although with the main CD running at 47 minutes, quite why they needed a second disc is a bit of a mystery as the 3 bonus track could have all fit on the main disc, quite odd really. Another big difference here is that Steve Howe has produced the whole album. I have to say that he has done a good job too, giving plenty of space for each instrument and the vocals to be clearly separated and heard, giving a good clear sound throughout.
The album opens with a very strong start in The Ice Bridge, which bears a passing resemblance to Fanfare For The Common Man, especially in the keyboards of GeoffDownes. Yet, even so, this is a good strong opening track that sets out the stall for what is to follow. The song has a definite Yes groove to it, offering a first glimpse of Billy’s take on Chris Squires‘ legendary bass playing and he gets it bang to rights. Jon Davison is on top form, still sounding like Anderson-lite but adding his own touch in the vocals. The song also has a great ascending riff from Steve Howe that really works well, adding much pace and drive to proceedings. This song also allows for some good interaction between Steve’s guitar and the Geoff’s keyboards, all very ably backed by the rhythm section of Billy Sherwood and Alan White, it’s all very fine indeed but, can it continue? is the question here.
Dare to Know follows and opens with a sprightly guitar line from Steve Howe and some good bass that underpins the music most satisfyingly. The song is quite mellow and laid back really but, even so, still manages to impress and, once again, Jon Davison’s voice sounds fabulous and really suits the sound, which is very full and impressive.
I will say that I think this album is a grower and familiarity will reveal its treasures as you listen to it, so be prepared to invest some time with it to really get the most out of it. It’s not a bona fide classic but it certainly has enough moments of brilliance to make it worthy of hearing. Yes have been around for fifty two years now, so they have little to prove these days and really we should just be glad that they still are around and still making music in the twilight of their years.
Minus the Man has a certain something to it, especially in the chorus and the lovely and eloquent guitar line that weaves its way through the song so gracefully. The track is very pleasing and sets you up well for the epic Leave Well Alone that follows. This one has touches of Asia and also has some delicate acoustic and steel guitars from Steve Howe. The song is in three parts which all work well together and, as the longest track on the album, it really does impress. As it gives room for some stretching out, I imagine this would be a good live track for the band when they tour next year.
The Western Edge is the next track and this has a broad sound palette to it with more of Howe’s guitar lines adding great sound touches to proceedings. The pace of is brisk and rather urgent in places and it benefits from that energy, as well as the synths from Geoff that are littered throughout this song. It is the shortest on the main album and it does not overstay its welcome at all. Future Memories is a gentler song driven by Steve’s acoustic guitar and interlaced with his electric guitar lines as well. It is also graced by a very fine vocal from Jon, who I have to say really sings well on this album, he has grown into his role in the band and, whilst he is clearly influenced by Jon Anderson, his own unique voice has emerged, as is clearly shown on Music to My Ears, the penultimate track on the main album.
The final main album track is the Caribbean inspired A Living Island, inspired by Jon enduring lockdown in Barbados for five months, yes, some folks suffer for their art don’t they ? The song is graceful and moves from a Caribbean lilt to a more conventional ecological tour de force again, there are lots of Steve Howe’s delicate mandolin and guitar on this track.
This track closes the main album but I’ll do a short summary of disc two with the three extra songs. Sister Sleeping Soul is another Howe driven track with gentle guitar tones and a good vocal from Jon. Mystery Tour is a tribute, musically and vocally, to the Beatles and gives the chance to cram as many Beatle references into one song as they can, it’s still an interesting song though and has some merit to it i feel. It is also good to hear Steve playing such fluid guitar lines and tones and has a lovely guitar break from Steve along with great dynamics. This shorter track is very worthy of hearing as it has much happening throughout. Damaged World is another good track again with an environmental bent to the lyrics but the groove is strong and, musically, it is a good song. It is not as good or strong as the songs on the main album but, even so, it is always good to have Yes music in whatever form it may come.
This album set has caused lots of different views and opinions amongst fans both old and new but, in conclusion, I would say that, as an album, this is fine if you place it in its context and bear in mind how it was compiled. On that basis it is a worthy addition to the Yes canon and should be judged as such. There is much to enjoy here if you open your ears to this particular version of the band.
The release of the first new material from Yes since ‘Heaven and Earth’ has been a long time in coming. During that time there have been many changes to the world of Yes, most notably the sad death of Chris Squire in 2016. There has also been the impact of the Covid 19 pandemic that has wreaked havoc with most people’s plans, a situation that Yes have also been affected by. Here’s what Yes keyboardist Geoff Downes had to say about this period.
