Where are they now? - Yes
and projects with multiple Yesmen

This page last updated: 18 Oct 16

YES and projects with several Yesmen
Igor Khoroshev
Oliver Wakeman

Benoît David
Jon Davison

Anderson Rabin Wakeman
Others associated with the band

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On this page—Yes: On tour - Live releases - Panegyric/Steven Wilson series - Covers of Yes songs - Documentaries & books

Projects involving multiple Yes men: CIRCA: (Sherwood, Kaye) - Anderson Rabin Wakeman - Mabel Greer's Toyshop

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Yes are Steve Howe, Alan White, Geoff Downes, Jon Davison and Billy Sherwood.

Jay Schellen (ex-CIRCA:, ex-Asia, ex-World Trade) filled in for White on the band's 2016 US summer tour while White was recovering from surgery for an injured disc. White has now returned to live performance and will be with the band for Nov 2016 Japanese dates, but with Schellen also coming along. A press release phrases it as: "Schellen [...] will also travel to Japan and sit in until White is fully healed." Schellen then appears not to be joining for the Feb 2017 Cruise to the Edge.

Founding member Chris Squire died during the night of 27 Jun 2015 from acute erythroid leukaemia. Before Squire's death, it was announced that planned live dates would go ahead with Sherwood filling in for Squire, and Sherwood has now stepped in to replace him. White talked about the band's plans in a 21 Jul 2015 Billboard article:
It's certainly going to be hard without him, but he called me and asked me to keep everything going regardless of what happens[.] So absolutely we're moving ahead. I'm gonna do it for him.
An Aug 2015 interview with Sherwood has this:
Sherwood adds that their last conversations touched on the topic of keeping the band together, with Squire asking him to “keep Yes going as much as possible into the future.”

“At the time I thought he was talking about just standing in[,] but I think he knew and was a little more accepting of his fate then I was.”

In another Aug interview, Downes said:
I think that we all felt it was very important to continue the legacy of Yes, and not just for Chris’ sake but also for the fans and plans and preparations for the tour and the expectations and everything like that [...] there is an air of melancholy but at the same time I think we’ve got to make sure that we try and keep that legacy of Yes going for as long as we possibly can.
In another, Howe was asked about how it felt to be touring without Squire:
It's not quite like anything we expected but we have a sense of duty, responsibility, we all hold positions and you have to forge ahead, whatever happens in your life. You can't run away from things. So I guess we've kind of faced up to it and kind of come to terms with what we're about to do, because, you see, everything about it is unfortunate


There have only been so many gaps in Yes' performance [history] - 2005, 06, 07 are the only times. So there is a sense of responsibility. We do feel like it would be silly just to stop. Even though this is a very dramatic development, to stop maybe wouldn't be fair to Chris, because Chris was obviously hoping we'd carry on anyway. I think we're trying to strike a balance with a brave concept of going on and rising to the occasion.
Further details on Squire's passing here.

In terms of touring, 2016 sees the band in Europe from Apr 2016, a North American summer tour and then in Japan in Nov. The next Wilson remix will be Tales from Topographic Oceans, while another live album, this time covering the band's performance of Drama, is expected. While the band are working on material, there are no immediate plans for a new studio album. In a Nov 2015 interview, Sherwood said, "From what I can gather, it looks like there's more things on the horizon next year [2016], nothing I can really speak about yet, but I'm seeing it developing, and it looks good for Yes to be doing a lot of things next year, so that's exciting to see."

Trevor Horn has guested with the band live this year, twice in the UK and once in the US. In a Jun 2016 interview, while talking about working with Horn during the Drama period, Howe then said: "We have things up our sleeves, which are going to surprise some people, but we can't tell you what that is." I don't know what this means, but my best guess has been that it refers to Howe working with The Buggles. However, at his 8 Oct solo show, Howe made reference to a forthcoming project involving Fly from Here, although he didn't give details. This would seem to be a candidate, although of course that could be within a Buggles collaboration.
Next album?
In an
Oct 2016 interview reports Downes as saying the band are "definitely" hoping to record a new studio album.

Before Squire's passing, there had been some work towards a next album. Squire, Davison and possibly White met in Squire's studio in Mar 2015 to go through ideas. The new line-up appear to have no immediate plans to record a new album, but are developing material. They have been rumoured to be considering doing something at a later time (after 2016), possibly involving some unused recordings with Squire from a number of time periods.

The band are reportedly keen to work with Trevor Horn, who recently guested with the band live, with the inclusion on a new album of old material Horn had worked on, along the lines of Fly from Here, as an incentive. Horn met with the band in Apr 2016 (see this tweet by Downes) and one contemporary report has that they discussed the possibility of Horn producing the next Yes album, with Howe feeling that Fly from Here was more successful than Heaven & Earth. This report, which cannot yet be confirmed, had that the band were then considering 4 pieces (both old and new), including "Go Through This", the Drama-era track previously released as a live recording (The Word is Live) and as demo recordings (by Yes on the Rhino expanded Drama, and by Howe on Homebrew 6). However, in comments on Facebook shortly after doing an interview with Horn in late Jun 2016, journalist Jon Kirkman said, "No more production for Yes [...] certainly not on the horizon for sure". (Howe has hinted at some surprise project with Horn, but this looks to be work with The Buggles.)

Asked whether he and Sherwood had "gotten in a room and tried to create new music" in a Jul 2016 interview, Howe replied:
Well, kind of.  Officially, we’re kind of moving slowly looking at new material. I’m one of the guys who’s most reluctant to start any kind of rush forward because I’ve been writing and Jon [Davison] has been writing. I’d be very surprised if Billy hasn’t been writing. There’s obviously going to be a pause to look at, at some point, but I think we’ve got our work cut out for ourselves pretty much all year. Maybe it’s a thing we’ll do after our cruise next year in February [2017]. We may, but that’s only just a “may” because we still need to be sure about what we’re doing now.

[...] You don’t book a record until you know what you’re going to play. With everybody’s demoing the possibilities are endless, but that’s actually part of the problem too, because we’re all very smart-assed people, you know. It is like, “Here’s a track, it’s me, it sounds like a band but it’s me.”

We do that, but actually true Yes records are written with fragments. Keys to Ascension was a good example of that. We didn’t come in and play anybody’s song. We actually kind of did the rehearsal thing and wrote together and that’s very trying and we’re all long in the tooth about that, but that’s one of the best ways to generate what we can call Yes. They are more of a collaborative record, but they take a long time and maybe that’s why we ought to take a long time.

An Aug 2016 report had that Howe, Sherwood and Davison have been writing together, with Feb 2017 as a possible time for joint writing sessions. A Sep 2016 report from a different source also had principally Howe, Sherwood and Davison writing together, with Downes also contributing, and said that material was coming together, pointing to a 2017 release. In an Aug 2016 interview, Davison talked of writing new material while touring: "I identify and get inspired by being a musician on the road. [...] I find that I get a newfound zeal when we're on tour [...] I'm always jotting down lyrics on tour." He then continued:
we’ve just gotten to know each other better and the dynamic is more diverse. What I learned from doing Heaven and Earth is that we need to allow ourselves more time as a band. We kind of rushed into the studio to do Heaven and Earth because we were so busy touring [...] so people brought in their own ideas and said “Hey, here’s my idea, let’s work this up as a band and take your idea and work it up.” I’d rather take time to write our material as a group. I think that’s what Yes did in its best moments and that’s what I’d like to carry on doing, if possible.
An Aug 2016 interview with Downes had this exchange:
Interviewer: There was a talk of an unfinished longer song with Jon Davison. [see below]

Downes: Yes that’s still there, it’s not completely on the back burner.

Interviewer: So is new YES music maybe in the plans for next year?

Downes: I hope so yes, I think it’s always good to do new music, it enables the touring to have a different angle, I mean we’ve been doing The Album Series for a while now but when you have a new album out it’s always nice to throw in a couple of the songs. [...] it not only keeps the fans interested I think, but it shows that we’re not just prepared to sit back and play the part, we always think about the future.

In another Aug 2016 interview, Downes said creating new material is "important for any band's longevity". He also described songwriting in Yes as "very much more cooperative, more of a group effort" than his songwriting with Wetton in Asia.

While another Aug 2016 interview, this time with Howe, described the band as "not yet planning new material", waiting for White to record and, as Howe said, to make sure "we've got the right kind of music and mindset to do something".
In a Jun 2016 interview, Howe was asked about doing a new album: "we have tremendous interest from labels and people [...] we're certainly not saying we'll never do it, but [...] there are a few criteria that Yes should hit. There's no obligation that we do make another record, but there's no reason why we shouldn't. [...] if we're going to, we've got to decide what kind of record it is, because, obviously, something like Close to the Edge is really worth making, y'know, Close to the Edge 2, but it wouldn't be if it was a pastiche of Close to the Edge, but if it was something as inventive as that. It takes a very inventive band, takes a lot of skilled engineering and production and, and we most probably have some of those [...] strengths available, but [...] it's about getting there, um, and it's about making the decision when we do this [...] [F]irst and foremost it's about having some exceptional songs and [...] that is the make-or-break-it [...] [W]e've got to hit some pretty big bars to get another record, but certainly we love the interest, but we're certainly not going to rush anything. So, therefore, if you wait, you'll find out the answer. [chuckles]" The interviewer then asked whether it "becomes impossible" to make a better album than your previous works after a long and successful career. Howe replied by saying he felt he was still developing as a "guitarist individually", and then said: "[W]hat it would take is that internal creativity again [...] I don't think you're ever too old to do this, but how you get picky enough, and how you get clever enough to realise... honest enough, most probably, to, to really collaborate, that's a skill... that might be something that you're more prepared to do when your 20 or 30 and less prepared to do when you're 60 or 70. [smiling] So, I can't deny those things play in. But I don't think they're actually an obstacle. They could be an ingredient that you've got to work round".

Previously, Howe said, when asked the same in a Feb 2016 podcast interview:
There are no plans, no, no. We don't have plans to do that. We have offers. We have other people wanting us to do it. Er, we're always being encouraged if you like, but when a band is ready to make a record — and we weren't necessarily when we made Heaven & Earth — when a band is ready to make a record, it knows and it has the audacity and the confidence to know that it's doing something really great and I think that's a calling that I'm prepared to wait for. But as members collaborate a little, they might get an idea, they like this song [...] but when you look at an album, it should be about 30 to 40 to 50 minutes long, so you need a few songs, y'know, and the standard and the excellence they should be at if you're going to honour what we've done before
A Mar 2016 interview raises the possibility Howe is working on material that could go towards a new Yes album. The text reads: "he's continually writing and recording ideas, any one of which might possibly end up on the follow-up to 2011's Time [...] or perhaps as part of a new track for Yes. "I think it is a need that I have, a need to invent music in order to feel that I am a guitarist…"" In an Apr 2016 interview, published in Dutch, Howe had this on the topic:
Het maken van albums is trouwens helemaal niet zo spannend als het lijkt te zijn. Doe dus maar geen moeite om me te vragen of we een nieuw album gaan doen, dat zien we dan wel weer. Als we een paar dingen kunnen vinden, de juiste nummers, de juiste arrangementen en de goede locatie voor de opname, maar ook een producer die bij ons past en die er om de juiste reden is. Maar daar zijn we mijlenver van verwijderd, weet je, we hebben absoluut geen haast. We hebben sowieso geen tijd op dit moment om er te veel over na te denken. Jon [Davison] en ik zijn gewoon doorgegaan met schrijven, dat is normaal. Hij is bijna altijd aan het schrijven. Maar om uit te zoeken welke richting we uitgaan, dat is nog helemaal niet aan de orde.


ik kan niet veel meer toevoegen dan op een andere manier te zeggen dat als we materiaal kunnen vinden dat aan de norm voldoet, dat we dan misschien iets hebben om over te praten. Maar ik hou van het maken van nieuwe muziek en men zou verwachten dat het heel makkelijk is om dat te doen met Yes, maar dat is het niet, weet je, het is een groot project, het is een verantwoordelijkheid. Maar er is veel interesse dus we hoeven niet ongerust te zijn.

That is, Howe and Davison are continuing to write material and Howe says he loves making new music, and the band may do a new album if they find the right material that meets the standard and the right producer, but they are a long way from doing so and not in any hurry.

In an earlier Mar 2016 interview, asked about whether there are plans for a new album, Downes said:
Well it’s always on the horizon. I think that one of the reasons why YES has had such a terrific career with longevity is [...] that [...] there’s always been a new chapter to open up [...] depending on who else is in the band or the players at any given time the music, some new music has come into the fray and that’s helped shape and propel the band forwards. So I think that you know at some stage that will be something that will come off and I think you know yes the band will look and it and say yes let’s do that.
And in this Apr 2016 interview, answering a similar question:
The beauty of a band like Yes is that it constantly keeps visiting new material and I think that’s important, there are bands that don’t attempt anything new, they just go out and play their catalogue. I think Yes and Asia are a bit different that and incorporate a new album with a tour. And although the fans may not be familiar with that new music they do appreciate that we are trying to keep the concept fresh and keep moving on through various stages and evolve.
Asked about making a new album in a 6 Apr Q&A, Sherwood replied:
I’m always into making new music [...] That said, YES runs at its own pace. I’m not trying to come into this situation and jump into the front seat and grab the wheel, I’m very much a team player when in bands, A team member with strong opinions musically but never the less, part of a team working as one. That said.. with regards to YES I’m along for the ride right now, so if that vehicle starts heading towards a new album, I’m obviously extremely happy and excited to contribute and do whatever the band would like me to do with it and I have a ton of ideas about things that could go on and how to do things differently while maintaining the essence of that core YES feeling. [...] I’d love to make a new YES album and I’m ready willing and able at a moments notice to do so. On a personal note…. I believe in the band so much so that I could see a huge renaissance if you will by making a great new exciting fresh YES record and then touring that record.
In May 2016, in comments to a fan during the band's European tour, Sherwood indicated that a new album was inevitable, but that it was still early days.

White had said in the Jul 2015 Billboard article that "I think it's too early days yet to really venture into thinking [about new recordings.] We just want to get the band on an even keel first, I think, before we even think about writing new stuff." In an Aug 2015 interview, Downes was asked about doing another album:
I think it’s a possibility. I think much of this is kind of an early situation that we have not yet managed to look at. We’ll take address of the situation once we’ve got through the tour and the cruise and see how not just the fans['] response is but how we feel internally about the situation. But I think we’ve got a very, very strong core, obviously long term fundamental members of the band, and Jon Davison who is a fabulous singer and fabulous talent that we’ve got on board, so I think there’s life in the old dog yet
In an Aug 2015 interview, Howe was asked about plans for a new album. He replied:
I really can't comment on that. We're not wholly sure. [...] we're not interested in doing it very soon. The last record was quite difficult and we have to learn from that. It could be years in the pipeline. It certainly would be a huge mistake to make some quick record and put it out [...] because we've got something really tricky to live up to, it's called things like "Close To The Edge" [...] I would say [...] we better not do the wrong thing. Therefore, to do nothing is a lot safer ground, to move along slowly, until we know a bit more.
In another Aug 2015 interview, Sherwood revealed that, around May 2015, before learning of Squire's ill health, he met Squire, who asked him, in the words of the article, "to take an active role in a planned Yes studio album". Sherwood said: "These were the things we were speaking about - making a great new album and trying to revive Yes on a level that would mean something to the world in a big, big way." It appears Sherwood was to have produced. Another Aug 2015 interview with Sherwood has more on those plans and the future:
That’s the beauty of Yes, [i]t doesn’t relent [...] A lot of the heavier conversations I was having with Chris toward the end were about his desire for this thing to go forward. He kept reiterating that to me and I kept telling him, ‘Yeah, I understand that but we[']re going forward with you in it. I’ll produce it. But you’re going to be the guy playing on it.[’] He kept telling me, ‘No matter what happens, Yes needs to continue moving forward and make great music. So promise me that that’s something you want to do.’ And I have to keep making music. It’s just what I do. [...] I’m a fan of the band and I want to see it thrive and that means new music.
In an Oct 2015 interview, Sherwood said:
I honestly have no idea what Yes plans to do for the future. I know I’m all about wanting to move things forward with new music [...] That said, I’m merely a traveler on this journey and so we shall see where the future takes us, once we get there. I’m never at a shortage for creativity and the desire to push things forward — and, of course, Yes moves as its own pace.
In an interview for the Jan 2016 issue of Prog, he said, "And making a new record? Yes has always moved at its own pace, so we'll have to see where that goes." He sounded more definite in this interview from around Dec 2015: the interviewer says, "I have to assume there's another Yes album in the works." Sherwood replied:
I do too; and with that we’ll just see where this goes. But I don’t think Yes is done producing new music. I am known for being one who pushes forward with new music and the band wants to, I’m sure, move forward too. It’s just a matter of the timing and when. [...] with Chris’ passing it’s very fresh for everybody so it’s not necessarily a topic going on right now. But the evolution of Yes is always about new music. It’s not just about touring. [...] I would love to make a statement with this band that shows vitality and forward thrust.
Asked in a Mar 2016 interview, Sherwood said:
I'm about making new music, that's what I do. I make a lot of it and so making new music with Yes is something that I'd love to do. That said, Yes runs at its own pace [...] I haven't re-joined the band to become a dictator and set everybody's schedule the way I would like it to be [...] I just go with the flow until we're ready to make new music and at that point, turn the faucet on and let the water flow, so to speak.
One of the interviewers then raises Howe's comments saying there are no plans, but speculates that Howe could readily change his mind "when the moment's right". Sherwood responded:
Well, I mean, er, I think that everyone is capable of changing their mind about things depending on the situation, and I know that, y'know, with Chris's passing, it's definitely too soon to be rushing into the studio to make another album. But I think for the band's long-term health and prosperity, the path that we're on right now, just playing live and showing people that it's still alive and well and that this is what Chris wanted, the band wanted, I think doing that and getting around the world and showing people, for the lack of a better phrase, proof of life, will tee up the inevitable next record and it will all come naturally when it comes. But I don't have a problem with people changing their minds about things. [...] Anything's possible [...] had you asked me, do you believe you'll be the bass player in Yes in 2016 next to Steve Howe, y'know, I probably would've said no, because it's no mystery that, y'know, Steve and I have worked closely together and have been [at] odds at times, y'know, I think we've produced some great music through all that and I think that's what Steve really respects the most. He's a man who says what he thinks and I appreciate that because at least you know what you're dealing with, y'know. He's capable of changing his mind, but when he does, that's when things will start changing direction. Again, I think it will all happen naturally.
An unconfirmed report in Jan 2016 had that the band are looking at mid-2017 as a possible target date for a new album.

Previously asked about recording plans in a Jan 2015 interview from NAMM 2015, White replied, "Erm... we've all got music and mmmm and stuff revolving around all the time. We've just got off the last album right now and [...] so, no, we're just laying back, smelling the roses a bit and then we'll be back at it." In a Nov 2014 YesFANZ interview, asked what he will be doing in the band's downtime until summer 2015, Davison said: "a lot of creative ideas that I want to get down on record – just to record some demos and things and it's a good window of time to get back into the studio and my wife and I have a campervan that's lovely [...] we can head for the hills, we can go into the forests and I can write there." (However, he did not specify what this writing would be for.) Later in the interview, he specifically talks about Yes's future:
[Heaven & Earth] was done in such a pushed and rushed sort of fashion that we didn’t get to collaborate as much as a collective, there was definitely a one-on-one [...] which was very productive and that was a wonderful experience [...] but what we would like to focus on for the next one is collectively coming together, actually being in one room at the same time and creating the music as a unit. [...] Basically just jamming it out and recording it and piecing it together that way, that would just be great.  I think that would give it a whole new roundness and really expand [...] what we could do. [...] I want to have more time to explore as they did in the earlier years and really stretch things and see how far out on a limb we can go and of course you need funding to do that (laughs) …….. so we will see if we can actually make that happen in the practical sense as well.
Asked about whether there is a possibility Billy Sherwood would produce a new album, Davison replied, "I would say so. Yeah. Definitely." He also said he would like to work with Trevor Horn at some point.

