squire the leader?

[Unregistered]

when jon left yes it still was named yes, when chris left yes the name yes could not be used, why?

[gitsy]

Chris never left yes. In fact he is the only member to have always been within the band. It could be your refering to ABWH which toured whilst the west yes (oh lets not get into all that again) were still around. Hence the stange fact that ABWA had to tour with the tag line 'an evening of Yes music'. What a stange and wonderful planet we live on!

[Unregistered]

abwh had a different bass player so chris was not with them at that time so hence no name yes was used but still was yes in my opinion because jon was present, when jon left before drama i thought was not right to be called yes even though they had some good songs on that album especially tempis fugit and trevor did a good job on vocals but must have been some friction as he was also a bass player, then we have the cinema story which would be interesting if had only had come about instead of yes reuniting for trevor rabins efforts.

[Yes2Yes]

Chris is the only member of Yes that has the distinction of never leaving the band.. They should put that on a footnote whenever they come out with a new album.

[wolfhound]

Also, I think Chris legally owns (or has rights to) the name "Yes". Ultimately, someone has to. I could be mistaken about that. If true, it would just cause headaches for everyone if the name were used without Chris being there.

[Vic Anderson]

yes the name is now owned by anderson howe squire white

i don't believe there is a leader

and i believe that jon has the final answer anyways

[sparky]

yes the name is now owned by anderson how squire white
That´s interesting, Vic - I didn´t know that, but that seems to be a really good thing as it means that the name belongs to all of the essential members.

[Roundabout2004]

A trace of the infinite legalities is posted on Henry Potts' site--right up near the top: "The Yes name is owned by Yes '97 LLC, comprising Anderson, Squire, Howe and White."

Each leads in his own way, just as each follows. Each has their strengths; together they manifest more.

No real "leader" IMHO. Yes is a fluid manifestation and artistic expression of the One.

By the way, "Greetings" to all who post here, and to those gracious Souls who birthed this site and keep it going!

C :)

[wolfhound]

Thanks Vic and Roundabout2004
I don't know where I got the idea that Chris owned the name. Thanks for the info.

And greetings Roundabout2004 !

[sunburstbasser]

I think it would be hard to say anyone in Yes is the leader. There have been so many lineup changes, and they've always worked for the music. I don't think they even had a keyboard player in '97, I could be off though, so the members at the time owned the name. For all I know, Wakeman could be a part owner now, too.

I can agree that Drama is sorta not a Yes album. It sounds like Yes, but then at the same time it doesn't. To me, its a much heavier record than their others, at least those I own. But, it says Yes on it, the music is awesome, and the band still rocks. So, all is good!

[Skyward]

According to Chris Welch ( CLOSE TO THE EDGE ), Steve Howe clearly states that no one person has the rights to the name "YES". That 'right' is shared by whomever is in the band at the time. It would, however, seem very logical to assume that Chris owns the right to the name considering the fact that he has never left the band. Still, this is not the case.

[Olias of Sunhillow]

Could it be in the time Jon had the idea to call his old friends Bill, Steve and Rick he couldn't use the name YES because there was already a band with that name? As far as I know he left the band. I think whenever Chris desite to leave (I hope he never does) he can not use the name as long as the band still excist.

[Earl Grey]

I think that Chris still has the final word, as to the direction of the band, but I could be wrong.

[pianozach]

Thanks Vic and Roundabout2004
I don't know where I got the idea that Chris owned the name. Thanks for the info.

And greetings Roundabout2004 !

Simple and understandable mistake . . . The band started with Anderson, Squire, Bruford, Banks and Kaye. Banks was replaced with Howe, Kaye was replaced with Wakeman. And the 1st "Classid Yes" was born. Then Bruford quit after only two more albums and was replaced with White. Wakeman left, and was replaced with Moraz, then came back after one album.

Ultimately, Anderson and Wakeman finally left, leaving Squire, Howe and White holding the bag with a concert tour already booked and an album barely started. They recruited 2 Buggles (Downes and Horn), did DRAMA and the supporting tour. And everything kind of just fizzled out until Squire and White found Rabin (following a come-to-nothing dalliance with Jimmy Page) and Rabin's demo's that he was shopping around. They eventually ended up with Kaye back on keyboards, and recruited Anderson as lead vocalist. The new not-Yes band (originally to be called "Cinema") was called -gulp- "Yes."

After two albums, Jon got back together with Howe, Bruford and Wakeman and produced the ABWH album, although they were not able to use the "Yes" name because, as pointed out already, there was already a group by that name (Squire, White, Kaye, Rabin and Anderson)

Since Jon was not able to call his group Yes, it's logical to assume that he did not have the rights to the name. Someone in "Yes" must. Since Rabin was new, and Kaye and Anderson had both been OUT of the group (Anderson missed Drama, and Kaye missed everything after the third studio album), and White didn't join until their 6th studio album, it's only logical to assume that at the time the name ended up with Squire.