John Wenlock-Smith (JWS): Good day Geoff, thanks fore making time to talk with me, how have you been keeping during this time?
Geoff Downes (GD):I’ve not been too bad, I’ve managed to keep myself active. We recorded this new album remotely with Alan (White) and Billy (Sherwood) in the US, Jon (Davidson) in the Caribbean and Steve (Howe) and myself here in the UK, it’s a nice way of working I find.
JWS: Results Seem to be positive, you seem to bring out the best in each other somehow?
GD: Yes, I think it does, it also gives you the chance to sit back and look at it all. We’ve had to do that with this Yes album and I think that we’ve learnt quite a lot by doing it that way. It’s a different approach but, at the same time, it can be creative as well.
JWS: It getting interesting reviews (the album), isn’t it?
GD: Yes, obviously the days of the band being in the studio for months locked away doesn’t really exist these days, as they did in the ’70’s. It’s been difficult with having the rhythm section in California, they were sending us files to review on a regular basis. But, of course, we’re not alone in that we were all locked down for months on end and we’ve had to adapt and respond to that as best as we could. Without the benefit of being able to play any live shows it has put people on a different route forward. It meant taking a more flexible approach to things really.
JWS: I spoke to Steve Hackett recently and he was saying a similar thing, he has had to adjust to a new approach to his music, but at least he is able to go out on tour again now.
GD: Yes, I had an email from Steve asking if I wanted to see him in Cardiff tThe nearest place to where I am in Chepstow) but he was saying I can’t see you though, we do the show and move the whole bubble onwards. So I didn’t get to see him this time, but I’ve seen his show many times at various stages. He always puts on a great show. He really puts a lot into his shows, not just him and his band but in the staging and the lighting and the whole experience and performance really. I’m looking forward to catching up with him again when he comes back round.
JWS: Touring will be happening for Yes again soon though?
GD: Well, yes, we’ve got a tour booked for next May and June in the UK and Europe.
JWS: This is the ‘Relayer’ Tour?
GD: Yes, it’s been postponed twice so we’re hoping it’s third time lucky for it to go ahead.
JWS: Well, the album is very interesting, I’ve heard it all, and the bonus tracks, one of which is obviously a tribute to the Beatles. But the whole album is interesting lyrically, you’re not afraid to tackle some important and controversial issues like ecology and conservation?
GD: I’m not involved with the lyrics per se, Jon was stuck in Barbados for 5 months and I think that’s reflected in his lyrics, global warming, obviously, and I think The Ice Bridge reflects those concerns. There’s nothing worse than musicians standing on a soapbox telling people what they should be doing but, by the same token, it’s true that the band are all getting older which brings its own challenges.
JWS: So what’s happening with the Downes Braides Association? I loved the ‘Halcyon Hymns’ album and wrote a glowing review of it, I thought it was excellent!
GD: Well, Chris has moved back here now from LA and I’m hopeful that we can get together and work on the next one more directly, as opposed to being two oceans apart. So we will have to see how that comes about in due course.
JWS: You also had the Asia albums re-released recently (‘The Reunion Albums 2007 to 2012’) on BMG.
GD: The 40th anniversary of the ‘Asia’ album is in 2022, so those albums are being re-promoted again to mark that event. Those first three albums were very significant and its important to mark those events again fully.
I’ve still got unworked material from a session I had with John (Wetton) before he sadly died so there is potential there to craft something new. I feel that Asia has not run its course and that there is still some life left in the band. Again, we’ll have to see what emerges from those sessions.
JWS: What about a new solo album for you? Surely you must be due for another one soon?
GD: Yes, I have been thinking about doing something, although quite what that will be is very open. I think I’d like to do something in a similar vein to ‘The Light Program’ from 1987, a sort of ‘stream of consciousness’ album of its time but worth revisiting again I think.
JWS: I also read recently that you wanted the keyboards on this new album, ‘The Quest’ to be more analogue than digital, more like earlier Yes albums?
GD: When I was growing up, I was hugely influenced by the keyboard sounds that Tony Kaye used on those early Yes albums. He was a monster on the growling Hammond and when we did the ‘Yes 50’ tour, Tony was a guest on some dates. He still commands the Hammond organ and we became good friends, so that was a big factor for me. Plus, I think the music Steve was making on the guitar leant itself to that classic type of sound, so that’s what I did, and I think it worked okay.
JWS: Tony Has a new solo album out, ‘End of Innocence’, have you heard it yet?
GD: No, but I want to hear it, it’s all about the World Trade Centre and 9/11 isn’t it?