In a late Mar 2014 interview, talking about Heaven & Earth, Davison said:

when we came together [...] we would sort of try to, er, combine the ideas, expand the ideas [...] especially Geoff and I, we had a big prog piece, but unfortunately we didn't have time to finish it, so that'll probably be on the next album, and we've got a bunch of extra material too that just didn't make it because of, we had sufficient time for this album and things were just left undone [...] due to lack of time.
In the Jul 2014 issue of Prog, Howe, Squire and White all confessed to no knowledge of the piece, but Downes said: "We started it initially in a studio in Phoenix with Chris and Alan — we spent time jamming it and I compiled various section. [...] when Jon came to Wales [...] we worked on it some more [and on "Subway Walls"] [...] we just didn't have time to put it together for the record. It doesn't have a title [...] It comprises about seven or eight different styles of music and is extremely progressive. It has the potential to be a Close to the Edge-style track in terms of landscape and duration, or a Fly from Here. I've got the original demo and I hope to develop it at some point." In a Jun 2014 interview with Jon Kirkman, Squire said, "I think some of that [...] longer track [...] is actually used in "Subway Walls" [...] On the other hand, [...] Geoff and Alan both came to Phoenix [...] in November [...] and we went in the studio there and did some instrumental stuff [...] that we thought would be part of a bigger piece, but that didn't actually get used on the album just because we drew a line [...] I'm sure they'll re-surface in the future." In a May 2014 interview with Aymeric Leroy, Downes also described this piece and speculated it could be on the next album. Davison said to a fan after the band's 9 Jul 2014 show that the band "are working" on the piece and that they hope to make it the "centerpiece" of a follow-up album. It was reported to be going under the title of "Horizons", but a rumour early in 2015 has it going under the working title of "Pyramids" (with the album to be named the same) and to be at ~18 minutes in length.

There was further material left off Heaven & Earth and now reported to be receiving some attention from the band. Rumours point to several pieces. Some date back at least to 2012: "Breaking Down on Easy Street" (seems to be a Squire/Davison or Squire/Davison/White piece); "From the Moment" or "To the Moment" (possibly by Howe); "Midnight" (possibly originally from Squire/White); and "Don't Take No for an Answer". There is also reported to be a Howe/Davison piece (described by one source as having a ""Tempus Fugit" feel" and possibly called "Zenith", although note that name was previously associated with a possible Squire/Davison/White piece in 2012, which may suggest one, other or both reports are garbled) and a Squire/Downes/Davison piece. One rumour around Aug 2014 talked of a possible plan for recording late 2015 for an early 2016 release.

In a May 2014 interview in French, Squire was asked about doing two albums with an orchestra (Time and a Word and Magnification). In his reply, he said, "un jour, nous en referons un autre, c'est sûr!" That is, one day, they will make another.

In the Jul 2014 MusicRadar interview, Howe was asked whether "your motivation for making albums [is] the same as [...] in the '70s?" He replied:
The whole landscape has changed. If everybody who ripped off our album were prepared to give us two months' work of their lives for free, then maybe it would be a very well-balanced situation. [...] They’re taking more than two months – but let’s just whittle it down to two months’ studio work [...] So the reason why we do this has changed a lot. Some people in this band might say that the reason why we do it is because we’re musicians and we’re supposed to make new music. But that’s a bit blind. That’s a little like a mouse saying, ‘I’ll walk across this road even though there’s a cat on the other side.’ [Laughs]

[...] It took me a long time to decide that I would agree to do [Heaven & Earth]. [...] The Rolling Stones, The Who, Aerosmith [...] they make records and they don’t even chart! [...] some of the biggest bands in the world. Yes needs to learn this. [...] [It] is a very, very different scene, and it’s [...] mostly due [...] to the internet. People got the needle about labels making money, but they have to because they have to print, distribute and promote the record, and give us a lousy percentage. Yeah, I could moan about that.

But now we’ve got the situation where people take the music for free [...] it does hurt. It does grieve me that our rights and our copyrights are abused all the time. And yet, we’re stupid enough to go and make another record, which immediately is put on the internet by somebody.


So the inspiration is quite different. I make time, I make my Homebrew series, I’ve done records with Asia – I do things for quite a few different reasons. But when it comes to a high-profile group like Yes… It’s a very complicated question you ask me.

Panegyric re-release series (with remixes by Steven Wilson)
Panegyric, the label behind DGM's King Crimson 40th Anniversary Editions, have re-released a series of Yes albums: in order, Close to the Edge, The Yes Album, Relayer, and Fragile. The releases include bonus material and new stereo and 5.1 Surround mixes by Steven Wilson (Porcupine Tree, No-Man, ex-Blackfield, worked with Steve Hackett, Ian Anderson, Marillion, Theo Travis), who has done similar projects before for King Crimson, ELP, Jethro Tull, Caravan and XTC. Neil Wilkes, who worked with Wilson on the King Crimson remixes and other projects, returns as well. The new mixes use the original multitrack masters. The original stereo mixes are also included. Sleeves notes are by Sid Smith, with others contributing to the releases including Daniel Earnshaw and Anil Prasad. The albums can be ordered direct from Panegyric via the label's official stall at Burning Shed. The band and Roger Dean are also involved and fully approve the releases.

Tales from Topographic Oceans is the final release. Due 6 Oct in the UK and 7 Oct in the US, the release will be available as a 3 CD/1 Blu-ray combination, or a 2 CD/2 DVDA combination. The second and third CD contain an alternate album (from disc 2, track 3 through to disc 3, track 3). The third CD also includes 5 new 'single' edits by Wilson described as "focussing on the song sections of the extended pieces." Tracks:

Disc 1:

  1. "The Revealing Science of God (Dance of the Dawn)", new mix
  2. "The Remembering (High the Memory)", new mix
  3. "The Ancient (Giants Under the Sun)", new mix

Disc 2:

  1. "Ritual (Nous Sommes du Soleil)", new mix
  2. "Dance of the Dawn (2016 mix)", extended version of "The Revealing Science of God", different to the 2003 Rhino version
  3. "Dance of the Dawn (studio run-through)", as previously released on the 2003 Rhino CD

Disc 3:

  1. "High the Memory (studio run-through)", previously unreleased
  2. "Giants Under the Sun (studio run-through)", as previously released on the 2003 Rhino CD
  3. "Ritual (live, Zurich, April 1974)", previously unreleased soundboard
  4. "The Revealing Science of God (single edit)"
  5. "The Remembering (single edit)"
  6. "The Ancient (single edit)"
  7. "Ritual (single edit I)"
  8. "Ritual (single edit II)"

On the Blu-ray/DVDAs is: Blu-ray

  • Full album plus the 2016 "Dance of the Dawn" in 5.1 PCM Surround Sound (24bit/96khz) and in DTS-HD MA 5.1 (24bit/96khz)
  • Full album plus the 2016 "Dance of the Dawn" in hi-res (24bit/96khz) 2016 stereo mix
  • Full album in its original mix in a hi-res flat transfer from an original stereo master tape source (24bit/192khz)
The Blu-ray additionally has:
  • instrumental versions of the new mixes, covering the full album plus 2016 "Dance of the Dawn"
  • the additional material on the CDs in hi-res stereo
  • full album needle-drops of both an original UK vinyl pressing and the US banded promo pressing
The sleeve notes use new interviews with Anderson, Howe and White. Dean's original artwork is expanded with material from his archive. Wilson started work on his mixes in 2013 and finished in Apr 2016. The release made #99 in the UK album chart (14 Oct). It was also #58 in the sales chart (excluding streams) and #41 in the physical sales chart.

Announcing the details of the Tales release in Jul 2016, Wilson ended, "Multitrack tapes are unavailable for the other key albums in the Yes catalogue, so unless that situation changes, this will be the final release in the series." Asked about further archival releases on the 2015 Cruise to the Edge, Howe also said there was plenty more in the vaults. In his Dec 2015 newsletter, Wilson said:

There was talk about me doing “Drama”, an album I really love and that would sound great in 5.1, but not all the members of that line up are keen for the album to be remixed—which is totally understandable—and I wouldn’t want to do something without the band being behind it.

The one band member opposed to Wilson doing Drama could be Downes judging by this Sep 2015 tweet: asked if Wilson would be doing a Drama remix, Downes replied, "I bloody well hope not!" Although in a Jul 2014 interview, Downes said, "I would like to hear Drama in 5.1, the album was heavily overdubbed at the time, and so it would reveal a lot of detail". But, in an Aug 2016 interview, he said the multitracks for Drama couldn't be found, also saying, "I know Steven Wilson does a very good job" of the 5.1 mixes.

Various earlier rumours had also suggested Time and a Word and Going for the One were possible, or that Wilson had been contracted to do everything from Time and a Word through to Relayer. In an Aug 2015 forum post, Wilson said:

I believe that the multitrack tapes for Going for the One are currently [missing]. First 2 Yes albums I would think unlikely, not enough potential sales...etc But never say never.

And then:

I really hope Tales and Drama will eventually be done, they are (perhaps somewhat perversely) my 2 favourite Yes albums

In an Apr 2014 interview, Howe was asked whether it is "open-ended that as many of the catalog masters you have in hand" will be included in the series, Howe answered, "I don't think we should say yea or nay yet, because there could be logistical things or even a question of taste." On this latter point, the interviewer teases out that Howe is referring to Tormato. Howe goes on, "It's not that it's dreadful; it's just that we didn't quite get it right. I don't know if a remix would make it right, but I really can't say because I don't think it could, because if you're going to be true to the original, then you have to base it on the original." Wilson had said in an Aug 2013 interview that:

the idea is to do most of the classic Yes albums. For most people, that was the 70s records. So we’re going to do I think all of the 70s records

In a Feb 2014 interview, Wilson discussed the band's involvement:"Steve [Howe] and Chris [Squire] heard it [Close to the Edge remix], but only when it was pretty much finished. Both of them really liked it. There wasn't necessarily any sort of constructive criticism, but it was nice to have the seal of approval [...] Since then, Steve has been a lot more hands-on with the subsequent Yes stuff I've done." In an Apr 2014 interview, Howe described his input on Close to the Edge: "I was involved with some of the mixing, because he [Wilson] wanted some of my input. [...] I got together with him to listen to some of it and talk about some of the details." He described having similar input on The Yes Album and then talked about the next release to be done, the title of which was censored: "before the [2014] Canadian tour started, I sat down with Steve for an afternoon and listened to [the album]. I did hear a few things, and they were able to take my comments and incorporate them as well as they could [...] They're very meticulous, in the way they want to match the original, or get as close to the original as humanly possible. [...] I'm very proud of Steve and that he's going the whole distance. I'm just helping him where I can." In a May 2014 interview, Squire described having listened to Wilson's Close to the Edge, but not The Yes Album.

Fragile, like all the releases, came in a Blu-ray and a DVD-A version with the standard 5.1, stereo and original mixes, while the Blu-ray has instrumental versions and a needle-drop of an original UK vinyl. Bonus material this time was 6 additional tracks, all previously unreleased:

  1. "Roundabout" [8:09] (rehearsal take, early mix)
  2. "We Have Heaven" [2:21] (full version, Wilson mix)
  3. "South Side of the Sky" [5:13] (early version, Wilson mix)
  4. "All Fighters Past" [2:32] (Wilson mix), previously unknown song, but missing beginning; described as "a previously unheard segment of a piece now called "All Fighters Past" which incorporates ideas that would later form parts of "The Revealing Science of God" [...] & "Siberian Khatru" [...] performed in the style of Roundabout!"
  5. "Mood for Another Day" [3:04] (alternate take of "Mood for a Day"), includes an end section that would later develop into "To be Over"
  6. "We Have Heaven" [2:00] (acapella, Wilson mix)
The Blu-ray includes the 2003 early mix of "Roundabout", a "headphones mix for vox overdubs" of "Roundabout" and another early take of "South Side of the Sky", plus needle-drops of two US single edits for "Roundabout" and "Long Distance Runaround". It also has the previous DVD-A 5.1 mix of the album. The album made #9 in the UK Progressive chart (Dec 2015), falling to #26 in Jan 2016. It also won Reissue of the Year in the Prog Readers' Poll 2015.

Cruises, a Camp & a Festival
Cruise to the Edge (Facebook) is a series of progressive rock cruises featuring and co-organised by Yes, and run by music cruise company On the Blue. The next cruise will be 7-11 Feb 2017 out of Tampa, FL, visiting Cozumel, Mexico, on the Royal Caribbean Brilliance of the Seas, with a pre-cruise concert in Tampa on 6 Feb. Yes again headline, with other acts announced including Patrick Moraz' iNOW Trio, Stick Men, John Wetton (Asia, ex-UK, ex-King Crimson), Steve Hackett (ex-Genesis, ex-GTR, ex-Squackett) with his Genesis Revisited with Classic Hackett set, Alex Machacek (ex-UK/Z), Dave Kerzner (worked with Billy Sherwood, Jon Anderson, Steve Hackett), Spock's Beard, the Neal Morse Band, Curved Air, Kansas, Focus, Änglagård, District 97, The Fringe, Haken, Pain of Salvation, Bad Dreams, IOEarth, Electric Asturias, and Scott Henderson. The cruise will also include a 50th Birthday Bash by Mike Portnoy (Transatlantic, Neal Morse Band, Flying Colors, ex-Dream Theater), with an "all-star" line-up celebrating 30 years in music. Imagery for the tour uses the [SPOILERS—highlight to read] cover of Tales from Topographic Oceans, presumably implying at least some of it will be played. I would guess something close to the set for the North American summer tour will be played.

The 2015 cruise, which was nearly sold out, was on the NCL Norwegian Pearl, 15-9 Nov 2015, leaving Miami, FL and visiting Key West, FL and the Bahamas, with tickets including a pre-cruise show and party on 14 Nov. Yes headline (setlist below) and did a Q&A, with other acts including Nektar (worked with Billy Sherwood), Allan Holdsworth (ex-UK, ex-Bruford, ex-Soft Machine, worked with Jean-Luc Ponty), Marillion, Steve Rothery Band, Neal Morse Band (with Mike Portnoy), Dave Kerzner Band (with Sherwood joining for one song), Caravan, Premiata Forneria Marconi (with a fill-in drummer), Moon Safari (working with The Syn), Anathema, Three Friends (led by former Gentle Giant members Gary Green and Malcom Mortimore, but Green was hospitalised shortly before the cruise, so the band consisted of Mortimore on drums, Neil Angilley on keys, Jonathan Noyce on bass, Charlotte Glasson on sax &c. and a vocalist), Saga, Lifesigns, Anglagard, Spock's Beard, Martin Barre (ex-Jethro Tull), Haken, Casey McPherson, Enchant, Barracuda Triangle, Messenger, IOEarth, Airbag, Messenger, Jolly, Thank You Scientist and Bad Dreams, all hosted again by Jon Kirkman, assisted by Lonn Friend. Roger Dean was also in attendance. Most acts performed at least twice. (Banned from Utopia (formed by several artists who worked with Frank Zappa) and Big Elf were announced, but had to pull out.) There were also performances by attendees in the After Hours Electric Prog Jam, including Davison singing "To Ascend" with Sue Vienneau and JoJo Razor (backing vocals), John Haddad (bass), Rob Schmoll and Greg Bennett (guitar), Myke Mitchell (drums), and Nicolas Caluda (keys); and "Wonderous Stories" with Sue Vienneau (harmony vocals), Joel Simches (bass), Joe Cass (drums), Alex (keys), Tom Matlosz (guitar), Rob Schmoll (acoustic guitar). There was also a performance of "Tempus Fugit" with Downes plus JoJo Razor (vocals), Rob Rutz (harmony vocals), Sue Vienneau (keys, harmong vocals), John Haddad (bass), Chris Rupert (guitar), Mike Thorne (Saga; drums).

The cruise included an all-star tribute to Chris Squire by Mike Portnoy (Transatlantic, Flying Colors, Neal Morse Band, ex-Dream Theater) and Friends. The core band was Portnoy with the Neal Morse Band, i.e. Morse (Transatlantic, Flying Colors, ex-Spock's Beard; keys, guitars), Randy George (Ajalon, works with Morse and Portnoy; bass), Bill Hubauer (Neal Morse Band; keys) and Eric Gillette (Neal Morse Band; guitar). Set: intro tape: "Amazing Grace", "Every Little Thing" (Morse and Gillette sharing vocals), "No Opportunity Necessary, No Experience Needed" (with vocalist Casey McPherson (Alpha Rev, Flying Colors)), "Hold Out Your Hand/You by My Side" (with vocalist Steve Hogarth and bassist Pete Trewavas (both Marillion)), "Silently Falling" (with Hogarth, bassist Jonas Reingold (The Flower Kings, Kaipa, worked with Transatlantic) and keyboardist Ryo Okumoto (Spock's Beard, worked with Squire) providing an organ solo) , "Cinema"/"Make It Easy" (with vocalist Ted Leonard (Spock's Beard, Enchant)), "City of Love" (with bassist Dave Meros (Spock's Beard) and vocalist Ross Jennings (Haken)), "The Fish Medley" (including the openings of "On the Silent Wings of Freedom" and "Heart of the Sunrise"; with Trewavas, Meros and Reingold)/"Changes" (with Leonard and Jennings)/"Does It Really Happen?" (reprise; with everyone on stage). Sherwood and Davison were among the audience. Portnoy explained the unusual set list online, saying:

I was asked by the Yes camp in advance to refrain from any of the 70's Yes material…so everything from The Yes Album through Drama was off limits

I did the best I could with those restrictions and ended up coming up with a setlist that was way more unique and special as a result

Cruise to the Edge Wilson came 4th in the Prog Readers' Poll 2015 Event of the Year category (won by Big Big Train live).

In a Nov 2014 interview with YesFANZ, White said that, based on their experiences, they had a different strategy for the 2015 cruise:

the [2014] one, quite frankly for me, was a little bit too many bands and too many people on them but it was huge.  I think there was 22 bands on that boat and thousands and thousands of fans and it was just a little bit over the top for me.  The next one we are going to play it down a little bit and make the acts more specialised good acts, like five or six really main headliner type things, which I think is the best way to go.

[...] this next one is the way to do it and make it more concise, more specialised and have more headline type acts on board.

He said that the cruise had sold about half of its capacity so far (as of Nov 2014). He also said that doing a Mediterranean cruise "is still on the books if possible". In a Sep 2015 interview, Howe said:

we created the brand, Cruise to the Edge, and we got something that’s quite palatable, quite manipulable. That isn’t to say that we’re going to keep doing it, we don’t know. Each time we do it, it is a test. “OK, are we going to do it again?” They always want us to commit to another one, but it depends on how it goes. We’ve never tried it in November, [...] we have to see. I think one has to keep things open in your mind.

Cruise to the Edge 2014 ran 7-12 Apr 2014, starting and finishing in Miami, FL and visiting Honduras and Mexico. It was on a larger boat, the MSC Divina, than the first Cruise. Several acts from the first cruise returned. Yes again headlined (two shows, plus Q&A, meet-and-greet etc.). They played the same set both shows (~2 hours 20 minutes duration): "Firebird Suite" intro, "America", "Tempus Fugit", all of Close to the Edge in order, "Heart of the Sunrise", all of The Yes Album in order; encore: "Roundabout".

Also performing were Patrick Moraz, Stick Men (with Tony Levin; Eddie Jobson guested in one set), Steve Hackett's Genesis Revisited, UK, Marillion, Tangerine Dream, The Strawbs (electric version), Three Friends, PFM, Soft Machine Legacy, Queensryche, Renaissance, LifeSigns, Saga, Sound of Contact, IOEarth, The Pineapple Thief, Presto Ballet, Pamela Moore, Electric Asturias, Scale The Summit, Moon Safari, The Prog Orchestra, Heavy Mellow and Cheap Thrill. Moraz played two solo sets on piano and keys with backing tapes. First set: intro, "Sound Chaser/improvisation/Lost Way/Temples of Joy/improvisation", "Freedom Alive", "Mumbai Mumbai Mantra/Cachaca", "Away to Freedom/Modular Symphony (1st Movement)". The second set featured material from i and a performance of "Soon" with Annie Haslam singing. In Hackett's second set, John Wetton (vocals) guested on "Firth of Fifth", Simon Collins (Sound of Contact, Phil Collins' son) guested on "Apocalypse in 9/8" and Wetton (lead vocals, rhythm guitar) and Chris Squire (bass) guested on "All Along the Watchtower". Roger Dean exhibited. White explained in this exchange in the Nov 2013 interview:

White: It’s called Cruise to the Edge because we control who plays on the boat, and we work with a promoter to pick out the right acts. [...]

Interviewer: Obviously you’re working with a promoter, and there are other people who have a say in the lineup, but from Yes’ side, was it a pretty democratic experience in selecting the bands?

White: We all get together with a list of names, and obviously we know some of the guys in some of the bands. We’ve been around long enough to know a lot of people in the business. It really didn’t take much at all when all the names were presented to us – a couple changes, but it was fine.

