Yes - Works (1976) **UPGRADE**

I've been listening to a lot or progressive rock recently, especially Pink Floyd, Genesis and Yes, since I discovered a Youtube channel called This Is Angelica. I'm not usually that interested in "reaction" videos, where you watch someone listen to a piece of music for the first time, but I was drawn in when I saw that the track that she was going to listen to was one of my all-time favourites - 'The Gates Of Delirium' by Yes. It turns out that she has only just discovered 70's progressive rock, and it is enjoyable to see her listen to songs that I've known for the last 50 years, and to realise that this music can still find new fans even after all this time. After listening to a few of her Yes videos it reminded me of a project that I've had on the back-burner for a while, and that's an upgrade to one of my early posts, where I used tracks from the members of Yes's solo albums from 1976 to make an equivalent to Emerson, Lake & Palmer's 'Works' album from the same period. When I first put it together I hadn't started to edit music tracks like I do now, and so I didn't cross-fade the tracks but just joined them together, and I always wanted to re-do it with crossfades rather than just one track after another, and so that's what you now have. Each of the six sides of music is now a suite rather than individual tracks, and hopefully this makes it flow much better than the previous version, so give it a try and see what you think. There are no drastic differences, other than re-arranging the running order of 'Suite 5' for a better listening experience, but I feel that the small changes are an improvement to the original post. And if you are into progressive rock then do check out Angelica's Youtube channel. 

Track listing

Suite 1:

a) Ocean Song  b) Impressions (The Dream)  c) Spring - Song Of Innocence  d) Avakak 

Suite 2:

a) Hold Out Your Hand  b) Solid Space  c) The Nature Of The Sea  d) To The Runner 

Suite 3:

a) Impact > Warmer Hands > The Storm  b) Moon Ra / Chords / Song Of Search

Suite 4:

a) Beginnings  b) Silently Falling

Suite 5:

a) Qoquaq Ën Transic / Naon / Transic Tö  b) Break Away From It All  

                                                            c) Symphony In The Space  d) Marching Into A Bottle

Suite 6:

a) Doors Of Sleep  b) Safe (Canon Song)  c) Ram

Steve Howe - ...and on guitar (1991)

In April 1970, Steve Howe replaced Peter Banks in Yes, and his career really started to take off. His playing style soon became instantly recognisable, and he has since become an integral part of the band, playing on every album from 1971's 'The Yes Album' until the band split up in 1981. While he was still finding his feet in Yes, Howe and Rick Wakeman contributed to the recording of Lou Reed's self-titled debut album as session musicians, working together for the first time, and the same year he had played lead guitar on folk duo Curtiss Maldoon's first eponymous album. A couple of years later he played on two instrumental albums, one by his band-mate Rick Wakeman on his first solo records, and also on an album by Johnny Harris, who recorded easy listening versions of popular hits of the the 60's and 70's. It was rather an odd gig, but his contribution to Jethro Tull's 'Love Song' was professional if nothing else. In 1975 the members of Yes took a break to record solo albums, and as well as releasing his own superb 'Beginnings', Howe also found time to help out Yes drummer Alan White with his own solo album, playing on a song to which Jon Anderson also contributed vocals. After that there was a busy seven year period with Yes which meant that he couldn't moonlight on other artist's records, but in 1982 he was asked to play on a song from the The Dregs 'Industry Standard' album, after which guest appearances tended to be spaced out at one every few years, appearing on albums by Propaganda, Billie Currie, Andy Leek and Animal Magic in the mid to late 80's. One particularly fine effort is to be found on the first 'Guitar Speak' compilation album from 1988, where guitarists were invited to contribute one piece of music each, and his 'Sharp On Attack' is one of the best pieces on there. In 1991 Queen invited Howe to listen to rough mixes of their new album, and asked if he'd like to add something to the title track 'Innuendo', to which he readily agreed. He has since said that he was proud to have played his classical guitar solo on the song, and as it was his last guest appearance for seven years, it's the perfect conclusion to the album. One appearance that I've had to omit was his acoustic guitar solo on Frankie Goes To Hollywood's 'Welcome To The Pleasuredome' album, as it was unfortunately just too long to fit on here, but it's another example of the fact that unlike a lot of guitarists in this series who tended to stick to the genre that they were most know for, Howe seemed to have no qualms about playing on records by folk, pop, easy listening, rock, or 80's indie artists, adding something special to each record that he played on.   