JWS: Yes, it’s a good album.
GD: Does he play lots of Hammond on it?
JWS: Yes, throughout.
GD: I’ll have to ask management to get me a copy then.
JWS: You won’t regret it Geoff, it’s a fine piece of work, very worthwhile. Anyway, my time has gone, I’m afraid, thanks for talking to me.
GD: No problem John, thanks for interesting questions and for knowing your stuff, I’ve enjoyed talking to you, thank you!
‘The Quest’ by Yes is released on 1st October, 2021 and you can order a copy here:
Significant events in history are often remembered by thinking about where we were at the time. For instance, I was with a friend when I heard the sad news that Princess Diana had died in a car crash in Paris on the 31st August 1999.
The events of 9/11 were very memorable for me in that I was working in Liverpool at the time and some of our people were en-route to new York at the time and we didn’t know what flights they were on or whether or not they had got caught up in the whole sequence of events. It turned out that they hadn’t and were diverted to Canada as US airspace was closed down because of the attacks.
This meant that I had the news on my computer and kept it on all afternoon and watched the tragedy unfold in real time, via live feeds. I saw the second plane hit and saw the folks jumping to their deaths and watching with horror when the towers finally gave way.
I was appalled, shocked,horrified and angry at this senseless barbaric act. Especially as I had long wanted to visit New York and see the World Trade Center for myself. Now that was no longer possible thanks to these terrorists, well I had flown over the towers in 1989 on my way to Florida so I had at least seen them standing proud as a beacon of America before this tragedy happened. or have been conceived of by Osama and his merry madmen.
Tony Kaye was similarly moved by the dreadful events of that fateful day. So much so that he took his keyboards out of storage in his garage and began composing much that reflected his feelings about that day. Now his first solo album from emerges just shy of the 20th anniversary of those events, the album being largely instrumental in nature apart from the opening track and track 10 which features his wife.
Tony Kaye was the original Yes keyboard man who has been with the band on several different occasions, initially in their early days and prior to ‘Close to the Edge’, for which he was replaced by Rick Wakeman. When Tony left Yes he spent time in Flash with Peter Banks and thereafter with Badger who supported Yes at The Rainbow in 1972. They recorded the set and subsequently released it as the excellent ‘One Live Badger’ album, produced by Jon Anderson.
After this, he played with Badfinger and then joined Chris Squire and Alan White in the Cinema project that morphed into a new version of Yes along with Trevor Rabin. This, of course, yielded the mega hit Owner of a Lonely Heart and the ‘90125’ album and subsequent World Tour. Following on came ‘Big Generator’ and then somewhat unusual ‘Union’ project which merged a Trevor Rabin version of Yes with Anderson, Bruford, Wakeman and Howe in an 8 man conglomerate of Yes members with mixed results and a confused touring scenario.
After the ‘Union’ tour Tony had decided to retire as he was approaching 70 years of age. He slipped quietly into the background until the events of September 11th stirred the desire to remember the dreadful events in the only way he knew, i.e. musically. This album is a requiem and memorial to the near three thousand people who died that day as it explores the events as they unfolded.
It is possibly best heard in one sitting as Tony intended, the music will take you on a strange journey into those events and, yes, it may fill you with strong emotions as you listen. However, I would urge you to persevere with this as it is a remarkable journey, highly emotional and yet somehow triumphant. It works as a testament to the bravery shown on that day by the people of New York and its Police and Firefighters, many of whom are included in that death toll of 2997 people. It is also a reflection of the resilience of the American nation as they weathered this storm together in sorrow..
The album is really just all by Tony alone, although his wife Dani Torchia appears on track 10 – Sweetest Dreams – while fellow Yes man Jay Schellan also appears on Track 8 – Flight 11 – on which he plays a drum solo. The album doesn’t actually show any musicians credited other than Tony and Dani.
This is a hugely atmospheric album whose quiet dignity contains both malice and beauty. It certainly is very moving and obviously a labour of love and a dignified memorial to all of those affected by the events of that day. The artwork is by long time Yes collaborator Roger Dean who, instead of spatial visions, offers a rather more sombre view, invoking a vision of ungodly destruction and storm clouds that matches the remarkable sounding and fascinating music.
Whilst the events were dreadful and shocking, this album at least offers a degree of hope and optimism that they that the aims were totally in vain and that good things have emerged from those dark days. This is a musical experience that will require your patience to unravel and appreciate but it is a most worthy piece of work and highly impressive. The use of actual recordings from the day add great insight as to how the events unfolded and add much realism to the music. It makes for a very impressive album, highly recommended on a bold and wide screen, and is dignified and complete.