Mar 2013 saw the inaugural Cruise to the Edge (Facebook).

Jon Anderson was on a different cruise in Feb 2014: Progressive Nation at Sea. Larry Morand, cruise producer, in a Mar 2014 interview, revealed that Anderson and Wakeman were considered for the Cruise to the Edge:
I had asked about Jon Anderson and even [about] Rick Wakeman.  Wakeman wasn’t available.  But Jon, as we were talking, I don’t think there was a problem on the Yes end – not liking it but understanding that if you wanted … to encompass something that was Yes, that’s somebody you have to have.  But that got solved on its own.  There was a competitor cruise, Prog Nation At Sea, and they had started their own prog cruise after we had gotten ours up.  So [Anderson] came off the market.
During the band's 2013 summer tour, they held Yestival, a half-day event in Camden, NJ featuring Yes and other bands. The main stage had Scale the Summit, Volto!, Carl Palmer's ELP Legacy, Renaissance, The Musical Box (Genesis tribute band) and Yes (who played all of their then set). A second stage saw The School Of Rock All-Stars playing between main stage sets. There was also an art showing by Roger Dean and others. Attendance was ~5500. A press release described this as the band's "inaugural festival". In a Jul 2013 interview, Squire said, "if it all goes well, in 2014 we'll tour with a festival". Asked about this in the Apr 2014 interview, Squire said: "I think what we decided was that it requires the correct bill, and we were looking at trying to put that together for this year [2014], but I guess some of the other acts that we wanted to be involved [...] had prior commitments so we weren't really able to put that together. [...] maybe the following year [2015] you might see something more spectacular like Yestival in a lot more towns."

On tour
The band play 6 dates 21-9 Nov in Japan, with a new set list announced as [SPOILERS—highlight to read] sides 1 & 4 of Tales from Topographic Oceans, selections from Yessongs (not the complete album as the advertising might be taken to imply) and further material. Sherwood has spoken of rehearsing "Perpetual Change". The Japanese promoters reportedly did not want Drama in full. White returns to the band, but with Schellen continuing to "sit in until White is fully healed".

In a Dec 2015 interview, Sherwood said: "There are plans to do a lot more touring around the world." One rumour then spoke of a spring 2017 US leg.

On stage at the 2 May 2016 show, Howe talked of playing Tales in the US later in the year and added "hopefully here at home [i.e., in the UK] in the next year." At a slightly later show, he again talked of Tales being a large part of the 2017 set. Asked about bringing the summer US tour set to the UK on Twitter, Downes said 3 May this was, "Very possible!" On his Oct 2016 solo tour, Howe talked of bringing Tales to the UK "this time next year [2017]".

The band were on a US summer tour with 27 dates 25 Jul-4 Sep 2016. The opening night set list was intro: "Benjamin Britten's Young Person's Guide to the Orchestra", Drama in order, "Time and a Word", "Siberian Khatru", interval, "And You and I", "The Revealing Science of God", "Leaves of Green" ("The Ancient" excerpt), "Ritual", encore: "Roundabout", "Starship Trooper". At most later shows, "I've Seen All Good People" replaced "Time and a Word", while the band's printed set list at one show had "Heart of the Sunrise" after "Siberian Khatru", although it wasn't played. There is no opening act. Lighting is by Don Weeks and projections by Andy Clark. As happened on the recent UK tour (see below), Trevor Horn guested with the band to sing "Tempus Fugit" at their 28 Aug Santa Barbara, CA show. Davison explained the set list in an Aug 2016 interview:

we were always projecting what would be the next albums in line that we wanted to play and the fact that we have Geoff Downes in the band helped prompt the idea of doing Drama which is something that Jon Anderson was never interested in looking at. And [...] taking advantage of the fact that I’m in the band and am passionate about the Drama album, as is Billy. Really close to Steve’s heart is the Tales album, he was so instrumental with putting that album together. It’s been hard not having Alan on board because that was Alan's first studio album and he was really looking forward to bringing it to the stage

On 18 Jul 2016, a week before the US summer tour leg was due to start, White announced that he would have to miss at least part of the tour while recovering from surgery for an injured disc. Jay Schellen filled in. Schellen has a long history of working with members of Yes: five in all. After moving to Los Angeles as a young drummer, Schellen was spotted by Tony Kaye who invited him to join Badfinger in 1982. He played with Peter Banks in 1984, before starting to work with Bruce Gowdy in 1986. Gowdy went on to form World Trade with Sherwood, and Schellen later joined the band in 1995. He continued to work with both Gowdy and Sherwood, and through the latter also came to work with Chris Squire, appearing on 2000's Conspiracy and subsequent projects. In 2004, Schellen and Sherwood worked on pre-production for Asia's Silent Nation album. Schellen subsequently joined Asia in the second half of 2005, only a few months before Downes left the line-up for a reunion of the original band. Schellen and the others continued working as GPS and, from 2008, Asia Featuring John Payne, which Schellen only recently left. Also in 2008, Schellen became the second drummer in CIRCA:, replacing White.

White explained in a message posted online:

After enduring intense back pain which began halfway through YES' spring European tour, and working with European and American doctors, spinal specialists, exploring optional treatments, I've had no choice but to undergo surgery to repair an injured disc in my lower back. I'm pleased to announce a very positive result from this procedure, which took place in Seattle.

With some rest and physical therapy, I should be back in good form and ready to rejoin the Summer YES Tour in the near future. I'm eager to be on the road with the band but also need to ensure my recovery is complete before doing so.

Until I'm able to rejoin the tour, my good friend Jay Schellen will be performing with the band and keeping my drum stool warm. Please welcome him to our YES family; he's doing a great service by stepping in last minute so as to not disappoint everyone hoping to see YES music performed live this summer.

Please know that I'll be back as soon as physically possible and looking forward to taking my place on stage with the band.

Schellen then posted online: "There is no drummer that I admire more than Alan White. Consummate creativity, musicianship and the biggest backbeat personality. I am honored to have been asked to keep his chair in YES warmed up for him until he returns to the tour. Warmest well wishes and God speed to you Alan." In a follow-up post on 11 Aug, White said, "Believe me when I say that no one wants to see me back with the band and sitting behind my kit more than I do. After 44 years it's really hard to sit this one out, even if it's temporary. [...] I'm obeying all my doctor's orders so as to get back to my place [...] hopefully in the very near future." Good wishes for Alan can be left via the band's Facebook here. Downes said in an Aug 2016 interview: "he knew only a week before the tour when he had the operation on his back – and his recuperation time was longer than anticipated". Asked if White would miss the whole leg (as he eventually did), Downes replied, "I don't know, he's hoping to maybe make an appearance when we get to the West Coast [...] he really misses not being there. I think he feels that he's letting the side down in some way, but I tell him, no, you just get well. And of course Jay is the guy he appointed, he said this is the guy that can do it if I can't. [...] hopefully [White]'ll be fully fit by the time we get to the West Coast, or certainly by the time we go to Japan." He also added, "effectively he [Schellen] had a week to learn the set."

Howe discussed the set list in a Jul 2016 interview:

The reason we felt it was appropriate to play only sides one and four -I suggested that once before- because if we just do one and four, we’ve got this beautiful kind of book end approach to the project. [...] Drama and One and Four from Tales was much more achievable than Drama and the whole of Tales, which [...] would have meant that four sides of music as opposed to two were being performed.

This is all about practicality, as well as taste and preferences.  It is about what we like to do and what we don’t. [...]

we have got a little kind of surprise in between them, which might not be that much of a surprise to somebody if they think about it.  But, basically we’re going to slog in something, in the middle that we think is appropriate.

[...] We may eventually do a complete Tales, but at the moment we’re very excited to do this much of Tales.

Reports suggest the band had considered playing all of Tales and that they may do so next year, including on the Feb 2017 cruise.

Mike Keneally (ex-Stanley Snail, ex-Frank Zappa, worked with Steve Vai) and Napoleon Brock Murphy (ex-Frank Zappa) both attended dates later on the leg.

The band played a western European tour 27 Apr-1 Jun 2016, with dates covering the UK (10 dates, 27 Apr-10 May), France (13 May Paris; sold out), Belgium (14 May Brussels), the Netherlands (15 May Utrecht), Germany (7 dates, 17-25 May), Switzerland (27 May Zurich) and Italy (4 dates, 28 May-2 Jun). The band were rehearsing in Monmouth, Wales in late Apr. The band played two one hour sets, with a 20 minute interval; the set list has varied somewhat over the leg. At the initial shows, it was Chris Squire tribute, intro music: "The Young Person's Guide to the Orchestra" excerpt, Drama in order, "Time and a Word", "Siberian Khatru", interval, Fragile in order, "Don't Kill the Whale", "Owner of a Lonely Heart", encore: "Starship Trooper". (However, the set list taped to the mixing desk at the second show included two more pieces, but crossed off: "Going for the One" after "Time and a Word", and "Soon" after "Heart of the Sunrise".) Part way through UK dates, they switched the second half of the set to "Going for the One", "Owner of a Lonely Heart", Fragile in order and then the encore. Then at the Royal Albert Hall in London (which was nearly full), the band dropped the intermission and substituted "Soon" for "Going for the One". (The band's set list for the evening included "Going for the One" first in the encore, before "Starship Trooper", but it wasn't played.) By their Utrecht show, they had returned to the original set list, while in Frankfurt, they played "Don't Kill the Whale" and "Owner of a Lonely Heart" before Fragile.

Davison plays a variety of additional instruments, including acoustic guitar in "Machine Messiah", "Run Through the Light" and several others, additional percussion generally and additional keys in "South Side of the Sky". "the fish" began with Howe on guitar and then was performed by Sherwood (bass), White (drums), Downes (keys) and Davison (bass).

Sherwood said in a 6 Apr Q&A that they would start rehearsals on 14 Apr and that is when they were to finalise the set list. In an Apr 2016 interview, White had said:

I think Going For The One and Time and a Word could be in there too. We might also do Soon from Relayer and Owner of A Lonely Heart which was a big hit for us.
UK dates were to have Moon Safari (worked with The Syn) in support, but the band had to withdraw for technical reasons from most dates and just opened for Yes at the 10 May London show, playing a half hour, 4-song set. Trevor Horn guested live with Yes at their 9 May Oxford and 10 May London show; he was rehearsing with the band in Wales in late Apr. He sang lead vocals for "Tempus Fugit", although one report had had that he had previously intended to sing "Into the Lens" as well.

Asked if he prefers playing whole albums live, Howe responded in a Feb 2016 podcast interview, "Well, I do." And asked if there are plans to play any other albums, he said: "Well, we do actually, but I can't really give it a way [this seems to be a reference to playing Tales in summer 2016], but eventually [...] we'll have to play Relayer. [...] We'd need a while to get ready to play that one. We talked about other records and I said Time and a Word one day [...] it's off the mark with America because they really don't know that record." In another Feb 2016 interview, Howe, again talking of playing full albums, said, "we hope one day to resurrect [Relayer]." An Aug 2016 report had that the band have discussed doing Relayer in 2017 or 2018. Downes said in an Aug 2016 interview: "We have considered playing [Tormato] [...] but Steve doesn't think it's strong enough as an album. [...] Alan feels the same, it's not got that depth that the other albums have got [...] Relayer is up there as a possibility." Asked what album they will do next, he replied, "We're still discussing whether to do that [continue playing full albums] or not, nothing is set in stone, the balls are up in the air on that front, but with this line-up I don't see us doing any other full album other than Relayer, if we were to do anything."

In Howe's interview, he went on to say: "There's other sorts of set lists we mustn't ignore. In other words, I'm saying, ya, I like playing albums [...] but it's not the only game in town, y'know. And there's other sets that I've invented in my mind, and circulated, that do a different... tell a different story. And we've got to be careful not just to tell the same story, oh here's another album." He gave as an example of another set list approach, "Like we did last summer [2015], that was a very kind of friendly, come on set, couple of new songs [...] it was bubbly [...] there are other great, great set lists". The interviewer then suggested doing Magnification tracks. In reply, Howe first talked about prior albums: "I quite like Keys to Ascension studio tracks [...] that's quite a nice era" and after he'd heaped praise on Bruce Fairbairn and his production of The Ladder, Howe said he'd found it "difficult" to pick tracks from Open Your Eyes and Magnification that he's "fully committed to now. Of course I've got enjoyment for them [...] Certainly, as an album [i.e., playing Magnification in full], I don't think so". Howe continued, "There is one track [...] I would single out" from Magnification; he didn't identify it, but said it's not "Spirit of Survival" or "In the Presence of". In a Sep 2016 interview, he said, "I am so grateful to be able to emerge ourselves into the album series like we are doing right now. I think it will go on, because we keep looking at other albums that were in other periods of our lives."

Further discussion of possible set lists is below. As for future possible tour destinations, in a Nov 2014 YesFANZ interview, Davison said: "we actually did get an offer to go to South Africa at one point so that is in the works [...] [T]here has been talk about going to India and there are some further areas in Asia, Malaysia, that area, that we would like to explore some more".

The band played on the Cruise to the Edge in Nov 2015, preceded by three Florida dates in Nov 2015. In a Sep 2015 interview, Howe said they would play a 2 hour set on the cruise. In another Sep 2015 interview, asked about the cruise set list, he said:

We have a responsibility to develop a show [...] we’ve got more time to play. And if people had seen us in the summer and we played the same music on the cruise, that would be somewhat disappointing. So we’re going to spice up the show with [...] other music that is going to have a reference towards things we need to play next year [2016] [...] when we’re playing Fragile and Drama in Europe. [...] [W]e’re going to do this show plus another half an hour.

The 11 Nov set was: pre-recorded "Onward" tribute, intro: "Firebird Suite" extract, "Siberian Khatru", "Believe Again", "Going for the One", extended version of "White Car", "Tempus Fugit", "America", "Nine Voices", "Time and a Word", "Clap", "Don't Kill the Whale", "Soon", "I've Seen All Good People", "Owner of a Lonely Heart", "Roundabout", encore: "Starship Trooper". In the Aug 2016 interview, Downes said, "we were going to do ["To be Over"] on the Cruise, but it never happened, so we did Soon instead." They played the same set for both of their Cruise to the Edge 2015 shows. Richard Davis remains as bass tech; Will Alexander is the keys tech. The 11 Nov show sold 1,061 tickets, grossing $66,165. The 12 Nov show sold 821 tickets, grossing $51,792. The 13 Nov show sold 1,730 tickets, grossing $91,974.

Yes and Toto did a co-headlining tour with 25 US dates 7 Aug-11 Sep 2015 and 1 Canadian date 12 Sep, with Yes playing a final Canadian date without Toto on 14 Sep. Will Alexander returned as the keyboard tech. Full band rehearsals began 3 Aug. In an Aug 2015 YesWorld Q&A, Sherwood talked about rehearsing:

I had three days rehearsal! And that’s not saying it in a bad way, like, we didn’t have time. They actually wanted to rehearse for ten days and I said “are you doing that for me?” and they said “Yeah” and I said “I only need a few days ’cause I got this, you know” and they said “really, okay, well how’s three days?” I said “that’s plenty”.

I had already done my homework. [...] I learned a long time ago [...] that you don’t show up to the session not knowing what you’re supposed to do. And so that’s been my mantra and my mindset through my entire career. Anything I do, I show up prepared.

[...] I was already familiar with a lot of his parts so a lot of that came very naturally and we just fitted it in three days and off we went and started touring. That being said, I’m sort of just now feeling like I don’t have to think about any of that any more ’cause it’s on autopilot. Where the first few shows it was like “I have to concentrate on this and hit all these marks”, now I’m actually able to perform a little bit as a opposed to just standing there and just delivering the parts.

He later also said: "The grooves have been great and the tempos are back up where they should be, which was kind of a pet peeve of mine. I used to tell Chris and the guys "you need to pick up the tempo.. It's called 'Tempus Fugit' you know what I mean?" So the tempos are back up where they should be".

The 8 Aug show sold 1,982 tickets, grossing $171,944. The 23 Aug and 2 Sep shows sold out, with the 30 Aug show close to full. The 23 Aug show sold 2,006 tickets, grossing $205,106.

Toto played first and Yes second on all dates, each band playing about 90 minutes. (Toto have previously worked with Jon Anderson and Billy Sherwood, while Toto's Steve Porcaro played on two Yes albums, and Michael Sherwood (performed on Union; Billy's elder brother) has 3 co-writes on Toto XIV, the album Toto are touring in support of: see under Porcaro for details.) In the accompanying press release, Lukather called Yes "our musical heroes", saying "we even have a song ["Great Expectations"] on our new record totally inspired by them". He added, "We all stood and waited in line for tickets to see Close to the Edge and Topographic." In an interview from NAMM 2015, David Paich of Toto also described Yes as "our heroes".

The Yes show started with Squire's bass alone on stage, while a montage video was shown to the studio version of "Onward". The set was then: Intro: "Firebird Suite" extract, "Don't Kill the Whale", "Tempus Fugit", "America", "Going for the One", "Time and a Word", "Clap", "I've Seen All Good People", "Siberian Khatru", "Owner of a Lonely Heart", "Roundabout", encore: "Starship Trooper". "Clap" seems to have since been dropped, not being played at the 27 or 30 Aug shows. In an interview shortly before rehearsals began (published early Aug), White said:

because we’re touring with Toto who are probably going to do a lot of the[ popular tracks].  We’re not going to play whole albums [...] We’re just going to do a great selection of Yes music that people love to hear in concert.

In another, White also said:

This one’s going to be – I wouldn’t say all hits, but it’s all favorites of people who like Yes. Toto are going to be playing all the hits, so Yes is going to be playing a bunch of our kind of hits and maybe a couple numbers that weren’t. There are always a couple numbers in a Yes set where you say, “Wow, I didn’t know they were gonna play this one.”

Toto's set was: "Running Out of Time", "I'll Supply the Love", "Hydra", "Never Enough", "Hold the Line", "Georgy Porgy", Paich solo, "Great Expectations" (dedicated to Squire), "Pamela", "Without Your Love", "Little Wing", "On the Run/Goodbye Elenore", "Orphan", "Rosanna", "Africa". Reportedly, they played the same set on the second night too.

In an Aug 2015 interview, Howe said of Yes's set list: "we've got a nice set list with some songs that we either haven't played for a long time or…rarely play, we’re coloring that with obviously songs that [are popular]." In another, he said:
we're going to play a selection of music that's appropriate for the summer, it's appropriate under the circumstances that we find ourselves under [...] we've invented a setlist that definitely has a couple of songs that we definitely haven't played for many, many years [...] We're going to play some popular songs, but we're also going to build in some stuff that we feel adds to that development of having done albums [i.e., playing albums in full] [...] it's nice to break the chain [of that] and do something that allows us to choose music from all over the career. I think maybe it's a bit corny to say it's a celebration of Yes' career, but I mean we definitely cover a very wide spectrum.

Tom Brislin, Patrick Moraz, Tony Kaye, Trevor Rabin, Michael Sherwood and Ricky Rat (CIRCA:) all attended shows.

The band toured extensively touring in 2014, finishing in Nov with 5 dates in New Zealand/Australia, then 5 dates in Japan. They played a 36-date US tour 5 Jul-24 Aug 2014 (rehearsals began 1 Jul), with the 19 Aug San Jose, CA performance shown on Yahoo's streaming service. Syd Arthur opened on most dates. The band announced the set list for the tour as Fragile and Close to the Edge in their entireties, an interval, and then an "encore set" with material from the new album Heaven & Earth and "greatest hits". The set has changed a certain amount from night to night in terms of order and in which of a set of songs gets played. A typical set has been: intro: "Young Person's Guide to the Orchestra", "Siberian Khatru", "And You and I", "Close to the Edge" (i.e. all of Close to the Edge in reverse order), "Believe Again" (with Davison on acoustic guitar), "Roundabout" (with Davison on additional percussion), "Cans & Brahms" (with some parts on backing tapes), "We Have Heaven" (with backing tapes, Squire, Howe and Downes on backing vocals and Davison on acoustic guitar), "South Side of the Sky" (with Davison on acoustic guitar and additional keys), "5% for Nothing" (without Davison), "Long Distance Runaround/the Fish (Schindleria praematurus)" (the former with Davison on tambourine; the latter with Squire using loops, Davison on synth and bells, and Downes on cowbell), "Mood for a Day", "Heart of the Sunrise" (i.e. Fragile in order), "I've Seen All Good People: All Good People"; encore: "Owner of a Lonely Heart" (with Davison on tambourine), "Starship Trooper" (with Downes on keytar during "Würm"). The usual Australian set was: Close to the Edge in order, "Believe Again", "The Game", Fragile in order; encore: "I've Seen All Good People", "Owner of a Lonely Heart". In Melbourne, they played "Starship Trooper" rather than "Owner of a Lonely Heart".