Track listing

01 Long Long Time (from 'Curtiss Maldoon' by Curtiss Maldoon 1971)  
02 Berlin (from 'Lou Reed' by Lou Reed 1972)
03 Love Song (from 'All To Bring You Morning' by Johnny Harris 1973) 
04 Catherine Of Aragon (from 'The Six Wives Of Henry VIII' by Rick Wakeman 1973)
05 Song Of Innocence (from 'Ramshackled' by Alan White 1975)
06 Up In The Air (from 'Industry Standard' by The Dregs 1982)
07 The Murder Of Love (from 'A Secret Wish' by Propaganda 1985)
08 Airlift (from 'Transportation' by Billie Currie 1988)
09 Sharp On Attack (from the compilation album 'Guitar Speak' 1988) 
10 Say Something (from 'Say Something' by Andy Leek 1988)
11 There's A Spy (In The House Of Love) (from 'Animal Logic' by Animal Logic 1989)  
12 Innuendo (from 'Innuendo' by Queen 1991)

Yes - The Psychedelic Years (1969)

In September 1967, Chris Squire joined Mabel Greer's Toyshop, a psychedelic group that included Peter Banks, singer Clive Bayley and drummer Bob Hagger. They played at the Marquee club where Jack Barrie, owner of the La Chasse drinking club a few doors down, saw them perform, and was impressed with their musicianship. One evening at La Chasse, Barrie introduced Squire to Jon Anderson, a worker at the bar who had sung with The Gun and also released a few solo singles, but with little success. The two found they shared common musical interests including Simon & Garfunkel, The Association and vocal harmonies,and in the following days they developed 'Sweetness', a track later recorded for the first Yes album. As the band developed, Anderson and Squire brought in drummer Bill Bruford, keyboardist Tony Kaye and Banks for rehearsals, eventually deciding to drop the name Mabel Greer's Toyshop.

After Tony Kaye joined Winston's Fumbs they recorded their one and only single 'Real Crazy Apartment', and shortly after that came out Kaye was invited to attend rehearsals with members of Mabel Greer's Toyshop, a London-based psychedelic rock band, who were forming a new, full-time group. He was approached by bassist Chris Squire after singer Jon Anderson had met Kaye some time before and suggested him, and after a successful audition, he joined Squire and Anderson in the new band.

When Peter Banks left The Syndicats he formed a new band with ex-The Selfs bassist Chris Squire, calling themselves The Syn. They were joined by keyboardist Andrew Pryce Jackman, Steve Nardelli on vocals and Gunnar Jökull Hákonarson on drums, and they recorded two singles, 'Created by Clive'/'Grounded' and 'Flowerman'/'14 Hour Technicolour Dream', in 1967 before calling it a day a year later. Squire meanwhile joined friends Clive Bayley (rhythm guitar) and Bob Hagger (drums) in Mabel Greer's Toyshop, and Banks came to join them, although he briefly left to play with the band Neat Change on their sole single 'I Lied to Aunty May'. Banks then returned to Mabel Greer's Toyshop, and with the loss of Bayley and the addition of organist/pianist Tony Kaye, they started to write new music together, adding to a repertoire which already included Squire/Bayley's 'Beyond And Before' and Anderson/Squire/Bayley's 'Sweetness'.

Meanwhile, Steve Howe's band The In-Crowd had renamed themselves Tomorrow and adopted a psychedelic rock sound, writing more original songs and changing their stage clothes. In 1967, they released two singles, the classic 'My White Bicycle', and it's follow-up 'Revolution, the latter co-written by Howe. During the recording of a new single with producer Mark Wirtz, Howe was asked by Wirtz to record some guitar as a session musician, which he eagerly accepted, and the session led to him recording a selection of singles for EMI, which included his first song 'Mothballs', also known as 'So Bad'. He played guitar on Keith West's single 'Excerpt From A Teenage Opera', which went to No. 2 in the UK, and Howe and his Tomorrow bandmates also took part in a pie fight scene in 1967's satirical comedy film 'Smashing Time'. After Tomorrow split in 1967, Howe played on several songs by their singer Keith West, and by 1968, with his reputation as a guitarist on the rise, he was invited to join Bodast, a trio who went by the name of Canto for a short period. They signed a record deal with Tetragrammaton Records and put down a selection of songs in 1969 at Trident Studios for an album with West as producer, but the label went out of business shortly before its release. After Bodast split, Howe auditioned for The Nice as a potential new member, but decided it wasn't for him, and left the next day, being offered an audition with Jethro Tull, which he failed to attend when he learned the guitarist they wanted would not contribute to the songwriting. He also had a try out with Atomic Rooster while Carl Palmer was a member, but that didn't gel, and so in 1970 he toured as a member of American soul singer P. P. Arnold's backing band, alongside future members of Ashton, Gardner and Dyke, and in April of that year he was approached by Yes to replace the recently-departed Peter Banks. 