YES, who are Steve Howe, Alan White, Geoff Downes, Jon Davison and Billy Sherwood, release their new studio album The Quest on InsideOutMusic/Sony Music on 1st October 2021. “It is simply an honour for me to have the opportunity to bring together the band members in the development of a well-refined set of songs that capture the band’s true potential,” said Steve Howe, who produced the album. He added “Much of the music was written in late 2019 with the rest in 2020. We commissioned several orchestrations to augment and enhance the overall sound of these fresh new recordings, hoping that our emphasis on melody, coupled with some expansive instrumental solo breaks, keeps up the momentum for our listeners.” Additional percussion was provided by guest Jay Schellen who supplements YES’ live performances.
Label Manager Thomas Waber said “I am delighted to welcome YES to the label and am looking forward to seeing the reaction of the band’s fans to the new album. Being a long-time fan myself, I am really excited by the new material. Steve Howe managed to capture many of the important elements that we all love about YES!”
YES are pleased to reveal the first track to be taken from the album – The Ice Bridge – watch the video here:
Alan White comments: “I’m extremely proud to be a part of this music and believe the video graphics are outstanding. A collaboration of many talents coming together to produce ‘The Ice Bridge’. I hope our fans/audiences will appreciate the creativity put forward. I’m pleased to share it with the world and hope everyone will enjoy the ride.”
Steve Howe adds: “’The Ice Bridge’ opens the album in the dark and moody key of C minor, aided by the orchestra. The rolling bass part kicks things into gear as the vocals and guitars start a winding journey through the various structures till the breakdown happens, where ice breaking is heard.”
Jon Davison was working with Geoff Downes on The Ice Bridge (Davison/Downes), looking at the dangers of climate change. He explained how he sets about collaborating with his band mates.
“Usually what happens is each member is left to write their respective parts and put their stamp on things. Geoff sent me a selection of exciting and often gorgeous snippets he had created and made it clear that he wished I experiment freely and develop as needed. This in turn gave me the confidence to take on the vocal role – lyrics, vocal melody and harmony, how the vocals are presented and uniquely phrased – but all the while striving to stay faithful to Geoff’s initial ideas.”
“Jon’s vocals are fantastic,” adds Geoff Downes, “he’s really come into his own as a YES vocalist. This time he’s started to get the writing side together and working with the other musicians has been developmental for him. I think he’s hit a rich seam on this one.”
Containing 11 songs, 8 on the main CD with 3 extra tracks on a bonus CD, The Questwill be available on Vinyl and 5.1 Blu-ray and CD, all on the day of release. The Quest– 2CD Digipak tracklisting:
CD1:01. The Ice Bridge 7.0102. Dare To Know 6.0003. Minus The Man 5.3504. Leave Well Alone 8.0605. The Western Edge 4.2606. Future Memories 5.0807. Music To My Ears 4.4108. A Living Island 6.52
CD2:01. Sister Sleeping Soul 4.5102. Mystery Tour 3.3303. Damaged World 5.20
The Quest is released on 1st October 2021. Formats are:Limited Edition Deluxe 2LP & 2CD plus Blu-ray Box-setLimited Edition 2CD & Blu-ray ArtbookGatefold 2LP & 2CD plus LP and booklet2CD DigipakDigital Album
Cover artwork designed and created by the band’s long term collaborator Roger Dean.
YES has issued the 2019 boxset From a Page featuring Live in Lyon on digital platforms. The 4 tracks created as new content for the miniature five-piece box set of recordings from that era, are joined by a single edit of To The Moment complete with original Roger Dean Artwork.
Watch the video of the single edit for To The Moment here:
All tracks were recorded by the line-up of Chris Squire, Steve Howe, Alan White, Benoit David and Oliver Wakeman: 1. To The Moment (6:09)
2. Words on a Page (6:18)
3. From the Turn of a Card (3:24)
4. The Gift of Love (9:52)
5. To the Moment (single edit)
Oliver Wakeman has personally overseen the preparation of the previously unreleased recordings which were mixed by Karl Groom and mastered by Mike Pietrini.
The double CD album Live From Lyon was first released in 2010 and this edition restored “Second Initial” which was previously a Japanese only bonus track. This is the first time this has been made available on digital platforms.
Oliver Wakeman says: “Following Chris Squire’s passing, I felt that the new music we’d created, but not released, should be heard and not sit unfinished on a shelf. And with Steve, Alan and Benoit’s enthusiasm for the project, I am proud to know that this music will get to see the light of day and, hopefully, be enjoyed by YES fans as a piece of previously hidden Yes history.”