The opening night set in the US was a casino show and the set was abbreviated: "Siberian Khatru", "And You and I", all of Fragile in order, "I've Seen All Good People"; encore: "Owner of a Lonely Heart", "Starship Trooper". Their first full show was 6 Jul and featured "To Ascend" and "The Game" instead of "Believe Again" and a full version of "I've Seen All Good People". The 13 Jul show dropped "Starship Trooper" and had a full "I've Seen All Good People". The 15 Jul set had: Fragile in order, "To Ascend", "The Game", Close to the Edge in reverse order; encore: "I've Seen All Good People", "Starship Trooper". On 16 Jul, they played: Fragile in order, "To Ascend", "The Game", Close to the Edge in order; encore: "I've Seen All Good People", "Starship Trooper". The 23 Jul show and a number of subsequent shows had: Close to the Edge in reverse order, "Believe Again", "The Game", Fragile in order; encore: "I've Seen All Good People", "Owner of a Lonely Heart". A number of reports suggest the band had rehearsed 5 pieces from the new album in total, the other 2 not yet performed being "Subway Walls" and "Light of the Ages". Sean Ono Lennon attended an early Jul show. The 23 Jul Northfield, OH show sold out (attendance over 1800). The 25 Jul Madison, WI show sold 1,454 tickets, grossing $86,033. The 28 Jul Nashville, TN show sold out (2,139 tickets), grossing $145,475, while Alison Krauss was among the audience. The 30 Jul Atlanta, GA show was sold out or close to being sold out (capacity 1,762). The 2 Aug St Petersburg, FA show sold 1,867 tickets, grossing $124,327; while Orland, FA on 3 Aug sold 1,662, grossing $88,588. The 11 Aug Tucson, AZ show reportedly sold out; the 12 Aug Mesa, AZ show was estimated to have an attendance around 1450. The Mesa show was filmed for a DVD release. The 19 Aug San Jose, CA show, filmed by Yahoo, was estimated to have an attendance around 800; the set was the same as the 12 Aug show, but without the second encore. Sherwood was in the audience for the final show on 24 Aug in Los Angeles, CA, which sold 4,252 tickets, grossing $184,651.

In an Apr 2014 interview, Howe discussed the choice of albums played live, explaining that the band has been very busy "and that's why we're changing albums gradually if you like." In an interview with Vintage Rock conducted around the beginning of Apr 2014, Squire explained that the format was "a request from the promoters, based on the fact that the current [3 album] tour worked real well for them."

Since starting their triple album tour in 2013, the band have been asked about the possibility of repeating the format with different albums. They have also talked about material outside of a complete album format. In a Feb 2013 interview, Howe talked of wanting to do "To be Over" and "Sound Chaser". When the interviewer mentions playing material from "more recent albums such as Keys to Ascension, The Ladder and Magnification", Howe responds that, "They're something we'd like to incorporate, possibly next year [2014]. Because, although we've ignored them quite considerably, there are some times we say, "Oh, should we try that one?" [...] "Bring Me to the Power" and some of the other songs on [Keystudio] are really quite the cream of what we were doing then." He also hinted at re-visiting Tales from Topographic Oceans, particularly "The Revealing Science of God" and "Ritual". Then in an Apr 2013 interview, he said, "I hope we [...] maybe play Fragile, Drama and some other album." In a Feb 2014 interview, White mentioned Fragile; the interviewer then asked about other albums in their entirety and mentions Tales; White replied, "I'm not sure about Topographic Oceans [laughs]; [...] preparation for playing TFTO would be huge, we'd have to rehearse for quite a while [...] It could be foreseeable in the future, but probably not this year [2014]." White has also said that he would love to perform Relayer. In a Mar 2013 Q&A, Davison talked of wanting to sing "The Gates of Delirium" and "Survival", while in his in Apr, Downes talks of playing all of Relayer, Drama or 90125. To a question suggesting the band play "The Remembering", he replied:
I think you’re right; ‘The Remembering’ would be an interesting choice [...] But there are also so many other hidden gems on the albums that have been historically been overlooked by the touring band over the years. Talk, Big Generator, Union, The Ladder, & Keys to Ascension also have some killer tracks. How about ‘Mind Drive’ as a suggestion? ☺

In an interview for the Feb 2014 issue of Prog, Downes was asked about doing other albums and replied, "We've never discussed this at all, but it's not been ruled out. [...] I can see the subject coming up [...] But what we don't want to become is a band who just live in the past". He then talked of the possibility of varying tour set lists so that they "do a lot of more contemporary material on one tour and the next time we do something a lot more nostalgic."

The band, of course, did move to a different album selection for summer touring 2014. In an Apr 2014 interview, Howe said, "we could do 'Drama,' 'Fragile' and the one that everybody wants to hear is 'Relayer.' But we're not ready for that yet. [It] would be a heck of a challenge. [...] at the moment we haven't got the time or the inclination yet to do something like that. But I'd love to do some of 'Tales,' I think [playing sides] one and four would be a great way [...] because it's the beginning and the end. But I don't know — we're not going to do any of those things at the moment."

In the interview with Vintage Rock conducted around the beginning of Apr 2014, asked whether the album format is an "ongoing part" of their touring, Squire answered, "not necessarily. [...] the focus is going to shift [...] We're going to be promoting our new album [...] I've always thought it very important for Yes to always come up with [...] a new product and focus the future on that. Because that's [...] partly our key to success — that we haven't been afraid to keep, I don't know, boldly carrying on into the stratosphere with new pieces of music. And then [...] perform them live. So that I look forward to more than rehashing the old favorites. Of course, I do love playing them." The article also has Howe commenting on the current format: "I'm really pleased that we do albums. I got a little tired of a show that didn't have any reason why it validated itself." And the article had White putting forth Drama and Relayer as two albums he would like to perform. In a Jul 2014 interview, Davison said: "There's been talk about any of the earlier albums up to '90125'". In a May 2014 interview, Squire said he hopes that they will do a tour one day playing material from the 1980s. He describes as interesting the idea put forth by the interviewer for a tour featuring Drama, 90125 and Big Generator. Reports from backstage on the 2014 summer tour suggested that Squire wanted to do all of Heaven & Earth, Howe and Davison want to do Relayer, and White and Downes want to do Drama and possibly 90125; US promoters are said to remain keen on 90125. Unconfirmed rumours in Sep 2014 suggested the band considered playing Drama in its entirety in 2015, with a US set list to consist of all of Fragile and all of Drama, plus greatest hits and material from Heaven & Earth, but also that subsequent touring might see a set with most of Heaven & Earth combined with material from Fragile, Drama and Relayer. Then, Howe, while on a solo tour in Sep 2014, suggested the band may play all of Drama and Heaven & Earth plus a selection of hits in 2015, and that they might drop Fragile. However, the band took a different direction and that isn't now happening in 2015, yet the announced 2016 European tour [SPOILERS—highlight to read] covers Fragile and Drama. One unconfirmed report from ~Jun/Jul had that White said to a fan (probably before Squire's passing) that the band would tour the US in summer 2016, playing Drama and Relayer. One report from backstage on the 2015 summer tour has that Howe and White would like to do all of Time and a Word, but promoters prefer Relayer, which might produce a 3-album set of Time and a Word, Relayer and Drama. In an Aug 2015 YesWorld Q&A, asked what Yes pieces he would like to play, Sherwood replied:

There are many, but there’s only so much time in a set. As things progress, which looks like they are, we’ve had some successful touring here so far and there’s other promoters and more opportunity coming online – I envision YES being back at a place where it plays by itself for three hours, rather then playing with another band, and at that point with a three hour set that we can fill, there’ll be some other material that I’m definitely gong to be suggesting.

[...] We’re talking about playing ‘Machine Messiah’ and ‘Drama’ stuff, which I love.

There’s plenty of stuff out there that I would love to dive into, but my favorites, if I could choose – ‘Gates of Delirium’ would definitely be part of the set and so would ‘Tomato’ – a lot of it – I love ‘Future Times/Rejoice’, ‘On The Silent Wings Of Freedom’, ‘Release, Release’.

He also mentioned "The Gates of Delirium" in answer to another question, but added: "but I don't know how far my vote goes just yet… give me some time!" He is then asked which albums he would pick if doing the whole album format; he nominated Tales from Topographic Oceans and Relayer.

Away from the while album format, several comments point to individual tracks under consideration of some sort. In a Nov 2014 interview for YesFANZ, Davison talked about the new material in the set:

we have been doing two [new] songs [...] live [...] [W]e were doing [...] 'To Ascend' for a while to start out with but it just didn’t quite stick as well with the ebb and flow of the concert, but we would like to incorporate at one point as much of the new album as possible.  We’re all still very focussed on that.  We just haven’t been able to promote that sufficiently in that regard because we are down to a 2 hour time limit [...] but we will get more of that into the live context.


I would really like to do 'Light of the Ages'

Asked in a Dec 2013 interview about playing YesWest material, Squire explained: "[It's] because of the character of the music, and the character of the guitar player as well. Trevor [Rabin] doesn't do a bad job of imitating Steve [Howe], but it doesn't work as well the other way around. I wouldn't really push the issue." Asked about playing '80s material in his May 2013 Q&A for YesWorld, Davison replied, "I think it would be really fun to perform Changes, It Can Happen, and/or Shoot High Aim Low." In a Jul 2013 interview, Davison said, "What I'd like to do is continue it; with maybe Fragile, Relayer and Drama following it up." In Downes' second Q&A, he said, "whilst we are currently focusing on the 70's Yes, there was some great music came out in all chapters of the band's existence [...] Personal favourite is "Changes"", while White said to a fan in Apr 2013 that the band had considered playing the piece, and that he would also like them to perform "Endless Dream". In a Jun 2012 interview, Squire said that White had suggested including "Perpetual Change". In one of the Jul 2012 interviews, Squire said:
There are certain songs we kind of have to play. I do think we're going to try not playing Owner of a Lonely Heart on this tour. But there again, with a casino show, you tend to not get a hardcore Yes audience, so you're tempted to want to play the big 1980s hit because that's probably all some of these people know from Yes. So it is a difficult thing to do, but we always manage.

Asked in a Jul 2012 interview if there are any Yes songs Downes would like to perform live in the future, he named "To be Over" and then went on "I'd quite like to have a look at something from 90125 as well at some point. Maybe something like 'Changes'".

In a Mar 2011 interview, Howe is asked about playing certain songs so often. He replies:

“Roundabout”, “All Good People”, they are going to be tough ones to not play and I don’t know that I have a problem with playing those. I love the beginning of “Roundabout” […] But if we ever sounded tired and we couldn’t play it, well, then, yeah, I think we’d ought to stop. But what Yes have been doing over the past couple of years is re-establishing the absolute rigidity of the arrangements that exist in Yes because I personally object to two ex-Yes members, going out, playing a Yes song, particularly “Turn of the Century” and not adhering, one, to the melody, two, to the chord sequence, three, to the bass, y’know. To the bass, chord sequence… so important. Anybody who goes out and sings those songs with the wrong words, the wrong chords, the wrong bass part, the wrong harmony, I don’t want to play with them. I… I can’t play with them. Because I adore Yes music. I adore all the music that I’ve been part of, and whether it’s Tomorrow playing “My White Bicycle”, I want to play that the same […] Because when Bob Dylan started doing songs different: I stopped going to concerts. I don’t want to hear “I Want You” in a different way […] [references The Rolling Stones also changing songs live] I am so irritated by people messing around with their music or our music and playing it with disrespect. Y’know, because if you just scat some part of “Yours is No Disgrace” or “Turn of the Century”, you’re not my friend. I don’t want to hear from you. Get out of my life. The rigidity of the structures of Yes are what hold it together. […] That’s what we’re about now. We’re very sure that our fans are similar to us. In other words, the perfectionism that Yes were capable of creating has to be reproduced. There’s no point in trashing that and expecting, hey, we’ve got two thousand Yes fans and they’re going to hear us play, what, “The Revealing Science of God” all in five minutes, we’ve got it all down to five minutes, not twenty minutes, and we’ve changed all the chords, changed all the words, and taken off the beginning, y’know, personally, I’d say, leave it alone.

In a Feb 2011 interview, Howe said, "Yes is a touring band. It's fundamental to our existence."

Squire's death
Founding member Chris Squire died during the night of 27 Jun 2015 from acute erythroid leukaemia, a type of acute myeloid leukaemia (AML). Before Squire's death, it was announced that planned live dates would go ahead with Sherwood filling in for Squire, and Sherwood has now stepped in to replace him. White talked about the band's plans in a 21 Jul 2015 Billboard article:
It's certainly going to be hard without him, but he called me and asked me to keep everything going regardless of what happens[.] So absolutely we're moving ahead. I'm gonna do it for him.


[The fans] are behind the band and want the band to keep moving forward here. It doesn't seem like anybody's kind of given up on the band, which is really encouraging and it'll help us move things forward. Things can't just stop, you know? We've got to maintain the Yes name and ... meet the high standards of musicianship Chris created.
The Billboard article carries more about events in Squire's final month. He first became aware of his condition in Apr, the band learning about it in late May. The article continues:
[Squire] had broached the idea of taking a year off but eventually recanted. When he became too ill to go on tour, however, he was adamant that Yes hit the road without him [...]

"We got an email that said, 'I don't think I'm gonna be able to make this tour, so if you can do it without me I want you to keep things going and I'll get rid of this and I'll see you next spring in Europe,'" White recalls. "He had a very positive attitude, but it was clear something was very wrong."

In an Aug 2015 interview, Sherwood describes a succession of calls from Squire. Squire related how he was going to need chemotherapy and this would be a problem for the summer tour with Toto. The article continues by quoting Sherwood:
"I said, 'Well, your health is first and foremost, and if the tour has to be postponed, whatever the case may be, you gotta do what you gotta do.' And he said, 'I hear ya, I hear ya.'

"He called me about a week later, and said he didn't want to stop the tour, which is a testament to Chris and his passion for people."

Squire's concerns, Sherwood continued, were for the many people - in both the Yes and Toto organizations, as well as the promoters in various cities - who would be negatively impacted financially should the tour be canceled.

"I want this tour to continue," Squire told Sherwood. When Sherwood responded he wasn't sure what Squire was trying to say, "it was at that point he asked me [to replace him].

"I instantly said 'Yes,'" continued Sherwood as the catch in his throat became more prominent. "He's my brother. I loved the man."

Another Aug interview with Sherwood has this:
Sherwood adds that their last conversations touched on the topic of keeping the band together, with Squire asking him to “keep Yes going as much as possible into the future.”

“At the time I thought he was talking about just standing in[,] but I think he knew and was a little more accepting of his fate then I was.”

In another Aug interview, Downes said:
I think that we all felt it was very important to continue the legacy of Yes, and not just for Chris’ sake but also for the fans and plans and preparations for the tour and the expectations and everything like that [...] there is an air of melancholy but at the same time I think we’ve got to make sure that we try and keep that legacy of Yes going for as long as we possibly can.

[...] during the course of the show [...] there will be a very fitting tribute to Chris, and I think that’s important as well. So it’s kind of a strange situation for all of us, I think, because none of us has been in that position before. But we will do the best we can and I think the band will be very strong.

[...] It’s kind of unknown territory for us, obviously, because Chris was such an integral part of the band, and was from the beginning. He was on every single one of the twenty-one or twenty-two studio albums and remained in the band from the beginning so I think that’s important in some respects. We’ll keep that to the fore.
An Aug 2015 interview with Howe reports that the band "had some hesitation and discussions before eventually deciding to" continue. It quotes Howe:
We thought if we don’t stay on course, we’re gonna lose the plot[.] And the plot might be that there would be a different future or no future for Yes, I suppose, is another way of sort of cruelly putting it.
In another, Howe was asked about how it felt to be touring without Squire:
It's not quite like anything we expected but we have a sense of duty, responsibility, we all hold positions and you have to forge ahead, whatever happens in your life. You can't run away from things. So I guess we've kind of faced up to it and kind of come to terms with what we're about to do, because, you see, everything about it is unfortunate


There have only been so many gaps in Yes' performance [history] - 2005, 06, 07 are the only times. So there is a sense of responsibility. We do feel like it would be silly just to stop. Even though this is a very dramatic development, to stop maybe wouldn't be fair to Chris, because Chris was obviously hoping we'd carry on anyway. I think we're trying to strike a balance with a brave concept of going on and rising to the occasion.
YesWorld carried a statement from Squire about his illness when the news was announced on 19 May 2015:
This will be the first time since the band formed in 1968 that YES will have performed live without me. But the other guys and myself have agreed that Billy Sherwood will do an excellent job of covering my parts and the show as a whole will deliver the same YES experience that our fans have come to expect over the years.
Sherwood said on Facebook the same day in May:
As we have all learned the news about Chris Squire/Yes... I wanted everyone to know my perspective.

I met Chris Squire in 1989, we became fast friends and have remained so ever since. I've worked with Yes in various capacities over the years, writing, producing, playing, touring etc... and have remained friends with all of them. Recently Chris phoned me to share some rather serious personal news, it seems some medical issues have arisen from out of the blue and they are needing to be dealt with before he can go back out on tour with the band. Chris went on to explain that Yes are meant to tour in Sept/Aug etc... but unfortunately this will be the 1st time he won't be able to go. The band has a deep loyalty to it's fans, I know this well having been a full member of Yes in the late 90's and witnessing the devotion to touring and sharing the great musical legacy with the people of the world who love this band. That said Chris suggested rather than cancel this upcoming tour, the band should go on for now without him. It was truly a bittersweet moment when my dear friend of many years phoned me to explain all this to me and then ask me "would you jump in and play bass and sing with the band till I get back up to speed". I was very moved, as I told Chris, he is the reason I wanted to play bass and sing when I started my professional career... My love for the band and for my friends made the answer very easy, "of course" I said, "under the banner of your returning asap", we agreed and so I'm very honored to say that I will be playing bass and singing with Yes on this upcoming Yes/Toto tour. Thanks to the fans for understanding these unusual circumstances and supporting Yes and Chris in this decision. I look forward to keeping the musical integrity and performances as high as my friend expects it to be.
In an interview around Dec 2015, Sherwood reflected on events:
we all know happened with Chris. It’s just made it difficult for everybody. You know, no one was sure if Yes was going to continue, with me at the tip of that spear. I wasn’t sure. Will these people accept me in here? I mean, I understand the pain, but will this work? And to my surprise, and I’m very happy to say the vast majority of Yes fans are rallying behind the band right now
Further details on Squire's passing here.

Line-up discussion & relationships with past members
In an Apr 2016 interview, Howe was asked whether it is fair to say that Anderson will never be back in the band. He replied: "I don't think that's fair at all [...] I don't know what the future holds [...] We're just moving ahead as we are. [...] We need certainties, y'know, we need availabilities, we need, y'know, commitments and things like that". He was later asked if the band still has good relationships with R Wakeman: "Well, I hope we try and keep good relations with everybody, y'know [...] people put their foot in it occasionally [laughs] But [...] there are always people from the bands you've been in that you have stayed closer to and other people you haven't and that very much depends on who makes any effort and who's got any time and, y'know, how much you can, so, y'know, it spreads itself evenly across the... so many members of Yes [laughs] that we've had, besides the other bands I hasten to add I've been in. But, y'know, um, it's a lovely thing, y'know, there's a pool of musicians and, y'know, we can reach out to each other when we want to." In a Jul 2016 interview, asked whether they would work with ex-members, Howe focused on the current band's plans and said: "Well, I guess what we're going to do is we're going to try to contain ourselves in our ambition and figure out how to keep these things going. It takes a lot of work and a lot of agreement."

Sherwood was asked in an Aug 2016 interview about the band's future: "Could another merger be on the horizon? Who even owns the Yes name?" The article continues:

“All that stuff is above my pay grade,” Sherwood says with a laugh. “Let’s be honest. Did anyone think Yes could survive Chris Squire not being there? I wasn’t sure, and I was the one being asked to do it. But it seems to be surviving and thriving.” The future is “a hard thing to even discuss, because you just don’t know until you get there.”

Sherwood says he tries not to draw “hard lines” about authenticity. “Life evolves and music evolves and bands change,” he says. “We’re losing guys. That’s sad to say, but it’s true. But the music lives on and it’s a testament to the music.”