When Jon Anderson returned to London a year after the Warriors split up in Germany in 1967, he met Jack Barrie, owner of the La Chasse drinking club in Soho, who had befriended the rest of the Warriors after they had relocated to the city. With no money or accommodation, Barrie allowed Anderson and ex-Warrior Brian Chatton to stay with him, and Anderson helped out by working at La Chasse. During this time he got talking to Paul Korda, a producer for EMI Records, who took him on to sing several demos, and after that he travelled to the Netherlands to join Les Crunches, a band he had met in London. On hearing that some of his demos were to be released as singles by Parlophone Records under the pseudonym Hans Christian, he promptly returned to England, but despite positive reviews in the press neither was successful. In May 1968, Barrie introduced Anderson to Chris Squire, bassist of the London-based rock band Mabel Greer's Toyshop, which had previously included guitarist Peter Banks, and as the two talked they found they shared common musical interests such as Simon & Garfunkel and the idea of vocal harmonies. After some gigs as lead singer in Mabel Greer's Toyshop the members started talking of forming a new band, and in June 1968 they hired Bill Bruford to replace founding drummer Robert Hagger.

William Scott Bruford was born on 17 May 1949 in Sevenoaks, Kent, and decided to take up drumming at the age of thirteen after watching American jazz drummers on the BBC2 jazz TV series, Jazz 625. He cites Max Roach, Joe Morello, Art Blakey, and Ginger Baker as his favourite and most influential drummers as a youngster, and after his sister bought him a pair of drum brushes as a birthday present he gradually built a full drum kit. During his time at boarding school he befriended several fellow jazz fans, and they performed as a four-piece named The Breed from 1966 to 1967 until he was no longer able to attend all their gigs. In 1968 he auditioned for a place in The Savoy Brown Blues Band, but only lasted three gigs as he messed with the beat, and so he joined psychedelic rock band Paper Blitz Tissue in time to record their only single 'Boy Meets Girl'. After he left that band he settled into a flat in north London and placed an advertisement for drum work in the Melody Maker, which was spotted by Jon Anderson, then a member of Mabel Greer's Toyshop. Following a meeting with the rest of the band, Anderson was so impressed with Bruford that he invited him to play with the band that very evening at the Rachel McMillan College in Deptford. Following the gig, Bruford had several offers to join soul bands but chose to remain with Anderson and Squire, who took charge in forming a new band with Peter Banks and Tony Kaye.

After dropping the name Mabel Greer's Toyshop they settled on Yes as the new name, and everything was now in place for the newly-christened band to rehearse, and to start writing material for their first album, destined to become the starting point for a long and illustrious career for all the current and subsequent members. Rick Wakeman joined in 1971, and so is outside the scope of these collections, even though I stretched it slightly to include Steve Howe, who was not actually a founding member of the band, but did join just after their first album had been released. In 1981 Howe obtained the recordings of the songs taped for the Bodast album, and remixed and released them himself, but for these compilations I've just used tracks where he was involved in the songwriting as well as playing on the song, otherwise half the album would be Bodast tracks. If nothing else, these four albums show that every member of Yes had paid their dues over the years, slogging away in various moderately successful or unappreciated bands, and so fully deserved the success and acclaim then they eventually achieved.  

Track listing

Winston's Fumbs (Tony Kaye)
01 Real Crazy Apartment (single 1967)

The Syn (Chris Squire, Peter Banks)
02 Created By Clive (single 1967)
03 Grounded (b-side of 'Created By Clive')

Tomorrow (Steve Howe)
04 My White Bicycle (single 1967)
05 Claramont Lake (b-side of 'My White Bicycle')

Paper Blitz Tissue (Bill Bruford)
06 Boy Meets Girl (single 1967)

Hans Christian (Jon Anderson)
07 Never My Love (single 1968)
08 All Of The Time (b-side of 'Never My Love')

Mabel Greer's Toyshop (Chris Squire, Peter Banks)
09 Beyond And Before (demo 1968)
10 Get Yourself Together (demo 1968)
11 Jeanetta (demo 1968)

Canto (Steve Howe)
12 The Spanish Song (recorded 1968)

Bodast (Steve Howe)
13 Nether Street (recorded 1969)
14 Beyond Winter (recorded 1969)

Neat Change (Peter Banks)
15 I Lied To Aunty May (single 1968)

Enjoy / Enjoy

Track listing

Winston's Fumbs (Tony Kaye)
01 Snow White (b-side of 'Real Crazy Apartment' 1967)

