Yes, Yes, and Yes

Right, now try to look really awkward for this photo, chaps.... perfect!

My Rush (the band) fixation for much of my life was slightly challenged by my adoration of the music of Yes. These British progressive rock giants formed in the late 60's and went on to wear flamboyant and far out stage clothes in the 70's, then screwed around far too much for the rest of their career. Oh, and they entered the history books, along with Genesis, as the grandfathers of prog-rock.

I first heard Yes' music on my favourite FM radio station in the mid-to-late 70's. A little late by some standards, but I had just reached my early teens by then, the age when music becomes everything to a young man. Roundabout and I've Seen All Good People were among their first songs I learned to appreciate. I was a casual fan for a while, but some years later, while in college, a friend played me some of his Yes tapes, stuff I had never heard before - like the Drama and Going For The One albums. Incredibly complex and yet artistically genius music. This was to be my true indoctrination into the world of Yes. That's when I began collecting and obsessing over their albums and seeking out information (this was pre-internet, too, folks) on the band. 

It was in 1983 that the chart-shattering album 90125 hit the record stores and the airwaves. Even though there were some major line-up changes in the band (such as the exit of guitar god Steve Howe) and their sound altered drastically, I loved this new release. I, and my equally rabid Yes fan best friend, would have gone mental if we'd been able to see the band on the 90125 tour.... but sadly, it was not to be.

But fast-forward a few years to the Big Generator tour, and there I was, sitting in the audience, with my beloved proggers before me. Then a couple of years later, I scored great tickets to see an even better, more "classic" version of the band. This was on the tour supporting the one and only album by Anderson Bruford Wakeman and Howe, as the assembled members had renamed themselves. I suppose there were legal issues over the band name "Yes" at the time, possibly concerning lead singer and guitarist Trevor Rabin, who took over on the 90125 and Big Generator discs. ABWH were the nucleus of the "new" band, with hired hand Tony Levin (from King Crimson and Peter Gabriel) on bass duties. It would have been perfection if original bassist Chris Squire had come on board. 

Anyway, ABWH performed a stunning show. The audience enjoyed pristine sound, even in the outdoor venue, a small, almost intimate section of a football stadium... on a beautiful summer evening. I was entranced hearing so many of the oldies played with such technical flair and artistic gusto. It was certainly a night to remember. Drummer Bruford impressed us with a display of his poly-rhythmic virtuosity on a largely electronic kit. Naturally, Wakeman blew the lid off the joint with his mad scientist keyboard-synth assault. And last but not least, Mr. Howe, strummer-supremo, left me aghast at his fluid soloing and versatile riffing on an assortment of electric and acoustic twangers (a technical term). 

I would go on to see Yes again, in yet another incarnation some years later, but this gig stands out among all of the Yes shows I've seen. It was truly like watching them play in my living room. Like a dream come true, I guess you'd say. 

Best concert tour program.... ever