In an Aug 2015 interview, Howe was asked whether "Chris' passing make it any more likely we'll see Yes work with former members like Jon Anderson or Rick Wakeman in some capacity, even just for one big concert to celebrate the band's legacy?" He replied:

I'd hate to say no, so I'll say I don't know. [...] From inside it's quite different. We have to try to stay on our course, and if we change something that changes multiple other things, then we don't know where we are. We spent a lot of time in 2008 kind of finding out where we are, with Benoit and Oliver Wakeman and now with Geoff Downes and Jon Davison and now with Billy Sherwood. In other words, we can't open the floodgates without thinking. So sure, we give these things some thought, but until we come to a conclusion, we'd rather do nothing than the wrong thing.

In a Sep 2015 interview (conducted late Aug), Howe talks about several past members of the band, saying how they met with Moraz while on tour. He then says, "We have some contact with Jon Anderson. [...] I think we ought to see this group as sort of an expanded family."

In an interview recorded in Apr 2016, White said, "I talk to Jon [Anderson] [...] on occasion. [...] I call him on his birthday, and that kind of stuff. [...] Rick, I haven't seen him for an awful long time. I'd like to see him again, y'know, because we used to get on very well." Asked if Anderson and Wakeman might ever return to Yes, he said, "I wouldn't rule it out [...] put it that way, but I think Jon doesn't want to do these long, arduous tours any more and if it was, it would be a kind of cameo appearance at some bigger venues like London [...] or Los Angeles".

Apparently responding to comments by ARW in a number of interviews, Sherwood posted to Facebook in early Oct 2016:

In light of current events...
In my view, anyone who puts on the uniform I.E. served playing with Yes, making records, touring etc... deserves respect for doing so (regardless of era), without ending up under a bus. It's my honor to play under the "YES" flag, of which there is only one flying... I have always been loyal to that flag... even at times when I was under fire for doing so (see OYE lol). I know Chris was loyal, as he was the only member to NEVER leave... I'm humbled and honored to now be back in "YES" [...] especially having been personally asked by my long time friend and musical comrade (inside and out of YES) Squire himself, he asked me to carry on in his position in the "band" and so it shall be done. My heart and soul are in it to win it, every time I play those bass parts I'm thinking of Chris and "YES" and what it all means to have had fate guide my life in this most unexpected manner, Yes was my world growing up as a kid. It became part of my career as an adult, a very surreal destiny indeed. With that I will continue to serve, putting on the uniform of a "YES" man once again, and as I promised Chris, I'll give it my full passion and priority... always remembering my fallen hero.

Asked in a May 2016 interview if he could see himself reuniting with other members of Yes, Anderson replied, "No, just Trevor [Rabin] and Rick [Wakeman]. That's enough." In an Apr 2016 interview, Anderson was asked about the continuing Yes, replying: "It's just business, and it's a group of people going out there and playing music that's very valid. I have a different perspective on what it is, and there are bands out there performing Yes music, called tribute bands[.] That's kind of the feeling of what's going on. That's why me and Trevor [Rabin] say, 'Well, listen if we're going to get together [in Anderson Rabin Wakeman], we've got to reignite Yes[.]'" In another May 2016 interview (presumably conducted in Apr), Anderson was asked, "Do you see yourself reuniting with any other members of Yes in the near future?" He replied, "No, just Trevor and Rick. That's enough." Asked in another Apr 2016 interview how, if he had "a magic wand", he'd like to see Yes wrap up, Anderson replied: "Create some of the greatest music in the next 20 years. I'm still Yes, I'm still part of Yes in my heart and soul. I didn't leave the band, the band went off on their merry way when I wasn't very well. [giggles] [...] I've got it in my DNA".

In yet another May interview, Anderson said, "My history is intact musically[.] Yes became a brand and a business deal and that is not my idea of what music is. Music needs to touch you spiritually. When it is driven by money, then it takes away the joy of creation." In an interview for the Spring 2016 issue of Progression, Anderson was asked if he "keeps tabs on his former band". He replied: "Not really, no. I know they're on the road. Musicians need to make a living and that's what they're doing. [...] there's only two of them left". And in this Jun 2016 interview, he said: "people ask me, "What do you think of Yes?" I, honestly, never left Yes. Because Yes has been my life. The band itself are doing what they want to do. I can't tell them what to do, because it's not my band. They've got the name, but I've got the state of mind about what true "Yes music" should sound like".

In an interview in the Jul 2015 issue of Prog, asked whether it is strange hearing Yes perform with other singers, Anderson replied, after a "long pause":

[...] not really. You think, "OK, well, so that's what they are now." That's not my idea of what Yes is. But what can I do?

The interviewer then says that Yes have "always replaced you with soundalikes". Anderson continues:

[...] they have to work with people who can make it sound as much like the real thing as possible [...] since Chris got sick, it's just the two guys [Howe & White]. But I don't blame them. They've got to make a living. I've been there myself – you get into your own little world and you don't care about other people.

Asked about whether he can see himself back in Yes, he replies:

Of course. Me and Rick have both said many times that we would love to get back with the guys [...] When I'm out there singing on my own, I still think I'm part of Yes. Those are my songs.

However, an Aug 2014 interview with Anderson had this:

“That moment [when the band continued on without him in 2008] really hurt,” Anderson admits. “I think we’d grown apart over the years, and when it came to the crunch, you know, business is more important and that’s what they wanted to do.

“But we’re still brothers,” he adds. “I’d still greet them if I saw them.” Noting that a[...] reunion could happen if Yes ever makes it into the Rock and Roll Hall of Fame [...] Anderson says he’d be happy to sing with them again.

As for a full reunion should it be offered, though, he demurs. “It’s not what I want to do,” he says.

An Apr 2014 interview with Howe had the following exchange about Anderson:

Interviewer: Is there any chance of a reunion with [Anderson]?

Howe: How would you like it if I asked you to get back together with your ex-girlfriend ...

Interviewer: People do get back together with their exes ...

Howe: We have a new album coming out. The way we see the band –– I don’t want to appear to be disinterested in things that other people might be interested in –– but you need clear goals when you’re working.

At the moment, we’ve got these [other] plans.

Asked whether Yes would perform with Anderson if they're inducted into the Hall of Fame in this Dec 2013 interview, Squire replied:

Squire: Yes, that’s not a problem. In fact, Jon and I had quite a long phone conversation a couple of months back. I know he’s excited about the nomination and of course he’ll be there. We’ll see, we’ll probably try to do an expanded Yes thing there, if we’re inducted.

Interviewer: He’s cool with you guys going on with another singer?

Squire: Yeah, the chips have sort of fallen where they lay now. It seems like we can have a good conversation, and some of that bodes well for that being a good performance (if we’re inducted).

In a Jul 2013 interview, asked about Anderson, White said:
We haven't ruled out the fact that we might do something with him in the future. We don't know when. We have a good formula for right now. [...] We're going to roll like this at the moment and we're enjoying it.

And, earlier in the same interview, he also said, "There is a possibility we may do something with him [Rabin] in the future."

In an Aug 2013 interview, asked about Anderson saying he would like to return to the band, Howe responds:

Well, I've got two choices here[.] I either don't answer the question because I could say this is not a question I can deal with. I could say it's none of your business. People say all sorts of things about this, and I don't want to get into any deep water, but I will say that we've got a wonderful band at the moment and we've got a lot of plans for the future. So I don't really understand where that's [i.e., talk of Anderson's return] going myself, because we're very settled into keeping this lineup as close as we can to what we have. It's what we know, it's what works, it's what's been proven. Going back to something that everyone thinks, 'Oh, it's what they want' ... it might not be what we can deliver.

While in a second Aug 2013 interview, Howe has this to say:

The best lineup we’ve got is the one we’ve got[.] This is the best Yes lineup because it works now. All the others may have had their moments in time.

We greatly respect the contributions of every Yes member that’s ever been[.] They’ve helped fill in the bricks of construction that make up the architecture. We’re all products of our own making. Many people can’t accept that. Every situation is one we’ve produced ourselves.

And asked why Anderson isn't in the band in a third:

That’s like me saying how do you feel without your ex-wife or without your ex-girlfriend[.]

People don’t have any problem asking us questions like that but we have a problem answering them. What about Bill Bruford? [...] he retired from Yes altogether. And I love the guy. So there are a lot of crosses to bear, and I do respect all of the people who have made such great contributions in their previous role as Yes members. End of story.

In a Mar 2013 interview, White had this to say about the possibility of Anderson returning to the band:

"I haven't put it out of my mind that it's a probability," he says. "We'll see down the line. I don't think it will be for a whole period. I think it will be for some specialized gig like New York, L.A., or London, that kind of a thing."

Despite Anderson seeming a bit bitter about the band recording its first album in ten years without him [...] White says there is no bad blood between them. "I spoke to Jon a few weeks ago," White shares. "He's a 49ers fan, and I'm a Seahawks fan, and we were having a conversation totally about football."

In an Apr 2013 interview (in Spanish), Squire was asked about the possible return of Anderson, Bruford, Wakeman and Moraz. His answer (translated): "Not at the moment, at least not this year [2013]. Perhaps in the future, there is a possibility of doing something with them again."

In an interview from around May 2013, Anderson said:

[...] I said to Chris the other month, if Geoff [Downes] and Jon [Davison] are in the band too, I don’t mind, you know, we can all work together. I’m very open. I think the music is more important, and the fans are more important than all that “I want the band to be my way” business. I was never into that. And I’m always very open for things to work out okay.

Rick is a very important part of the group [...] I think that it’s important that he should be involved as well.

And I spoke to Alan a couple of weeks ago. So we’re in touch, and when the time comes, when the stars align, we’ll probably be able to get together and perform together. I don’t see myself going on crazy tours for months on end, I don’t see the point in that—we’re all a lot older, and I hope a lot wiser. We should do shows here and there and we should make sure the shows are very important and very, very well produced

Anderson was asked for his thoughts on the current band in an Aug 2013 interview on Planet Rock radio (UK); his answer: "[...] the music is great, there's no question [...] they're playing well [...] They're not as adventurous as they should be, but that's just me. [...] I wish them well." In another interview around the same time, asked about reuniting with Yes, he said, "It's gonna happen. I think the key thing will be if we get in the 'Hall of Fame'. It will be fun. We used to joke about it. We'll all be in wheelchairs and we'll get in the 'Hall of Fame'." A Nov 2013 interview asked Anderson about Yes. He was first asked if he misses "the other members of Yes while performing these songs", and replied: "I miss the beautiful energy that we created as a band, but it's something that I can't dwell on too much because it's something that is not going to happen. It might happen in the next year or two. You never know. I'm never opposed to doing concerts with the guys". Then asked about whether he is on good terms with the current Yes members, he said: "I speak to Alan [White] [...] He left a message the other day for my birthday, so we're in touch. Chris [Squire] and Steve [Howe] they are doing their own lives. [...] We're not that in touch". He was also asked how he feels about the idea that Yes cannot be Yes without him. He replied:

I can imagine when Journey went out with different singers that fans got very upset, but they loved the songs and still go see the band. With Yes, it's kinda different in many ways because I was a very integral part of the music as well as the songs that I wrote and the lyrics. So it's a different set of energy when people go see Yes. They'll hear the music [...] it's really great music, but it's going to feel different because I think I was this person to the band, leading the band. I had this certain energy, and it's missing. But that's not to say people don't enjoy going to see their show. I can't really fault them for anything other than they carried on doing the music without me, and it is very inspiring music anyway. So, I can see how the fans are upset in a way. I wish them all the best, and I hope that one day we will all get back together and do the tour everybody dreams of.

In another Nov 2013 interview, he said: "they're going to do what they wanna do, Steve [Howe] and Chris [Squire]... they're in charge of the band and they can do what they want. It's always gonna be their band and I'm busy doing what I'm doing and Trevor [Rabin] is busy doing what he does, Rick[ Wakeman]'s busy doing what he does. Everybody's got a life y'know?" The interviewer then praised the early Yes albums and Anderson replied, "Well, they're still available. There's still the incredible history of the band. People shouldn't worry too much and hold on to the past. That was wonderful and it's gone. We move on to a better future. And you never know. We might all get together and do a tour. You never know..." In a Feb 2014 interview, asked why the 'classic' line-up isn't together, Anderson answered, "Times changes and lives move on, y'know. People have a strong feeling about what they want to do. Urm... as you know, I got very sick and Chris and Steve and Alan just wanted to go on the road. I understand that. Y'know, they went on the road and they're still doing it. It's one of those things, I did say after I got better that I'd love to, y'know, get back together and do some work with Rick and... it just didn't seem to want to do that kinda... y'know, I'm a sort of taskmaster. I don't sit around [...] Times change. All the Yes fans, I really feel sad for them having not the chance to see the band, but maybe next year [2015] we'll get into the Hall of Fame and you never know, we might just go on tour together. Life is like that [...] you can't say never again." In a Mar 2014 interview, Anderson said:

If we get into the Hall of Fame, maybe we’ll all be friends again[.] That’s probably the way a reunion would come about. Steve and Chris have their idea of Yes, and that’s what it is. I went through a similar experience. ‘90125’ [...] wasn’t my idea of what the band should be. I tried to push them back into the long-form pieces of music, and eventually I gave it up and decided I would do it myself. I started writing musicals — I wrote three in the 1980s and two in the 1990s.

In a Q&A for YesWorld in Apr 2013, Howe said:

The current members of Yes respect and regard and appreciate the enormous contributions that our past members have made, not the least of all Bill Bruford, Jon Anderson, Rick Wakeman, Patrick Moraz, and the late Peter Banks, Billy and Trevor and so many people and they’ve all been contributing to the past. And what you have now is the Yes that is functioning because of multiple reasons: we want to, we’re able to, we have the energy, and we love the music.

And in an Apr 2013 interview, Downes said:

who knows, as regards Jon Anderson? It's something that's not really in my control. I've not really ever worked with Jon Anderson. So I know the other guys speak to him from time to time. So it's not... people say it was an acrimonious departure--probably not as much as people might think.

The article continues:

does it seem like it's healed over time, if indeed there was any acrimony?

"I'd say so, yeah. People get on. [...] when you get to your 60s, you don't want to be carrying too many grudges around with you (laughs)."

A Sep 2012 interview asked Howe: "Asia is a band that works so well with the original four, and not nearly as good without the original four. Yes, however, is a band where everyone, at one time or another, has come and gone, including you, yet it still works. What is the difference between the two?" His reply:

It must be personalities. Asia had a long break where we didn’t do anything and Yes has perpetuated all of these years. That has required people to come and go and it has meant we need to get new blood sometimes, as well.

Asia is really quite different as it doesn’t work unless it is the original guys. You could claim the same for Yes and say that we should bring back the original guys, but Bill Bruford is, sadly, retired. Peter Banks and Tony Kaye are both very good musicians, but it wouldn’t be the same as what we do now, or what we did in the past. Yes and Asia are very different kinds of creatures, really.

Later in the same interview, he is asked if Anderson and Wakeman will ever work with the band again:

Well, how in the hell do I know? I wouldn’t particularly say that it is on the agenda. People have said the cliché like we have burned bridges and all of that.

We are realistic people, so in the sense of realism, for Yes to evolve, we had to be a strong group and we had to have people who were committed to it to warrant a position in the band. In other words, if you come in and say to Yes, “I play the drums but in Yes I am going to play the bongos.” We would say, “But we want a drummer.”

You’ve got to be able to provide the full story. [...] everybody in this group needs to accept that we look at the entire career of this group. We don’t just look at little pockets when certain people were in the group—we don’t do that anymore. [...] Of course, we do focus a lot on the ‘70’s but there were a few lineups there.

In a way, that is the commitment. It is not about Jon and Rick now. It is about who can do these tours and who can perform the repertoire from 1968 to 2012. If you can do that then you have an opportunity to be in Yes. I’m not going to say Rick and Jon can’t do that. I will say that I don’t think that is what they want to do. But that is what Yes demands. We want artists who can come in and perform with an open heart right across the board. I guess that is the key to it.

An interviewer in Nov 2012 said to Howe, "I interviewed Jon Anderson a while back and he was quite upset that Yes toured and recorded without him." Howe's reply:
We were upset for several years when he wouldn't tour. It wasn't only because he had not been well. We were very sympathetic to that. When he was well, he went out and did Yes songs on his own. I'm not saying it is tit for tat. What I am saying that the circumstances have changed. Yes has toured with Jon Davison singing and it was very successful. We are going to continue with Davison next year [2013]. I know people would love to see Jon Anderson, but it's about does it work. Do we want to honor each other's position? Nobody leads Yes. Yes does not have a single, solitary leader who says I am the leader of the band. It's a team. We have pushed forward and we haven't had anyone going home unhappy or asking for their money back. We deliver what Yes is supposed to do.
In a May 2012 interview, Squire talked about a possible Broadway residency that would be in collaboration with Anderson and other ex-members: see above for more. He also supports the interviewer's suggestion of a get together if the band were ever inducted into the Rock and Roll Hall of Fame, saying: "That would be fantastic, wouldn't it? It would be great to get every member up there onstage. Fortunately, I think every member is still alive, so they shouldn't wait too long." In a mid-Jun 2012 interview, asked about a "reconciliation with Jon Anderson", White said

Who knows? One time, hopefully, we can, erm... get back together with Jon. Whether it'd be for a just a few specialised kind of... y'know, the shows are an occasion, and not much like a whole tour, will probably be the case [...] I'm still great friends with Jon. And he's just happy doing his solo thing.

The interviewer then says she spoke with Anderson in 2011 and that he's ready, to which White replies: "I wouldn't count it out."

In an early Sep 2012 interview for GTFM radio (Wales), the interviewer asked Downes about Squire having said he is "open" to Anderson returning. Downes replied:
What Chris might say in an interview might (a) be misinterpreted or (b) might be something that, y’know, he might want to… erm… not really mean what he’s saying in that respect. Certainly, at the moment, I don’t see that being a possibility, but you never say never in those circumstances. There may be some level whereby there is a kind of a Yes reformation some time down the line in the future, similar to the Union situation, maybe. But certainly I think that the level of touring we’re doing at the moment and the intensity of dates, I don’t think would probably suit Jon Anderson, not that I know him particularly well
In a Jan 2013 interview, Anderson was asked, "Will there ever be a chance at reconciliation with Yes that could result in a new tour, perhaps even a new Yes album?" His answer: "I would love that to happen!" He said more in this exchange from a Feb 2013 interview:
Interviewer: A few months ago[...] Squire [...] told me that he's never turned down the opportunity to work with you again, but currently your health is too poor to do an extensive tour. How is your health [...]

Anderson: Yeah, I nearly died a couple of times. My health is very good. The bizarre thing is I sing more on stage now doing my solo shows than I ever did with Yes. I sing and talk for an hour and three quarters. Chris just wants to own and control the band, that's his life. I wish he'd have called the band something else, it would have been more real, but bands do it, Journey carried on without their singer. I wish them luck; it's not my idea of Yes, obviously. My idea of Yes is "Open" and what I'm doing now. Emotionally I haven't left Yes at all. [...] I still have a great feeling about the future of my idea of Yes music. I'm still committed to the wonderful Yes music we've created over the years. I want to continue to make that kind of Yes music [...]

Interviewer: [...] Are you open to the idea of an extensive tour with them?

Anderson: I wanted to tour in 2009 when I got better and they said no. They turned me down. They said maybe next year [2014]. That's kind of bizarre to me that they'd say they already had a singer, six months later that singer, probably a lovely guy, couldn't handle the touring, because it's so hard. Now they have another singer, they didn't call me or ask me if I'd be interested, they just say oh he's sick, which is a lot of rubbish.

Interviewer: Would you ever work with them again?

Anderson: Sure, I'd love to. There's no reason why we shouldn't bury the hatchet, get together and make some music and do something very special for all the Yes fans around the world. And there are thousands of people who would like us to get together [...] Rick would have to be in the band. There's no point in just me. We'd probably do some shows or something, some beautiful new music [...] we could make a movie or something like that, just to honor all the fans.

Another Feb 2013 interview had this:

Anderson says he’s made overtures about joining the Yes fold again [...] His only condition [...] was that [...] Rick Wakeman return as well. [...] Chris Squire and [...] Steve Howe, Anderson adds, weren’t interested.

“Chris and Steve like to have control of things. That’s what they want to do,” Anderson says. “I’ve said two or three times, I’d love to get back together — as long as Rick is back in the band. They don’t seem to be hearing that, at the moment. Maybe, one day it will happen. We’ll see.”