But, of course, that's not quite correct. :shrug: I think Pott's site probably comes closest to explaining the whole quagmire.

[pianozach]

Here's a very good short group bio by an actual professional:

Sleevenotes  
AT THE FOREFRONT

Yes are a band with a very complex history. In their heyday during the early Seventies they were at the forefront of the progressive movement and, along with the likes of Pink Floyd, Genesis and Emerson Lake & Palmer, they successfully pioneered a classically refined new category of rock music that was both refreshing and innovative. One of the most popular bands of the era, Yes rapidly evolved into a mega-selling stadium attraction enjoying phenomenal success. Weathering the tide of punk and a dizzying string of personnel changes after re-grouping in the 1980s, they re-established their popularity and now, over thirty-five years later, they continue to soldier on as a recording and touring unit, constantly re-invigorating themselves. They continue to shift albums in large quantities (their whole catalogue has since been re-mastered by Atlantic) and their constantly high standard of musicianship continues to inspire younger generations.

The band was formed in London in 1968 by vocalist Jon Anderson and bassist Chris Squire. Both had made a mark for themselves during the beat boom of the 1960s with The Warriors and The Syn, respectively. Recruiting ex-Federals keyboard player Tony Kaye, former Syn guitarist Peter Banks and Savoy Brown drummer Bill Bruford, the group's break came in November 1968 (following a gig the month before at the Speakeasy Club) when they were selected to open for Cream's legendary farewell concert at the Royal Albert Hall. This secured the fledgling Yes with a residency at London's Marquee Club and a session on John Peel's 'Top Gear' radio show.

BREAKING BOUNDARIES

Picked up by Atlantic Records, Yes released their self-titled debut album 'Yes' in November 1969 and were immediately heralded by the press as 'the next big thing'. By the time of the release of their second album 'Time And A Word' (UK Number 45) in the summer of 1970, Peter Banks had been replaced by guitar virtuoso Steve Howe (ex-Tomorrow / Bodast / The Syndicats / In Crowd). With Howe in the line-up, the band started to make a name for themselves with the release of 'The Yes Album' (UK Number 7 / US Number 40) in April 1971, a breakthrough record that not only proved to be a musical masterpiece but also a commercial success, generating solid sales on both sides of the Atlantic. In August 1971, when Hammond-loving keyboardist Tony Kaye was replaced by highly accomplished synthesiser wizard Rick Wakeman (already a star in his own right for his work with The Strawbs), the marriage of Wakeman's pioneering technique and Howe's dextrous improvisational guitar skills propelled the band to superstardom.

Released in December 1971, 'Fragile' (UK Number 7 / US Number 4) was the first Yes album to sport a Roger Dean-illustrated cover integrated with his now trademark Yes logo. The record also spawned a surprise Stateside hit single with 'Roundabout'. Pushing the boundaries even further, the band's fifth album 'Close To The Edge' (UK Number 4 / US Number 3) released in September 1972 established Yes as undisputed prog rock leaders with an inspired title track lasting over 18 minutes.

EPIC ROCK

The lure of contemporary prog rockers King Crimson proved too much for drummer Bill Bruford and former Plastic Ono Band man Alan White joined Yes just two days prior to the 'Close To The Edge' tour. White immediately exchanged Bruford's jazzier style for a bigger powerhouse rock sound. Yes were now major players, confidently issuing the triple live album 'Yessongs' (UK Number 7 / US Number 12) in May 1973, followed by the double epic 'Tales From Topographic Oceans' (UK Number 1 / US Number 6) in January 1974, a controversial recording that took Yes music to its artistic limits. Unhappy with the band's direction, in June 1974 Wakeman left to go solo. However, former Refugee keyboard player Patrick Moraz proved a formidable replacement, debuting with Yes on the jazz-rock tinged 'Relayer' in November 1974 (UK Number 4 / US Number 5).

Following 'Relayer' it would be almost three years before Yes released a new studio record. In the interim the group fragmented for various solo projects, released a compilation entitled 'Yesterdays' (UK Number 27 / US Number 17), followed by a lengthy concert movie of the band's 1973 tour entitled 'Yessongs'. Despite the lack of new studio material, Yes were still riding the crest of a wave. In the summer of 1976 they performed Philadelphia's JFK stadium to an estimated crowd of 110,000 enthusiastic fans. Prodigal keyboard maestro Rick Wakeman eventually returned to the fold at the end of 1976 and kick-started Yes back into gear. The resultant long-player 'Going For The One' (UK Number 1 / US Number 8) released in August 1977, flew in the face of the emerging punk and new wave onslaught spawning the hit single 'Wondrous Stories'.