The Syn (Chris Squire, Peter Banks)
02 Flowerman (single 1967)
03 14 Hour Technicolour Dream (b-side of 'Flowerman')

Tomorrow (Steve Howe)
04 Revolution (single 1967)
05 Three Jolly Little Dwarfs (b-side of 'Revolution')

Paper Blitz Tissue (Bill Bruford)
06 Grey Man (b-side of 'Boy Meets Girl' 1967)

Hans Christian (Jon Anderson)
07 (The Autobiography Of) Mississippi Hobo (single 1968)
08 Sonata Of Love (b-side of '(The Autobiography Of) Mississippi Hobo')

Mabel Greer's Toyshop (Chris Squire, Peter Banks)
09 Images Of You And Me (demo 1968)
10 Electric Funeral (demo 1968)

Canto (Steve Howe)
11 Power Of Music (recorded 1968)

Bodast (Steve Howe)
12 Tired Towers (recorded 1969)
13 Nothing To Cry For (recorded 1969)

Neat Change (Peter Banks)
14 Sandman (b-side of 'I Lied To Auntie May' 1968)

Yes - The Beat Years (1966)

Anthony John Selvidge (Kaye) was born on 11 January 1945 in Leicester, and at a very young age was left his grandmother's grand piano, which he played on when he was little. At age four, Kaye began formal piano lessons, and took part in his first concerts at twelve in solo and duet piano performances. His aim was to study at the Royal College of Music in London and become a concert pianist, but he developed an interest in other music once he heard jazz musicians Count Basie and Duke Ellington. By the early 1960s, Kaye had abandoned his classical background in favour of pop and rock music, and after moving to London, he used to visit The Marquee club to watch bands play, including keyboardist Graham Bond whose style became a strong influence. Kaye landed a position in The Federals through an advertisement in Melody Maker and played on their singles recorded between 1963 and 1967, mainly in a covers and comedy showband style, and after passing through Yellow Passion Loaf and Johnny Taylor's Star Combo, he joined Jimmy Winston in Winston's Fumbs. 

Christopher Russell Edward Squire was born on 4 March 1948 in Kingsbury, north west London, and from the age of six his only musical experience was singing in a church choir. He didn't consider a music career until the age of sixteen, when the emergence of the Beatles and the Beat music boom in the early 1960's inspired him to "be in a group that don't use music stands". A school friend recommended Squire to take up the bass after pointing out his tall frame and large hands, thinking they were ideal for playing the instrument, so Squire purchased his first bass. After being suspended from school for having long hair, he never returned, and landed a job selling guitars at a Boosey & Hawkes shop in Regent Street, where he used the staff discount to purchase a new Rickenbacker bass. Squire's first band was The Selfs, a rock and rhythm and blues band that featured Andrew Pryce Jackman on keyboards and Martin Adelman on drums. In 1965, following several personnel changes, Squire, Jackman and Adelman teamed up with singer Steve Nardelli, guitarist John Painter, and drummer Gunnar Jökull Hákonarson to form a new group, the Syn. 

Peter William Brockbanks (Banks) was born on 15 July 1947, and grew up in Barnet, North London, learning to play the  acoustic guitar and banjo as a teenager. His musical career started with the Nighthawks in 1963, and he played his first concert at the New Barnet Pop Festival before leaving them to join the Devil's Disciples in 1964. That band consisted of Banks on guitar, John Tite on vocals, Ray Alford on bass and Malcolm "Pinnie" Raye on drums, and they recorded two songs on an acetate, Arthur Alexander's 'You Better Move On' and Graham Gouldman's 'For Your Love' (which would later be a hit for the Yardbirds). About a year later, Banks joined The Syndicats, replacing their guitarist Ray Fenwick, who had himself replaced Steve Howe, who would later replace Banks in Yes.

Stephen James Howe was born on 8 April 1947 in Holloway, North London, and was exposed to a wide variety of music during his childhood by way of his parents record collection. After he left primary school, he wanted to become a guitarist, and so his parents bought an F-hole acoustic at age 12 as a Christmas present. Two years later he bought a solid body Guyatone, his first electric guitar, which was followed with a Gibson ES-175D in 1964, one of the guitars that he would became most identified with. Later that year he became a member of his first professional band, the north London-based r'n'b group The Syndicats, who were produced by Joe Meek. The band recorded three singles, and the b-side of one of them, 'True To Me', was Howe's first co-writing credit with the band's singer Tom Ladd. In 1965, he left the band and accepted an invitation to join The In-Crowd, a soul and covers band who released a rendition of Otis Redding's 'That's How Strong My Love Is', which just missed the UK Top 40.