He had earlier in the interview given his view of the current band:

They’re carrying on[.] Fans have lost interest in the whole concept, anyway. It’s what it is. It’s going to go the way it’s going to go — that’s really all I can say. I think a lot of people are just disappointed, like I was, that it’s lost that impetus that made Yes music so beautiful and different.

He also commented that he hasn't heard Davison singing, but he said of David: "I heard Benoit when someone sent me a link on YouTube, and he was singing pretty good. He's a good singer, but he was having a tough time after a year on the road. Singers, it's a very physical thing, and they are the most affected by long touring."

In the wake of David's departure, it was reported that an attempt was made to reach out to Jon Anderson, but that Anderson would not talk and no discussion with him took place (see, for example, here and here on Yesfans.com). In response to earlier, erroneous, online reports that he had been asked to re-join, Anderson released a statement on 8 Feb, from which I quote:

In response to recent rumors circulating about [...] Anderson being asked to re-join YES - these rumors are unfounded and false. Jon Anderson is busy with his solo career; he is currently on tour performing solo [...] as well as recording new music. Jon also had this response to recent quotes in the news by Chris Squire that he is in regular communication with Jon: "I haven't spoken with Chris in four years, and the only e-mail I have received from him in the last 3 years was him asking for free tickets to my show in Mesa, AZ last week - very sad, but true."

In fact, in interviews in Jun/Jul 2009, Anderson said he had talked to Squire the preceding month, so less than 3 years ago: see below. A 28 Feb 2012 interview with the Dallas Observer had this exchange:

Interviewer: Because of your health issues, Yes decided to tour with a replacement vocalist. Can a band still call itself Yes and not have Jon Anderson singing?

Anderson: No, it's never going to be the same band. And they've just announced this week that they had to get yet another singer after the guy who replaced me became ill. I've told them that since I am healthy again that I would to get back with them. I told them that I wanted to create new music, but they don't want to do that. They just want to go on the road and make money. They don't care for the integrity of the band. I feel they have let a lot of fans down. They're just in it for the money.

(Note, the article appears to miss a word, presumably something like "like", in the phrase "I would to get back with them.") This quote raises questions of when Anderson told the band that he is healthy and able to return. Rock News Desk commented on the interview, but have now published a correction here. I quote:

Apology: On March 7, 2012, Rock News Desk incorrectly reported that Jon Anderson had recently offered to rejoin Yes but had been refused.

Mr Anderson’s representatives have explained: “Unfortunately there was a misquote in the Dallas Observer about Jon Anderson asking to rejoin Yes recently. This is completely wrong. The quote was about when Jon just recovered from his illness in 2007, and asked the band then if he could rejoin; they said no as they had Benoit David. When the band sacked Benoit David recently they never asked Jon to rejoin the band and he definitely did not ask them if he could rejoin. He is doing his solo career right now and has no plans in the immediate future to rejoin Yes.”

Unfortunately, this clarification only muddies the water. The reference to 2007 makes no sense: David didn't start working with Yes until late 2008, and Anderson's most notable health problems were also in that year. He hadn't significantly recovered from those until about mid-2009. (It is also questionable whether it is accurate to say Yes "sacked Benoit David".)

In the wake of David's departure, it was reported that some sort of attempt was made to reach out to Anderson, but that he would not talk and no discussion with him took place (see, for example, here and here on Yesfans.com). In response to earlier, erroneous, online reports that he had been asked to re-join, Anderson released a statement on 8 Feb, from which I quote:

In response to recent rumors circulating about [...] Anderson being asked to re-join YES - these rumors are unfounded and false. Jon Anderson is busy with his solo career; he is currently on tour performing solo [...] as well as recording new music. Jon also had this response to recent quotes in the news by Chris Squire that he is in regular communication with Jon: "I haven't spoken with Chris in four years, and the only e-mail I have received from him in the last 3 years was him asking for free tickets to my show in Mesa, AZ last week - very sad, but true."

A Feb 2012 interview with Anderson had this:

Anderson [...] left [Yes] in 1980. "I left the band a couple of times because it all became about money and hit records. If you try to do it that way, then you're nothing if you don't have a hit."

He returned in 1983 for the massively successful "90125" [...] but left again five years later. "Our main goal was to be adventurous. I guess I had to leave every 10 years because it had lost that energy."

By the 1990s [...] members [were] coming and going with predictable regularity. Anderson and company toured regularly, but the album sales were stunted, and the live audiences were shrinking down to the hard core. "This constant touring does your head in and wrecks your health."

Moreover, Anderson felt the band was well below peak form.

"After so many weeks on the road, the band starts to wear down, and there is nothing you can do about it. People just get worn out and stop listening to each other. The audience often doesn't see it, but we do."

After the close of the group's 35th anniversary tour, Anderson was in a bad way. Though he had given up smoking more than 20 years ago, he was coughing almost constantly.

"There were some great shows on that tour, but it was just getting too difficult."

"Can we do shorter tours? Can we do a semiacoustic album?" he remembers asking the rest of the band [...] "I thought if we could ease back and create better events, the music would be better." The band seemed unwilling.

Anderson's health problems got worse: acute respiratory failure, a blocked bile duct requiring several surgeries, diverticulitis. "I nearly died three times in a year."

[...] Anderson was left with little recourse. He couldn't block the group from touring without him, so he gave his blessing. "I got sick. People get sick," Anderson said. "I wanted to rejoin, and they didn't want to do that. But that's life, isn't it."

A frequent meditator, Anderson has spent many hours mulling over what went down. "At least once a week, I wish everything was the way everybody wants it, especially the fans. They're upset. And it wasn't my fault, so I can't take the blame."

His contact with the band has been almost nil. "I haven't seen Steve Howe in seven years."


"I'm not in a rock band anymore. I've been in that world, and it was wonderful, but I don't want to be there anymore. Life is a constantly changing thing."

But a Mar 2012 article has this:

As for the possibility of rejoining Yes, Anderson is hopeful, albeit with managed expectations.  “We’ll see what happens in the future.  I’d never say no, if it happens with good will and honesty and Rick’s there, I’d love to do it.  I bumped into a good friend who says he’d love to produce it.  And I said ‘Well, good luck!’  We’ll all keep our fingers crossed.”

In an interview in the Jul 2012 issue of Prog magazine, asked about the Yes situation, Anderson said:

It seems so... I mean, when I speak to Rick [Wakeman] about it, we're so sad that it's come this way around. But life is sometimes like that. You can't just expect everything to be perfect all the time. So, maybe it'll happen in the future. You always think: 'maybe one day we'll all get together'. I hope. I certainly haven't let go of wanting to create my understanding of Yes music. It's a style of music. Yes music to me is what I do.

In an interview for the Aug 2012 issue of Classic Rock, Anderson referred to Squire's comment that the door remains open to a possible reunion, with "I say the same." Asked whether he is on speaking terms with Yes, he replied: "I saw Alan only the other day. He's sweet. But they get on with their lives, I get on with mine. There's no point pretending we're all mates." After an 8 Aug 2012 solo show (see here), Anderson said to one fan that, while he's made steady progress, his health was still not quite 100% yet. He also said that he would certainly not be doing any more "crazy Yes tours". Jon's wife and manager, Jane, is reportedly opposed to Anderson working with Yes.

In a Jul 2010 interview, when asked if the new album will include Anderson, Howe said:

It won’t include Jon Anderson. Benoit David is our new vocalist [...] Basically, it works, it’s practical, it’s friendly. It’s very constructive and it’s working. We can’t keep going thinking we’re going to go back to something. Back is old. Back is problem. Back is baggage. Forward is adventurous and revealing. We say to people that this is the Yes that’s working. This is the working Yes. You can have all the other lineups you like in your mind, but this is the line up that actually goes out and does the work. We’re the perpetuation, the continuation, and the saga of Yes.

In a Nov 2010 Chilean article, Howe said:

Really what happened in the '90s and the 2000s is that the music we made at that time ... was difficult, to be honest. It is difficult, because people had a hard time accepting the roles of others, and there were conflicts over the type of music we could do.


Keys to Ascension was the beginning of the return of the 1970s formation, but we did the whole project and never went on tour. And that is why Billy [Sherwood] and Igor Khoroshev appeared because people needed new vitality to help us. [...] Open Your Eyes really was a nightmare. And The Ladder was a similar nightmare, and Magnification was a nightmare too.


They were nightmares for me personally, because I had no hope that this will again be like in the '70s. I never thought or expected it to be the same, but the type of problems we had making those records was motivated by the story of the '80s and '90s [...] "Owner of a Lonely Heart", which is basically a pop song by Yes, and what that left was a scar that could not be removed. The group was desperate for a hit, and I was not. I did not care about having a hit [...] I want Yes to write symphonies, orchestrally, in a large format, and not be worried about radio play, about a cliche pop song like "Open Your Eyes". Those songs were so far beneath Yes's talents of Yes. Yes's talent is not in writing hit singles, we are not that sort of group and never would have gotten anywhere being so. I think the Yes legacy has more to do with the '70s [...]

Open Your Eyes, The Ladder, are not the right way to make a record. You have to rehearse, write songs, go to the studio. For Magnification [...] we did everything in the studio. Which is bizarre, it's boring and not as it should do, it does not have the pre-or post-production that are part of the way for Yes to work.

[Original Spanish: De verdad lo que pasó en los '90 y en los 2000 es que la música que hicimos en ese tiempo... fue difícil, para ser honesto. Es difícil, porque a la gente el cuesta aceptar los roles de los demás, y hubo conflictos en torno al tipo de música que podíamos hacer.


[-Digamos que Keys of ascension fue el comienzo de la formación de los '70 reformada -retoma en este punto Steve Howe-, pero hicimos el proyecto completo y nunca nos fuimos de gira. Y es por eso que Billy (Sherwood) e Igor Korshev aparecieron, porque necesitábamos vitalidad nueva de gente que nos ayudara. Así que llegaron y, te digo, Open your eyes de verdad fue una pesadilla. Y The ladder fue una pesadilla similar, y Magnification fue una especie de pesadilla también.


[-Fueron pesadillas para mí en particular, porque no tenía esperanza de que esto volviera a ser como en los '70. Nunca pensé ni esperé que fuera igual, pero el tipo de problemas que tuvimos haciendo esos discos fue motivado por la historia de los '80 y '90, en la producción de las canciones: Yes hizo "Owner of a lonely heart", que es básicamente de un disco solista pop de Yes, y lo que eso dejó fue una cicatriz que no se pudo borrar. El grupo estaba desesperado por un hit, y yo no lo estaba. No me interesaba tener un hit, no quiero a Yes detrás de un pedazo de desecho barato, quiero a Yes escribiendo sinfónicamente, orquestalmente, en un gran formato, y no preocupado de que en la radio toque un cliché poppy cualquiera como "Open your eyes". Esas canciones estaban tan por debajo de los talentos de Yes. El talento de Yes no consiste en escribir hit singles, no somo ese tipo de grupo y jamás habríamos llegado a ninguna parte así. Creo que el legado de Yes tiene mucho más que ver con los '70 y los '80.

[Howe ni siquiera hace una pausa para continuar. "Open your eyes, The ladder, no son el modo correcto de hacer un disco. Tienes que ensayar, escribir las canciones, ir al estudio. Para Magnification no hicimos nada de eso: hicimos todo en el estudio (de grabación). Lo cual es extravagante, es aburrido y no es como se debe hacer, no tiene ni la preproducción ni la pos-producción que son parte de la forma de trabajar de Yes.]

In an Oct 2009 Polish article, Howe describes his view of Yes:

Yes is not a band, it's a concept. It was born before I came to the band and will exist. It's a challenge to play in Yes because we are an artistic enterprise of world renown. There is a kind of dream about Yes and we do everything for it to go on... But there is also the other, more prosaic, more serious, business side of the band. We earn our living from that and we have to be sure we are not left without work. [Yes nie jest zespołem, ale pewnym konceptem. Narodził jeszcze przed moim pojawieniem się w zespole i będzie istniał. To prawdziwe wyzwanie grać w Yes, bo jesteśmy przedsięwzięciem artystycznym o światowej renomie. Istnieje pewien sen o Yes, a my dokładamy wszystkich sił, by trwał... Ale jest też proza życia, poważna strona biznesowa zespołu. Z tego się utrzymujemy i musimy być pewni, że nie zostaniemy bez pracy.]


We are on the other side of the barricade. We don't worry about the problems of today's music industry, but enjoy what we have. We are not hungry for success, rather we want to do what is good for Yes.[Jesteśmy po drugiej stronie barykady. Nie martwimy się problemami dzisiejszej branży muzycznej, ale cieszymy tym, co mamy. Nie jesteśmy głodni sukcesów, za to chcemy robić to, co dobre dla Yes.]

Both Anderson (despite Squire's comments in the above interviews) and particularly R. Wakeman have been critical of Yes. An Oct 2009 interview with R. Wakeman includes the following exchange:

Wakeman: I don’t have any respect for the current tribute band that is out there.  You can’t have Yes without Jon.

Interviewer: I talked to Jon Anderson last night.  He is, obviously, not happy that Yes went out without him.  He said to me that he does not think it is Yes unless Rick Wakeman and himself are in that band.  He said it just does not have the same energy, no matter how good it sounds. Do you agree with that? Is he justified in his frustrations?

Wakeman: He is completely justified.  Yes is no longer a part of my life so I have nothing to add except to say that Jon is absolutely right.  I think most fans would agree as well.  But, it’s all over with regards to the classic lineup now.  I just get on with my life and my music.

In a circa Nov 2009 interview, R. Wakeman is asked whether it is time for Yes to call it a day:

(Slight pause) Um…yeah… [...] it’s a very difficult situation. I could never envision Yes without Jon out front singing. [...] we’re all in our 60s. Jon is in his mid 60s. Jon’s been feeling very poorly, as you know. I speak to Jon every week. I think it’s very sad. I think Yes deserves a real fitting finish, and it’s not been allowed to have it.

He goes on to talk about his last period in the band:

Jon and I pushed really hard in the things we wanted to do. I suggested that we put together a very special, full-year package of winding the band down, of doing special Yes weekends, all over the world. Maybe 10, 15 a year, of special weekends, special shows, the real full works because Yes should go out as a spectacular band, which it was. It’s not a gigging band. It’s going around doing it. I get hundreds and hundreds of e-mails from people are who very unhappy and think it’s very sad. [...] it’s not the way I would have liked to have seen the classic Yes sign off.

At a live show in Jan 2010, R. Wakeman said "Jon is, was, should be the lead singer with Yes." He made regular jokes about Yes on his Planet Rock radio show: in Jul 2010, he made reference to the current Yes line-up with the phrase "tawdry tribute band". Mid-2010, he also referred to them as "a Canadian tribute act". In Aug 2010, it was, "Yes are [...] a Yes tribute band!" In the Oct issue of Classic Rock Presents... Prog, Wakeman said:

What's the question I'm most frequently asked? [...] from people in general it's, 'Will the classic line-up ever play again?' I always used to say 'never say never' to that one, but I think the now the answer would be 'no'.

A Feb 2011 interview reads:

When asked if he will ever play with [...] Yes again, Rick Wakeman answers with a resounding, “No.” [...] “What Chris [Squire], Alan [White] and Steve [Howe] do is their business and it is for them to decide what they do in the same way that I make my own decisions as to what I want to do [...] All I will say is that I did have dreams as to how I saw Yes in it’s twilight years but those dreams are now passed and totally unachievable, so life moves on.” When asked if he is angry or hurt by his band mate’s behavior Wakeman simply says, “I’ve moved on.”

In an Innerview with Anil Prasad, published May 2011, Wakeman said:

The voice is the most standout thing about any band. There are certain bands for which it is just impossible to replace that voice. For me, there isn’t a Yes unless Jon is singing [...]

To me, the Yes sound is all about the musicians and whatever they’re doing. Certainly Chris Squire and Steve Howe are very important, but the vocal sound of Yes is a major part of what makes it Yes. My own view is it’s great that the guys are going to carry on, but I thought they could play some Yes stuff, go off in a different direction, use a different name, and create something new. They could still do some Yes stuff and that would be absolutely fine.


I’m not being critical. What anybody wants to do, they can do. But when I’m asked, I will explain my feelings.

Asked in a late May 2012 interview about the possibility of re-joining Yes and the band's behaviour towards Anderson, Wakeman said: "I'm very unhappy about the treatment of Jon, but that's my personal and private view. Would I ever go back?... Not now."

Anderson tours under the label "The Voice of YES". In an Oct 2011 interview, he said of his former Yes colleagues, "we are not in touch anymore." A Feb 2011 interview has this:

Interviewer: [...] it certainly looked like their [Yes's] decision to tour without you while you were sick was a financial move, but that doesn’t explain why you didn't rejoin them once you were healthy enough to do so.

Anderson: Well they turned me down. I called them up and told them I felt great and wanted to do it and they said "No we're happy where we are, maybe next year [2012]". I thought ok, that's life. You just have to move on and get on with other things. It just wasn't meant to be. I think that bless them they're just guys that are going through what they want to go through and that's life. It's hard at times to think about it but as long as they're honest with the fans and they let the fans know who's in the band, rather than tour as Yes then that's cool. I think they've just started their tour by saying who's in the band which I think is a good thing. Before that I was very, very sad and disappointed. [...] Looking back on the whole history of the band it was badly mismanaged all the way down the line, but thankfully the music survived. I'm happy they're saying who's in the band now and what they've done is what they have to live with you know?

Interviewer: Apparently they're also working on a new album.

Anderson: Yeah and good luck to them.

And this is Anderson in a Sep 2011 interview:

Interviewer: Where do you see your relationship with the band going in the future? [...]

Anderson: Well, I suppose the quick answer is that I’m sure, possibly, we’ll get together again… I joke and say, “When they wake up” (laughs). But it’s as though they all have a path they need to go along, and we’ll just see what happens. [...] I listened to a couple of tracks [of Fly from Here] and thought this is not my idea of Yes, but in some ways you have to say this is the way it has to be.

I feel a little bit sad for the fans, of course,  who just want Yes to be Yes to be Yes. I wanted the Beatles to be the Beatles forever, but they packed up and changed, and life moves on. So in some ways, it will happen when it happens. That’s my new mantra.

I asked Trevor Rabin what he thinks about Yes continuing without Anderson in my Jul 2012 interview. His reply:
I love Chris [Squire] like a brother and wish only the best for him. But I think Jon is such an important part of YES, and it's not just the sound. It's the input and perspective that Jon brings. It sometimes is tough, but it's so worth it.
Billy Sherwood was asked about the "situation" with Yes and Asia in this late 2012 interview, and replied:
I have and like any fan of the music one has their favorites of this or that.... That said, it's not my business how bands evolve, who should be there and who shouldn't. i just enjoy the fact music is being made.
And then asked about working with Yes again, he said:
With Yes I have learned to never say no lol... Anything is possible, every time I thought I was finished working with the band it would then re-enter my world in some significant way. I have no plans to re-join or produce etc... but I didn't have that plan when it came at me in the past so.... let's leave it at who knows.
Asked in a Jul 2014 interview whether there is "an irreducible core to this band, somebody without whom you would just say, let's call it a day," Howe responded:
[laughs] Not really. We’ve all been replaced by somebody at one time or another. What I’m concerned about is that if one loses the idea of the adventurousness in this music — the dynamics that we need to play with that make the sensitivity and the crescendos and the lulls and all those things — if we suddenly think that we don’t need to do that, that we just play the songs, hammer them out, that would be a nonsensing of Yes, really. When we play “Five Percent for Nothing” for the first time ever onstage, we will be showing, if not ourselves, we’re showing the audience also that we’re challenging ourselves. If we don’t, then this isn’t Yes [...] That would be a good reason for you to moan all over the Internet, that Yes have lost the flame to be adventurous and to be musical and to be subtle as well as powerful [...] Subtlety is what Yes is.
As for the future, in the Dec 2008 article, Squire said age would not slow them down: "There are classical musicians who perform into their 90s. I don't see why that can't be the same for people who play rock 'n' roll." In the Mar 2012 Classic Rock, Squire floats this possibility, once suggest by R. Wakeman around the time of Union:

I've been thinking recently that Yes could evolve into an entity like the London Symphony Orchestra, with different players. There could still be a Yes in 200 years' time. But presumably the band members will be different.