Alan White added: “I’m pleased to see a gem of YES history coming to fruition in the form of this mini box set. New songs from the past and I’m hoping we can find even more music in the archives for future releases.”
About Oliver Wakeman Eldest son of prog legend Rick, Wakeman filled the keyboard role, once held by his father, with YES from 2008 to 2011. His work with YES includes the triple live album In The Present – Live From Lyon, Fly From Here and the From A Page box set featuring recordings from his time in the band and released in 2019. During his tenure with YES, Wakeman also toured and recorded as a member of The Strawbs.
Wakeman’s debut album (1997) Heaven’s Isle was inspired by the island of Lundy, and he has since released a number of solo and Oliver Wakeman Band albums. He has also released several collaborations with renowned musicians, including Steve Howe, band mate to both Oliver and his father in YES for The Three Ages of Magick album, as well as uniting with another guitar legend Gordon Giltrap for the award-winning Ravens & Lullabies album, both of which are set to be part of an upcoming box set. Most recently Wakeman has been working on The Tales by Gaslight box set which contains classic albums Hound of the Baskervilles and Jabberwocky, plus a previously unreleased disc of recording from the never made third album from the trilogy made in collaboration with Clive Nolan. Each album is accompanied 16-page booklets including lyrics, previously unseen artwork and many stories behind the creativity from both Wakeman and Nolan. Tales by Gaslight will be released by Burning Shed on 23rd April available from www.burningshed.com/oliverwakeman
John Wenlock-Smith partakes in a Q&A with Jon Davison about the new Arc of Life project for which Jon is the vocalist.
1/ Arc of Life is a new project, how did to come into existence?
While on the road with YES a few years back, Billy and I found a mutual inspiration to start writing during the long drives on the tour bus. Jay was soon involved, supplying his creative input and positive perspective. We then unanimously felt Jimmy was a natural fit.
2/ Who suggested Dave Kerzner for the keyboard role?
Again we unanimously agreed, as with Jimmy, that Dave would bring the perfect musical ingredients into the Arc fold. We were all thinking the same thing in a sort of collective consciousness, but to answer your question accurately, I believe it was Billy who first gave voice to the idea.
3/ What are the main themes to the album?
The most prominent theme is the evolution of mankind. The concept of an arc of life signifying the rise in man’s consciousness and eventually leading to a far greater understanding, passed all political power play and the greed and indifference which plague and sustain the inequalities of our world. Through this ascension of evolution, man’s intelligence will become highly developed, revealing technological advancements beyond our wildest imaginations.
4/ Were you tempted to get a named producer in for the album or Roger Dean for the cover?
We did seriously consider both at one early point. We discussed the idea of working with Hugh Padgham, but eventually agreed that producing ourselves, with Billy’s skills at the helm, meant ultimately having complete creative freedom.
By choosing to not work with Roger Dean we thought we might minimize the Yes comparisons. I suppose they are inevitable anyway, but we certainly didn’t want to add to them (lol.)
5/ Aside from Yes, what other influences are apparent?
Back to Padgham and The Police sound. Another influence was Peter Gabriel, particularly in a song like, Talking With Siri.
6/ Is this a one off project or can we expect to hear more new material and, if so, is there a time frame for this?
We actually have a lot more material already in the works that will eventually surface on the next record. We have no time frame as of yet for ARC II. More importantly for now, we have so much to look forward to with this record.
7/ This band could have great potential for the live arena, could there be live shows post covid? Could you tour with Yes for example?
We want to be out on the road, sharing our music with as many people as possible, worldwide. We are totally keen to the idea of opening for a bigger arena type band. The only way it would be right touring with Yes is if each member of Yes also performed in the context of their respective solo and side projects. An event highlighting the current day Yes family tree, if you will, followed by a headline performance by Yes.
8/ I think the overall response has been overwhelmingly positive?
That is great to hear. The album has been a long time coming and it’s rewarding to finally witness its coming to light and the enthusiastic reaction of so many.
9/ What’s happening with Yes, is there any progress on new material yet?
We’ve been creating and recording since the pandemic hit and have our sights set on a new album. The rest I’ll leave as a surprise.
10/ What’s the story behind the album cover?
The album cover is symbolic of the dawning of enlightenment just off in the horizon as mankind perceives its light at the end of the long and treacherous tunnel through which we have journeyed – to reach at last the exit of the deep cave of darkness and ignorance. What can I say… I’m an optimist (lol!)