John Roy Anderson was born on 25 October 1944 in Accrington, Lancashire, and as a youngster he became a fan of several musicians, including Elvis Presley, Eddie Cochran, The Everly Brothers, and Jon Hendricks. He attended St. John's School, but was not a strong academic, and while there he made a tentative start in a musical career, playing the washboard in Little John's Skiffle Group. At fifteen he left school, and had no particular desire to become a singer until his brother Tony took up singing and joined the Warriors, a local group also known as the Electric Warriors. After one of the backing vocalists left the group, Anderson filled in the position, and found music more enjoyable and a better choice for money than manual labour. The group performed mainly cover songs, and recorded two singles in 1965, 'You Came Along' and 'Don't Make Me Blue'. After the Warriors split in Germany in late 1967, the band returned to England while Anderson stayed behind, briefly singing in the Party, a band from Bolton who were playing in Germany.

Track listing

The Federals (Tony Kaye)
01 Boot Hill (single 1963)
02 Keep On Dancing With Me (b-side of 'Boot Hill')
03 Brazil (single 1963)
04 In A Persian Market (b-side of 'Brazil')
05 Marlena (single 1964)
06 Please Believe Me (b-side of 'Marlena')

The Selfs (Chris Squire)
07 I Can't Explain (demo 1964)

The Devil's Disciples (Peter Banks)
08 You Better Move On (single 1964)

The Syndicats (Steve Howe, Peter Banks)
09 Maybelline (single 1964)
10 True To Me (b-side of 'Maybelline')
11 On The Horizon (single 1965)

The Warriors (Jon Anderson)
12 You Came Along (single 1965)

The In Crowd (Steve Howe)
13 Stop! Wait A Minute (single 1965)
14 You're On Your Own (b-side of 'Stop! Wait A Minute')
15 Why Must They Criticide (single 1965)
16 I Don't Mind (b-side of 'Why Must They Criticise')

Enjoy / Enjoy

Track listing

The Federals (Tony Kaye)
01 Twlight Time (single 1964)
02 Lost And Alone (b-side of 'Twilight Time')
03 The Climb (single 1964)
04 Dance With A Dolly (b-side of 'The Climb')
05 Bucket Full Of Love (single 1965)
06 Leah (b-side of 'Bucket Full Of Love')

The Selfs (Chris Squire)
07 Love You (demo 1964)

The Devil's Disciples (Peter Banks)
08 For Your Love (b-side of 'You Better Move On' 1964)

The Syndicats (Steve Howe, Peter Banks)
09 Crawdaddy Simone (b-side of 'On The Horizon' 1965)
10 Howlin' For My Baby (single 1965)
11 What To Do (b-side of 'Howlin' For My Baby')

The Warriors (Jon Anderson)
12 Don't Make Me Blue (b-side of 'You Came Along' 1965)

The In Crowd (Steve Howe)
13 That's How Strong My Love Is (single 1965)
14 Things She Says (b-side of 'That's How Strong My Love Is')
15 Am I Glad To See You (previously unreleased 1966)
16 Blow Up (previously unreleased 1966) 

Yes - Works (1975)

This isn't a 'lost' album as such, but a fan of these sites called sydfloyd noticed that by 1976 all of the members of Yes had released solo albums, and so he thought 'what if the members of Yes had brought this music to the band in 1975 for their next album'. He took individual tracks from each solo album and tried to compile them into side-long suites, and you'd be surprised at how well some of them work, particularly the first four tracks (Side One).
It ends up as quite a lengthy album, but fans of Yes who know the solo works might still get something out of this. He envisioned the concept as something along the lines of ELP's 'Works' album, with solo efforts being combined into a band release, and so I've adapted that sleeve for the cover to this one.

Track listing

Side 1:
a) Ocean Song - 3:05
b) Impressions (The Dream) - 2:49
c) Spring - Song Of Innocence - 5:02
d) Avakak - 6:55

Side 2:
a) Hold Out Your Hand - 4:13
b) Solid Space - 5:21
c) The Nature Of The Sea - 3:57
d) To The Runner - 4:29

Side 3:
a) Impact > Warmer Hands > The Storm - 7:54
b) Moon Ra / Chords / Song Of Search - 12:48

Side 4:
a) Beginnings - 7:31
b) Silently Falling - 11:27

Side 5:
a) Qoquaq Ën Transic / Naon / Transic Tö - 7:08
b) Marching Into A Bottle - 2:00
c) Break Away From It All - 4:19
d) Symphony In The Space - 2:56

Side 6:
a) Doors Of Sleep - 4:08
b) Safe (Canon Song) - 14:56
c) Ram - 1:54