In a May 2012 interview, Squire made a similar comment:

YES to me now is evolving like a sports team or an orchestra. It’s not beyond the possibility that there still could be a YES in 200 years time… of course with different members

And here's another May 2012 interview: "In many ways I think about the possibility that there could still be a Yes in 100 or 200 years from now, just like a live symphony orchestra. [...] Just think of the Los Angeles Philharmonic: the members change, but the band keeps the same name." While in an Aug 2014 interview, Davison said:
[Yes's music i]s similar to the way classical music works. Long after those marvelous composers [...] passed, and the centuries moved forward, their music lives on. It’s not so much about the personality anymore. And people have a hard time seeing that now, because obviously the members [of Yes] are still alive, apart from Peter Banks [...] But it’s so easy to associate the music with the personality, and that causes a lot of conflict among fans. But ultimately, it’s about the music, and just taking the music forward. And there will always be a Yes. And I’m a lover of Jon Anderson as much as I’m a lover of Chris Squire, but you can’t fight it. And when something has that power to it, it’s beautiful, and beauty transcends all of that personality, and it’s always gonna belong, you just can’t put a cap on it and say, “Well, the original members aren’t doing this music anymore, so it’s over.” That can never be. It just can’t be.
In a Jul 2012 interview for The Pittsburgh Tribune-Review, Howe explains Yes's longevity by saying, "[T]hat's the answer to your question: We change[.] We're like an orchestra; an orchestra can change membership." In an interview for the Feb 2014 issue of Prog, Downes was asked how long he can see the band continuing: "As long as people want to see and hear us. [...] If we can get on a stage to play, and the fans still buy tickets, then we'll do it. [...] There's a lot more life in us." In an Aug 2015 interview, White was asked, "Chris [Squire] often joked that Yes could conceivably continue on with completely new members, that the name could just encompass the spirit and go on for new generations. Now that idea seems even more possible." He responded: "[Laughs] I never heard that one, but the music is kind of timeless, really."

In an Apr 2013 interview, Squire was asked about his "goals [...] for Yes moving forwards". His reply:
Yes has certainly stood the test of time. We’ll see what happens down the line. It’s possible there might be a Yes band 100 or 200 years from now, much in the same way cities have symphony orchestras that have been around. [...] the name could be kept and you could have new musicians come in. [...] Yes isn’t necessarily contingent upon my presence. By now, people know what my contribution to the band has been, both in songwriting and playing. Of course, I can be emulated and my style can be borrowed from for any future bassist or secondary vocalist for the band. I’ve thought about it a lot, and this could be a possibility looking toward the future.

In a Dec 2013 interview, Squire mooted the possibility of something akin to the Union tour in the future:

Maybe at some point in the future we’ll try and do another expanded Yes as we did in 1991, and maybe that will give us some opportunity to do some more of that [YesWest] music. The great thing about that band was that it was almost like a “Yes orchestra.” It was defintely a good thing to do, and not out of the question that we might do it again at some point.  But right now we’re forging on with the new project.

Animated film project: Roger Dean's "Floating Islands" film or something else
Yes have had preliminary discussions about possible film ventures, including one being developed by Roger Dean
. In an Apr 2007 interview for Mexican newspaper, Reforma, Squire said that the band have been in contact with Universal Pictures about making an animated movie about the band's history from their formation to the present day, including their more representative songs. The article makes a comparison with The Beatles' "Yellow Submarine":

Hace poco la compañía Universal Pictures se mostró interesada en hacer una película de animación en la que se muestra un poco de nuestra trayectoria musical, desde cuando surgimos, hasta la actualidad, incluyendo obviamente, nuestras canciones más representativas. Lo estamos analizando, todavía hay algunas puntos por precisar, como la historia, de qué trataría y cómo se abordaría, cuáles etapas de la carrera se incluirían, las canciones, pero creo que es muy pronto para hablar del tema, esperemos pronto poder dar más detalles. [...]

Son muchos años, muchas anécdotas que contar, creo que tendríamos que seleccionar muy bien lo que quisiéramos abordar, porque una película, comúnmente tiene una corta duración, cerca de dos horas y es muy poco para contar tanto, ya casi cumplimos cincuenta años de estar juntos.

An Aug 2012 interview with the same newspaper, Reforma, raises the idea again, along side plans for a live residency by the band. The article is not specific, but Squire seems to respond that both ideas are being considered, but will not occur in 2012 or 2013. See details above.

Yes are also in contact with Roger Dean about being involved in his film plans. Dean has described a feature-length film using 3D computer animation based on the backstory to many of his Yes album covers, called "Floating Islands" (rogerdean.com link). Dean discussed the project in a Mar 2008 interview and described how they are still working on a script and arranging funding. He said the film will probably be just animation, although he would prefer to use a mix of live-action and computer-generated backgrounds. Dean is working on the script in an editorial capacity. In Jun 2007, Dean told a fan that significant funding for the project has been raised, although his comments suggested it could still be some while before the film enters production. Lynda Cope and David Blake are executive producers, with Dean and David Mousley as producers. In Feb 2011, asked about the project on his Facebook page, Dean replied: "it is unfortunately on hold for a while. We're hoping to get things moving again this summer [2011] though." Asked in Apr 2011, the reply on Facebook was:

We haven't given up on it but there has been no progress in the last three months, it has been very intermittent. When there's something to share we'll put it on the website.

Dave McKean's Twitter mentioned the project in Jun 2009. McKean is an artist (including cover art for Bill Bruford's Earthworks, Dream Theater, Tori Amos) and filmmaker (directed "MirrorMask", conceptual artist on the "Harry Potter" films). He explained, "we were both developing fantasy feature film ideas and decided to try and combine them since they have a lot in common", but cautioned, "Very early stages of something that may never happen and even if it does will take years". He also tweeted, "Lots of notes today on story outline for Roger Dean film. Coming together well. Parts of our individual stories + new connective tissue."

In a Feb 2008 interview, Dean said:

it’s surprisingly difficult to sort out the finances for it. [...] we have had a lot of people who have said ‘subject to you finishing the script, we’d like to do it’, so that kind of put the ball back in our court. We’ve had a number of re-writes on the script and at the moment we haven’t re-presented it until we’ve got a final, satisfactory script. [...] our ideal scenario is to have a script that we really love, because we have a story that we really love, but the script has always been not quite right [...] I’m involved in it but I’m not a writer. [...] It’s not in my hands to get this right, so it’s a little bit frustrating for me but I think we’re going to get there fairly soon. We’re currently in negotiations with a number of investors. All of the investor’s money that we’ve discussed so far for the movie hasn’t been with distributors, so our hope and expectation is that we will have a significant part of the funding in place before we talk to major film companies.

[...] It’s a ninety minute feature film. My partner and I haven’t come to a total agreement on whether it’s going to be CG with live action, which is my preferred route. He is still thinking we should keep the option of doing it fully animated with no live action at all which is something I’m not as enthusiastic about. However the technology is moving forward so I might change my mind later.

It is unclear how Yes are involved with current planning for "Floating Islands". The film is expected to feature music by the band. Asked in the Mar 2008 interview about Yes making some music especially for the project, Dean replied: "all members of the band have spoken enthusiastically about doing that. [...] That's definitely what we would like." He goes on to say he would like both existing and new songs, and discusses the options for either existing or new recordings of old songs. He talks about both "Awaken" and "Soon". Back in Jun 2007, Dean had said that Yes are not currently involved with the project beyond authorising the use of their music. A report from around 2005 had that the film is intended to contain 8-12 classic tracks (a re-recorded "Close to the Edge" was mentioned in one rumour) and at least 4-5 new recordings. In Jun 2007, Dean confirmed there had previously been discussion of Yes writing new music for the film and that the band had been thinking of "re-recording everything" (presumably meaning re-recording classic pieces), but that there hadn't been any discussion of new music recently with Yes then being dormant.

Further back, there were more reports from Yes about contributing. In a Dec 2004 Delicious Agony interview, White said, "We're starting to write music for it." In his Christmas Newsletter 2004, Wakeman said: "There are certainly ideas in the offing which include [...] making a film/and/or DVD with Roger Dean involved with all of the visuals which I particularly like, but there is much to be sorted out within the band itself before any decisions". Wakeman indicated that one of their main reasons to prefer the DVD format over CDs is Internet piracy. In an Oct 2005 interview with Squire for YesFANZ, he said:

We are looking at various options from the various major companies. Universal have shown interest and we are going to be looking at trying to put together a show that maybe then after the film has been made of the same, we can then tour the world with that kind of a look and with that kind of combining the film and the touring aspect.
The interviewer, Brian Draper, then raised the Dean project. Squire:
I think Roger’s floating Islands idea is a very good project. But after Lord of the Rings was made [...] with such good quality, it[']s hard to know quite whether Roger may be a bit late in thinking about that because it has been done so well with the correct amount of money [...] His idea, I fully support it but I am not quite sure where it is going to go. I had a couple of meetings with him to try and figure it out but so far nothing is happening.

[...] I think pretty much [he is looking for funding]. [...] Yes is a separate entity really from Roger [...] I have to look out for what’s best for Yes as opposed to Roger. But I think the idea of animated film for a Yes musical project is a good one but there are various options on the table that we are looking at.

Contemporary live releases
After the two Like It Is releases, Yes are reportedly planning another live release covering their complete album performance of Drama. (I had reported that their 4 May 2016 show in Bristol was filmed. It was not. No shows on the European tour were filmed.)

The band recorded their 11 May 2014 Bristol date on their European tour for a DVD, mixed by Billy Sherwood. Squire, Downes and Davison joined Sherwood to finalise the mix in Aug 2014. Maor Appelbaum mastered the DVD in late Aug. Like It Is—Yes at the Bristol Hippodrome (Columbia Music Entertainment) was released 19 Nov 2014 in Japan by Ward Records on 2CD, DVD and Blu-ray, and limited edition DVD + 2CD and Blu-ray + 2CD. Release elsewhere followed (2CD, DVD, DVD + 2CD Deluxe edition, Blu-ray and digital) on Frontiers Records from 8 Dec. The video elements are in stereo (not 5.1). Tracks:
  1. "Going for the One"
  2. "Turn of the Century"
  3. "Parallels"
  4. "Wonderous Stories"
  5. "Awaken"
  6. "Yours is No Disgrace"
  7. "Clap"
  8. "Starship Trooper"
  9. "I've Seen All Good People"
  10. "A Venture"
  11. "Perpetual Change"
  12. "Roundabout" (9:53), Japanese bonus only

That was only part of the evening's set, omitting Close to the Edge, played first in the evening. Close to the Edge was omitted because it is covered by a follow-up live release recorded at the Mesa, AZ show on 12 Aug 2014. Like It Is—Yes at the Mesa Arts Center (Frontiers) came out 10 Jul 2015 as a Blu-ray, a 2CD+DVD pack, download, or 2LP. Japan (through Sony Japan) additionally sees a 2CD only release. Sherwood described mixing the album in posts to Facebook, Jan 2015. On 3 Mar, he said to Facebook, "Finished the YES MIX !!! "Live From Mesa DVD". Mastered by my friend Maor Appelbaum". The set that night was Close to the Edge in reverse, "Believe Again", "The Game", all of Fragile, "I've Seen All Good People", "Owner of a Lonely Heart", "Starship Trooper". However, the release just covers the two full albums; tracks:


  1. "Close to the Edge"
  2. "And You and I"
  3. "Siberian Khatru"
  1. "Roundabout"
  2. "Cans and Brahms"
  3. "We Have Heaven
  4. "South Side of the Sky"
  5. "Five Per Cent for Nothing"
  6. "Long Distance Runaround"
  7. "The Fish (Schindleria Praematurus)"
  8. "Mood for a Day"
  9. "Heart of the Sunrise"
Buy 2CD from Amazon (US):



There is a Japanese bonus track on CD2 of "Owner of a Lonely Heart".

The CD/DVD set was as high as #109 on US Amazon (#64 in Rock, #104 in Pop; 5 Jul). The Blu-ray was #4 in Blu-ray Music Videos & Concerts on US Amazon on 15 May. The CD/DVD set was as high as #76 in Box Sets on UK Amazon (#656 overall), while the Blu-ray was #36 in Music DVDs on 5 Jul.

In the Present—Live from Lyon (Frontiers) was released in 2011 as a 2CD, limited edition 3LP gatefold (Europe only; now sold out) or 2CD+DVD set. This is the 1 Dec 2009 show when Oliver Wakeman and Benoît David were in the band. The audio is the full show on the Japanese release, but omits Howe's second solo piece elsewhere. The ~55 min. DVD consists of interviews with the band, behind the scenes footage, excerpts from the show and complete performances of "Roundabout" and "Machine Messiah". Director of video content: Philippe Nicolet. Tracks: CD1—"Siberian Khatru", "I've Seen All Good People", "Tempus Fugit", "Onward", "Astral Traveller", "Yours is No Disgrace", "And You and I", "Corkscrew" (Howe solo), "Second Initial" (Howe solo; Japan only bonus track); CD2—"Owner of a Lonely Heart", "South Side of the Sky", "Machine Messiah", "Heart of the Sunrise", "Roundabout", "Starship Trooper".

The evening was recorded for a full DVD release in 3D by Swiss company NVP (Nicolet Vidéo Productions), who have previously been involved in making an, as yet, unreleased 3D film about Steve Howe. A stereoscopic 3D technique was used that Squire described at the show as novel and not requiring special glasses to view. NVP had described a 52 minute film about Yes as forthcoming (preview here). In the Jan 2012 interview with Billboard, Squire said the 3D film was the original plan and they still hope to release it at some point:

We're sort of waiting 'til they've got the whole 3D TV thing without glasses, which I'm told is on the horizon[.] In the meantime we wanted to get it out there, because that was a very good version of the band and a very good performance, I think.

And in an interview published Mar 2012, Squire said:

The original project for this was filmed in 3-D! So down the line, the whole concert was filmed [...] but the whole two-and-a-half hour set was filmed, and I’m sort of waiting for the time when the 3-D TV comes out where you don’t need the glasses, which I’m told is imminent. So by the time that happens, we’ll do a whole mix of the concert footage in 3-D and put that out.

Archival live releases
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Progeny: Seven Shows from Seventy-Two is a new, 14-disc box set containing 7 complete shows from 31 Oct-20 Nov 1972, i.e. the Close to the Edge tour with Anderson, Squire, Howe, White and Wakeman. The album was released 25 May 2015 in the UK (Rhino) and 26 May in the US (Atlantic Catalog Group). The box also features extensive new art by Roger Dean. The YesWorld page about the release has the full story of the recordings and the work to restore them, but in short these are 2" tape, 16-track (or possibly 8-track) recordings done for what would become Yessongs, and indeed some of these were used for some of the material on Yessongs. The shows are: 31 Oct Toronto; 1 Nov Ottawa; 11 Nov Durham, NC; 12 Nov Greensboro, NC; 14 Nov Athens, GA; 15 Nov Knoxville, TN; and 20 Nov New York, NY. The 14 and 15 Nov discs are in the correct, chronological order but were labelled the wrong way round on the original release of the set, but more recent copies have this corrected. (I don't know of any way of telling whether you are ordering a set with the error corrected or not—sorry!) Replacement discs have been issued.

The track listing is the same for each show: "Opening (Excerpt from Firebird Suite)"/"Siberian Khatru", "I've Seen All Good People", "Heart of the Sunrise", Howe solo (usually "Mood for a Day/Clap", but sometimes there were the other way around), "And You and I", "Close to the Edge", "Excerpts from "The Six Wives of Henry VIII"", "Roundabout", "Yours is No Disgrace". The exception is that Howe's solo was played before "Heart of the Sunrise" at the 31 Oct show. The set was restored and remixed by Brian Kehew (worked on bonus tracks for Rhino's Tormato re-release, worked with Keith Emerson) and others. Liner notes are by Syd Schwartz. ForgottenYesterdays' Steven Sullivan has a short FAQ about the release here; other details on Wikipedia here.

Progeny: Seven Shows from Seventy-Two made #64 in the UK album chart, #57 in Germany, #48 in Italy and #10 in Hungary in its first week. It was as high as #26 on Amazon.com in all albums there, #14 in Rock and #26 in Pop on 27 May; it also made #1 in Classic Rock on 28 May. It was #1 in Psychedelic Rock at various times between 28 Feb-28 May. An import listing on Amazon.co.uk was #12 in Box Sets and #106 overall on 7 Mar before the domestic release was listed. The UK domestic release made #23 in Box Sets, #38 in Compilations and #252 overall (27 May).

Released at the same time and available as a 2CD, 180g 3LP or download, Progeny: Highlights from Seventy-Two is a 90-minutes selection from the 14-disc set; tracks: "Opening"/"Siberian Khatru" (from 20 Nov), "I've Seen All Good People" (20 Nov), "Heart of the Sunrise" (15 Nov), "Clap/Mood for a Day" (12 Nov), "And You and I" (11 Nov), "Close to the Edge" (11 Nov), "Excerpts from "The Six Wives of Henry VIII"" (12 Nov), "Roundabout" (31 Oct), "Yours is No Disgrace" (12 Nov). The 3LP release was as high as #542 (#10 in Psychedelic Rock, #59 in Classic Rock; 2 Mar) on Amazon.com, while the 2CD version reached #23 (#12 in Rock, #1 in Classic Rock, #23 in Pop; 27 May), and #1 in Psychedelic Rock (various times 18-27 May). The download was #1 in Progressive Rock (27-8 May) and #19 in Rock (#92 in Paid Albums; 27 May). The 3LP was as high as #383 on Amazon.co.uk (#4 in Vinyl, #37 in Box Sets, #66 in Compilations on 26 May), while the 2CD edition has been as high as #95 (#21 in Compilations; 27 May) and the download was #17 in Rock and #80 overall (26 May). The 3LP release made #14 on the UK vinyl chart in its first week.

Progeny was nominated in Prog magazine's annual awards in the Storm Thorgerson Grand Design category, but lost to Steven Wilson's Hand. Cannot. Erase.

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It appears that further archival live releases (from other tours) may be planned. Kehew has said that the release has been very successful and that they are looking at further options. In a Mar 2015 Q&A, he said:
YES must have recorded many things beyond 1972, hopefully tapes survive and will turn up in good shape. I have mixed some of their live stuff before, but it was considered (I agreed) too poor to release, with sound issues, keyboard tunings, etc. In particular a 1976 show we found with Patrick could have been amazing (JFK Stadium in Philadelphia maybe?), but the tapes made it clear it was a very sour night.
Jon Dee (who organised the Rock Aid Armenia project with Squire, Downes and umpteen others) has been tasked by Yes's management to collate soundboard and FM radio broadcasts that could be released. If you have high quality copies of such, please contact Jon.

On the Cruise to the Edge in Nov 2015, when asked about further archival releases, Howe said there was plenty more in the vaults.
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Other re-releases &c.
The Panegyric re-release series, with remixes by Steven Wilson, are covered above in their own section.

Rhino/Atlantic Catalog Group have re-released Drama as a 180g vinyl, cut from the original analogue masters, with Fragile following.

Anderson, Rabin and Wakeman are reportedly planning a remastered version of Talk for release in 2017, to coincide with their further touring.

A Special Edition re-release of "Songs from Tsongas—The 35th Anniversary Concert" was released 10 Sep 2014 in Japan (Nippon Colombia) and 22 Sep elsewhere (Eagle Rock). There are a Blu-ray version, a 2DVD version and a 3CD version. Japan also has versions with the Blu-Ray + 3CD, and with 2 DVDs + 3CD. In addition to the original content, the Blu-ray and DVD versions include bonus material (on the second disc for the DVD version) of 70 minutes taken from the band's Lugano, Switzerland festival performance (in Standard Definition 720×480), "Ritual" from the Tsongas show (moved from the main running order and offered as a bonus track on some versions, but in the correct place in the running order on the Japanese Blu-Ray), and an interview with Roger Dean. All the Japanese releases come with an additional 8 tracks from the Lugano show, i.e. the full show.

Symphonic Music of Yes was a 1993 orchestral album, with Steve Howe, Bill Bruford and Jon Anderson. The album was arranged and conducted by Dee Palmer (then David Palmer, ex-Jethro Tull). Gonzo Multimedia are re-releasing the album, along with Palmer's related projects for the music of The Beatles, Pink Floyd, Queen and Genesis. There is also a 4CD box set, A Vintage Case of Dee Palmer (HST401BOX), due 25 Jun, with Symphonic Music of Yes, Objects of Fantasy (The Music of Pink Floyd), We Know What We Like – The Music of Genesis and Passing Open Windows – A Symphonic Tribute to Queen. Palmer has recently completed choral arrangements from three of the albums for possible live performance.