‘80S COMEBACK

Yes' next studio outing, 'Tormato' (UK Number 8 / US Number 10) saw a shift towards shorter songs. Released in September 1978 and heralded by the eco-friendly 'Don't Kill The Whale', Yes undertook an 'in the round' series of shows that presented them at their live pinnacle. However, subsequent recording problems resulted in the departure of both Anderson and Wakeman in March 1980. Sensationally, they were replaced by Geoff Downes (keyboards) and Trevor Horn (vocals) from pop act, The Buggles. This bizarre marriage marked a turning point as 'Drama' (UK Number 2/US Number 18), released in August 1980, confidently took Yes music boldly into the Eighties. Without Anderson at the helm the intensive touring that followed proved difficult and Yes collectively called it quits in 1981 as members of the group moved into successful solo careers.

While Wakeman had already established his solo credentials in the ‘70s, Anderson teamed up with Greek synth impresario Vangelis, Howe and Downes formed the supergroup Asia, while Horn settled into a prestigious production role. Yes music was meantime kept in the public eye with the release of 'Yesshows', a double affair made up of mid-‘70s band performances. A multi-platinum comeback was on the cards when, in 1982, Squire, White and original keyboard player Tony Kaye teamed up with South African guitarist Trevor Rabin. When Anderson re-entered the fray Yes was 'officially' reborn. With former vocalist Trevor Horn in the production hot-seat they rose to the top again with the streamlined '90125' (UK Number 16 / US Number 5). Released in
November 1983 it showcased a re-energised band with 'Owner Of A Lonely Heart' hitting the US Number 1 spot.

RE-'UNION'

Released in October 1987, the follow-up to '90125', 'Big Generator' (UK Number 17 / US Number 15) witnessed Trevor Rabin taking firm captaincy of the Yes ship, producing a harder driving AOR-type record. Anderson quickly set the cat amongst the pigeons. While Rabin, Squire, Kaye and White continued on unproductively as Yes, the singer hooked up with former members Bill Bruford, Rick Wakeman and Steve Howe in an attempt to rekindle the spirit of Yes music. A legal dispute between the two camps ensued over ownership of the name which came to a head in July 1989 when the album 'Anderson Bruford Wakeman Howe' (UK Number 14 / US Number 30) gave Anderson's group victory by acclamation. By May 1991 the two camps had reconciled, released the album 'Union' (UK Number 7 / US Number 15) and successfully toured the world with a composite eight-member 'mega' Yes line-up. The ensuing blow-out record-breaking tour raised the band's profile enough for Atlantic to capitalise with the hefty 4CD box set 'Yes Years'.

By April 1994 the group had again fragmented and Yes were back to basics with the '90125' line-up of Anderson-Squire-Rabin-Kaye-White with guitarist Trevor Rabin proving inspiration on 'Talk' (UK Number 20 / US Number 33), painstakingly producing the album entirely on computer. Despite being one of the best Yes records in years it didn't meet commercial expectations and, after a subsequent tour, Rabin left to pursue a career compiling and composing movie soundtracks.

CLASSIC YES

Following a brief hiatus, a series of three concerts organised in California in 1996 resulted in a return to the 'classic' Seventies Yes incarnation of Anderson, Squire, Howe, White and Wakeman, the offshoot of which were two albums of new and live material, 'Keys To Ascension 1' (UK Number 48 / US Number 99) and 'Keys To Ascension 2' (UK Number 62). Surprisingly, keyboardist Rick Wakeman treated the reunion as a one-off and was replaced by Russian keyboard player Igor Khoroshev while bassist Chris Squire brought in guitarist / producer Billy Sherwood to augment the Yes sound. The writing sessions were fruitful and the next Yes release, December 1997's 'Open Your Eyes' (US Number 151), was yet another lease of life for the group. Bravely taking Yes music into the 21st Century, 1999's 'The Ladder' (US Number 99) saw a return to old musical values (captured in their live glory on 2000's 'Live At The House Of Blues') while in 2001 the ambitious 'Magnification', recorded with a full symphony orchestra, marked the band's first studio album as a four-piece following the departure of both Khoroshev and Sherwood.

The whole 'Yessymphonic' rock concept was taken out on the road in 2002 and attracted the attention of Rick Wakeman who rejoined the group for their 2003 'Full Circle' World Tour. Playing to sell-out venues across Europe and North America the 'classic' Yes line-up have since delivered some of their best ever concert performances. Today their commitment to recording and touring remains as constant as ever - suffice to say Yes music has become a phenomenon of 'classical' proportions.

For more information on Yes, visit: www.yesworld.com

Mark Crampton

[invisibleyesman]

Jon is the clear leader. Why do you think there won't be a YES tour this year? Nobody wanted to believe me. I hate to say I told you so, but.....