Esoteric re-released a remastered and expanded version of ABWH (ECLEC22465). This comes with restored artwork and booklet, including a new essay by Sid Smith. Bonus disc:
1. "Order of the Universe (Long Edit)" (6:03), from 12" single
2. "Brother of Mine (Long Edit)" (6:33), from 12" single
3. "Vultures in the City" (5:54), b-side to "Brother of Mine"
4. "Quartet (I'm Alive) (CD Single Edit)" (3:19), from CD single
5. "Order of the Universe (Short Edit)" (4:52), from single
6. "Brother of Mine (Single Edit)" (3:25), from 7" single
This is different to the 2011 Gonzo re-release. In a Jul 2014 post to ProgressiveEars.com, the Esoteric account explained what had happened and the choice of bonus material:
With regards to AWBH , it was always owned by Sony, no one in the band had the right to licence to Gonzo we have been told , hence Sony wanted it licensed legitimately, it is complicated though what you can add, the owning label have to give permission to add bonus tracks that they don't own etc and we have a very short window to release on other label licences that don't allow for lengthy negotiations
Covers of Yes songs & other news
Mark Kozelek's cover of "Onward" (from his 2013 album Like Rats) appears twice in "Youth" (or "La Giovinezza"), once performed by Kozelek within the drama, starring Michael Caine and written and directed by Paolo Sorrentino, which was out 4 Dec 2015 on limited release in the US and 15 Jan 2016 in the UK. Kozelek also appears as himself in the film.

Horn-player Arkady Shilkloper (Аркадий Шилклопер, worked with The Bulgarian Voices Angelite, Pago Libre, Moscow Art Trio) released Owner of a Lonely Horn (Symphonic Tribute to Yes) (ArtBeat Music) on 1 Oct 2015, available digitally worldwide and on CD in Russia. Tracks:
  1. "Changes" (6:41)
  2. "Onward" (4:31)
  3. "Roundabout" (5:26)
  4. "Without Hope You Cannot Start the Day" (3:43)
  5. "The Fish (Schindleria Praematurus)" (4:25)
  6. "Time and Word" (6:08)
  7. "Soon" (8:26)
  8. "Singing Drums" (4:11)
  9. "Owner of a Lonely Heart" (5:19)
  10. "Owner of a Lonely Heart (Edit Version)" (1:39)

"Roundabout" is covered on The Royal Philharmonic Orchestra Plays Prog Rock Classics (Cleopatra Records), which is described under Moraz who plays on another track on the album.

The Japanese string quartet Morgaua Quartet released Atom Heart Mother is on the Edge (Denon) on Jun 2014. It consists of covers of several well-known prog pieces:

  1. "Red" (6:12)
  2. "Atom Heart Mother" (9:15)
  3. "Peace - Fallen Angel including Epitaph" (7:12)
  4. "The Cinema Show - Aisle of Plenty" (13:32)
  5. "Trilogy" (9:44)
  6. "Close to the Edge" (19:43)
  7. "The Land of Rising Sun" (3:28)
Their 2012 album, 21st Century Non-Schizoid Men, also covered "And You and I".

Dylan Howe did a cover of "Perpetual Change" with July Valls (guitar, bass, keys), viewable on YouTube, and they did another of "Awaken": see under Dylan.

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Hall of Fame

The Rock & Roll Hall of Fame has nominated Yes for a third time, for the 2017 entry. In a break with the past, the Hall now specifies which band members will be nominated and, in Yes's case, that is the Union 8: Anderson, Squire, Bruford, Wakeman, Howe, Rabin, White and Kaye. The other nominees are Bad Brains, Chaka Khan, Chic, Depeche Mode, Electric Light Orchestra, J Geils Band, Jane's Addiction, Janet Jackson, Joan Baez, Joe Tex, Journey, Kraftwerk, MC5, Pearl Jam, Steppenwolf, The Cars, The Zombies, and Tupac Shakur. The public vote is here.

The band were nominated for 2016 entry. In the public vote, Yes came second on 16.20%, behind Chicago (first nomination) on 23.41% and above The Cars (16.14%; first nomination). (The role of the public vote is unclear, however from 2014, three of the top five in the public vote are guaranteed to be inducted.) Also nominated were Cheap Trick (first nomination), Deep Purple, Chaka Khan (first nomination), Chic, Janet Jackson (first nomination), the JB's (first nomination), Los Lobos (first nomination), N.W.A., Steve Miller, Nine Inch Nails, The Smiths and The Spinners (first nomination). The final inductees were Cheap Trick (7th in the public vote), Chicago (1st), Deep Purple (4th), Steve Miller (5th) and N.W.A (12th). Geddy Lee responded on Facebook: "Some justice at last! Deep Purple in the Rock Hall! But no Yes??? Are you kidding me??" The @yesofficial Twitter account tweeted: "Hearty congratulations to this years @RockAndRollHall inductees from everyone in YES. Hope to see you next year ;)" The band's absence from the Hall came 10th in the Prog Readers' Poll 2015 'Non-Event' category (topped by Chris Squire's death).

Before the announcement, in this Nov 2013 interview, Anderson had said, "We might not get in this year. If not, then we'll try and get in next year [2014]. My mantra is, it will happen when it happens." However, the band were not nominated for 2015 entry. Geddy Lee, who is on the voting panel as a former inductee, said in a Nov 2014 interview, "I'm disappointed that Yes and Deep Purple did not get in. It's just wrong."

Yes were previously nominated for entry to the Hall of Fame in 2014, along side Deep Purple, Peter Gabriel (first nomination; already inducted as part of Genesis in 2009), Nirvana (first nomination), Kiss, The Replacements (first nomination), Hall and Oates (first nomination), The Paul Butterfield Blues Band, Chic, LL Cool J, N.W.A, Link Wray (first nomination), The Meters, Linda Ronstadt (first nomination), Cat Stevens (first nomination) and The Zombies (first nomination). Yes came fourth in the public vote with 10.88%, behind Deep Purple (11.93%), Nirvana (15.69%) and Kiss (17.22%); Hall and Oates were fifth with 8.1%, with Gabriel just behind in sixth. Downes tweeted in Jan 2014 that, "Fact: Yes missed out on the R&R Hall of Fame by a mere 24 votes out of 700." The inductees were Kiss (1st in the public vote), Nirvana (2nd), Hall & Oates (5th), Peter Gabriel (6th), Linda Ronstadt (7th) and Cat Stevens (8th).

Voices for Yes (Facebook; Twitter) has been a major fan-led campaign to get Yes inducted in the Hall. It was re-started with Yes's nomination in 2015. You can sign their petition here. The campaign is headed by two political operators: John Brabender (who worked on Rick Santorum's 2012 US Presidential campaign) and Tad Devine (who worked on John Kerry's 2004 and Al Gore's 2000 Presidential campaigns). Also involved are Steve Capus (former president of NBC News), Sara Taylor (former White House Political Director under George W. Bush) and our own Steven Sullivan (Forgotten Yesterdays). In 2014, the campaign received support from the current band, Jon Anderson, Trevor Rabin, Geddy Lee (Rush), Gov. Mike Huckabee, Savannah Guthrie (NBC News co-anchor), Dylan Howe and Virgil Howe. Yes responded to the campaign here. Voices for Yes released a video supporting the 2014 vote. Anderson responded to the news on Facebook with: "wonderful new, all you great Fans deserve to see YES in the Hall of Fame, YES music is very special, very unique, and I'm a fan of what we did as a band, no matter what happens, we still created some of the most wonderful music ever". In a Dec 2013 interview, Squire said he had spoken to Anderson about the nomination: "he's excited about the nomination and of course he'll be there. We'll see, we'll probably try to do an expanded Yes thing there, if we're inducted." He also said, "And I think Pat [Moraz] sho[u]ld be inducted into the Hall of Fame as well, if we're inducted."

Media, books, documentaries & fandom

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Journalist Jon Kirkman (worked on the "Union Live" and other releases; Cruise to the Edge host) has written a new, authorised book about Yes, "Time and a Word: The Yes Interviews" (Facebook, YouTube; Rufus Stone Limited Editions), out as a limited edition (1000 copies). There was also a limited signature edition (350 copies) signed by Kirkman and three of the band. An updated, large format, softback version follows under the name "Yes Dialogue" (Stereo33Books), with pre-orders available. The book contains new and archive interviews with current and past band members, covering Anderson, Squire, Bruford, Kaye, Banks, Howe, Wakemans R & O, White, Moraz, Downes, Rabin, Sherwood, Brislin, David and Davison, as well as with Phil Franks, the photographer for The Yes Album. The book also contains many photographs, many not previously published (including from Moraz's personal collection). New material for the softback includes an interview with Horn from May 2016. Kirkman is also working on a second Yes book project.

Released 29 Feb 2016 in the UK and 1 May in the US was Martin Popoff's "Time and a Word: The Yes Story" (Soundcheck Books). Popoff did original interviews with Anderson, Squire, Bruford, Howe, Wakeman, White, Downes and others for the book. Popoff has previously written extensively on metal.

Keyboardist Brian Chatton (ex-The Warriors, ex-FlamingYouth, ex-Jackson Heights, worked with The Hollies, Meat Loaf) releases his memoir "Rolling with Rock Royalty" (Facebook) in summer 2016. Chatton has worked with Anderson, Squire, Kaye and White over the years. The back cover photo for the book was taken by Deborah Anderson.

Simon Barrow is working on a book about Yes's music, "Solid Mental Grace: Listening to the Music of Yes", expected early 2017.

"Yes: Los Sonidos del Camaleón" (Lenoir; 316 pages), by Jordi Planas (Negua, ex-Dracma), is a Spanish-language book about Yes, now out.

Will Romano's "Mountains Come Out of the Sky: The Illustrated History of Prog Rock" (Backbeat Books) covers Yes, Asia, King Crimson, Genesis, Pink Floyd and many other bands. The foreword is by Bill Bruford. Another recent book about progressive rock is "Prophets & Sages: An Illustrated Guide to Underground and Progressive Rock 1967-1975" by Esoteric Recordings label manager/founder, Mark Powell (worked with Soft Machine, Caravan, Camel).

Richard Kaczynski's fantasy novel "The Billionth Monkey" quotes Yes's "Arriving UFO" and includes a cameo by fictitious Yes cover band, Hot Tormato, for whom Kaczynski has also created a webpage.

Garry Freeman (author of "The Bootleg Guide" and the forthcoming "Emerson, Lake and Palmer—A Live Guide 1970-1978") has been working on "Yes—A Live Guide 1968-1979" (Helter Skelter Publishing). The book aims to review as many shows as possible from this period, including details on equipment specifications and so on. The Gottlieb brothers are working on a book on Yes collectibles and Bill Martin (author of "Music of Yes—Structure and Vision in Progressive Rock") has been rumoured to be working on a new Yes book.

In a Jul 2004 interview, Wakeman said he would be writing a book about Yes: "I am going to do [a book] about Yes. There have been lots of books written about the band and I want to do one from what it's like inside the band." In a Jan 2005 interview, he said he was "seriously thinking about" writing a book about Yes having been asked to do one by a "big publisher". See further details under Wakeman. Moraz too is planning an autobiography that "will reveal the truth of what happened with Yes" (Oct 2010 interview). Squire was and Howe is also working on autobiographies, which cover Yes.
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Yes was a contestant's specialist subject on the 20 Jul 2016 episode of Mastermind (BBC2).

Dave Watkinson, author of "Yes—Perpetual Change", is seeking to organise a 50th anniversary Yes festival for 2018, and has preliminary agreement from Mabel Greer's Toyshop and Steve Nardelli (The Syn), plus the Yes tribute bands Fragile and Seyes.

"Roundabout" is used over the end credits of the Japanese anime series ジョジョの奇妙な冒険 (JoJo's Bizarre Adventure), which began in 2012. An English-language dub began showing on Cartoon Network in the US in Oct 2016.

Significant record labels
Frontiers Records (Facebook; MySpace; Google+; Twitter)
In late 2010, Yes signed a worldwide record deal with Frontiers Records, who have Asia, John Wetton and Unruly Child in their stable. In Dec 2010, Frontiers announced a link-up with 2 Plus Music & Entertainment, Inc. to oversee the label's development, artist acquisition, marketing and relationships in the North American market. 2 Plus is headed by Derek Shulman (ex-Gentle Giant as a musician; ex-Atco Records (where he worked with Yes), ex-PolyGram Records; signed Dream Theater, Slipknot and Nickelback) and another director is Leonardo Pavkovic (MoonJune Records/Management, managed Soft Machine Legacy and Allan Holdsworth; worked with Bill Bruford, Bozzio/Holdsworth/Levin/Mastelotto Band, PFM, Eddie Jobson, Hatfield & the North, Elton Dean, Hugh Hopper).

Management etc.

From the beginning of 2016, Yes are managed by Martin Darvill of QEDG Management (Facebook, Twitter), who already manages Asia, Geoff Downes, Downes Braide Association, Snakecharmer (with Adam Wakeman), John Wetton, ELP, Greg Lake, Focus, Curved Air, Uriah Heep, This Oceanic Feeling and others. They also co-manage UK and Wetton/Downes' Icon. Copyright management is by Daniel Earnshaw (has also worked with Jon Anderson, Rick Wakeman, Billy Sherwood). Further management and contact details are available at YesWorld.

Precisely who owns the Yes name, or what that question even means, is unclear. Yes appears to exists as two corporate entities: Yes '97 LLC is owned by Howe, White and, before his death, Squire, while Yes Touring LLC (set-up 2014) is now owned by Howe, White, Downes and formerly Squire. Anderson and possibly R. Wakeman were equal co-owners of Yes 2002 LLC, but reportedly sold their shares back. Consider also this Jul 2009 interview with Squire:

Q: Yes has endured many personnel changes, but you've always been there. [...]

A: It's more by default than design, actually. I've been there, and other members have gone off to do other projects. A lot of them have come back and left again and come back again. [...]

Q: There have been intraband tension and court fights. [...]

A: [...] Over the years, there have been challenges about who can use our name. It's quite simple: A majority of people left in the band at a certain time own the name. It's not like I'm the guy who has the name under my own contract.

Squire made related comments in an Oct 2009 interview published in Italian:

Intanto è stato casuale, non è che abbia mai avuto il disegno di essere il portavoce della band ora e sempre. E' però accaduto che nel corso del tempo altri decidessero che per loro era il momento di provare strade ed esperienze diverse. Così sono usciti e poi rientrati dal gruppo, come hanno fatto [Rick] Wakeman e Steve Howe. Però sono stato in buona compagnia perché Alan White si è unito a noi nel 1972 quindi i suoi 38 anni se li è fatti pure lui...

In interviews promoting Anderson Rabin Wakeman, Rabin made a number of comments pertaining to rights and ownership. In a Sep 2016 interview, he said, "Even though I have absolutely nothing to do with the current Yes band; I look forward to performing the material. When I left the band, I gave up my rights to the group; Jon and Alan White own the rights". (Could he be talking specifically about rights to YesWest material?) While in an interview published the next month, but probably also conducted Sep, he said, "When Rick, Jon and I decided to get together we actively decided not to call it Yes, even though we have just as much right to do so." In a Jun 2016 interview, Anderson said:
And people ask me, “What do you think of Yes [today]?” I, honestly, never left Yes. Because Yes has been my life. The band itself are doing what they want to do. I can’t tell them what to do, because it’s not my band. They’ve got the name, but I’ve got the state of mind about what true “Yes music” should sound like

Live in Japan banner

Projects involving multiple Yes men

There are a large number of projects involving more than one Yesman (see summary table on main page). Some are listed below, while others are listed on their own pages or under key individuals. In particular, Cleopatra Records have released and are releasing a large number of projects with multiple guests: some of these are headed by Sherwood (including various tribute albums, with guests including Squire, Wakeman, Kaye, Howe, Downes and Moraz) and are covered under him, while others are listed below. CIRCA: and related projects with Sherwood and Kaye are covered on their own page here.
In Jan 2015, as part of the 2015 NAMM show, a band with Alan White, Geoff Downes, Jon Davison, White bassist Steve Boyce and 6 others performed (YouTube) "I've Seen All Good People" and "Roundabout".

Details about Anderson Rabin Wakeman, the earlier Anderson Wakeman collaboration and possible work between just Anderson and Rabin are now covered on a separate page here.

Mabel Greer's Toy Shop Official site; Facebook; YouTube; Twitter; Pinterest
Mabel Greer's Toy Shop was founded in 1966 by Clive Bayley and Bob Hagger. They were joined in 1967 by Chris Squire and Peter Banks from The Syn, and then by Jon Anderson in early 1968. With Bayley and Hagger's departure, the band evolved into the first Yes line-up. Spurred on by Banks' passing, Bayley and Hagger (ex-So Rare) met up and decided to reunite the band. There were sessions Aug 2013-May 2014 in Paris with Hugo Barré (JP Raillot Quartet, works with Alex Keren; bass) and Clive's daughter, Annouchka Bayley (vocals). A website was launched; then Billy Sherwood announced in Jul 2014 that he and Tony Kaye were working with the band. Sherwood said 8 Aug 2014 on Facebook: "At present I'm pre-mixing the elements already recorded by Bob and Clive, once I get all the tracks in sonic order I'm heading into doing overdubs, Keys and bass. Tony Kaye is scheduled to play some hammond on here as well". Across that month he did first bass and then keyboard overdubs, with Kaye believed to have recorded Hammond parts in late Aug. Mixing took place early Sep 2014. Although not involved, former member Chris Squire endorsed the project.

An album, New Way of Life (Edifying Records, MGTCD1), is out with C Bayley (vocals, guitar), Barré (bass, keys, backing vocals), Hagger (drums, percussion), Sherwood (keys, additional bass), Kaye (Hammond), A Bayley (additional vocals), Alex Keren (backing vocals). The album was produced by Mabel Greer's Toyshop/Sherwood, engineered by Keren and Sherwood, mixed by Sherwood, and mastered by Maor Appelbaum (worked with Yes, CIRCA:). Tracks:
  1. "Electric Funeral" [Bayley/Squire], written in 1967 and the band's traditional encore at the time; previewed on YouTube
  2. "Get Yourself Together" [Bayley/Squire], written in 1967, but this version updated in 2014
  3. "New Way of Life" [Bayley], first song written when the band reunited in Aug 2013
  4. "Beyond and Before" [Bayley/Squire], Mabel Greer's Toy Shop's and later Yes's traditional opener at live shows
  5. "Sweetness" [Bayley/Squire/Anderson], written in 1968
  6. "Images of You and Me" [Bayley/Squire], written in the 1960s
  7. "My Only Light" [Bayley]
  8. "King and Country" [Bayley], instrumental written a few years before for a concept album plan by Bayley about World War I; the album is "planned for future release"
  9. "Oceans" [Bayley/Barré/Hagger], introduction to (10)
  10. "Singing to Your Heart" [Bayley], written a few years before
  11. "Jeanetta" [Bayley/Squire], written in 1967, with updated lyrics

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In an interview, Hagger refers to the original Paris recordings, "the Paris Tapes", with just him, Bayley and Barré, "before Billy produced the music and Tony joined. The label want to publish a separate album with that music that gives a slightly different feel. It is less sophisticated but has an immediacy." He also said: "We will definitely do a second album". And that the band are hoping to remaster BBC recordings of a John Peel session the band did in the 1960s. In another early 2015 interview, Hagger said they had talked to Sherwood and Kaye about doing another album, possibly doing it in Los Angeles. He again refers to "the Paris Tapes", saying, "it's worthy of another album at some point".

The band hoped to tour in 2015, including the US; a Facebook photo of rehearsals showed Hagger, Bayley, Barré, plus 'featured artists' A Bayley and Keren. In the first aforementioned interview, Hagger said, "We've talked about a gig with Tony and Billy many times but the logistics are difficult[.] I think that the only way around it is if Clive and I went out to LA, which we could do. Tony is next generation, though [...] he's a little tired so he's not keen on a European tour or anything like that. That would be tricky." In the Kirkman interview, Hagger spoke of having "a good rehearsal session last week" with Bayley, Barré and Keren (guitar). He also said that they had talked about live work with Sherwood and Kaye, but that the logistics are difficult.

An Aug 2015 interview caught up with the band in "pre-tour rehearsals", during which they played a set consisting of New Way of Life plus new material. Bayley talked about the album and the live set:
The idea was to take 5 or 6 of the original songs and then flip them a bit, not playing them the way we used to play them, although we were playing some from memory. On one song in particular we just left a major bit out [...] after we recorded the album we thought "There's something wrong here... oh yeah, we've messed up! We've missed up the most important bit of the song!["] So now we've put the section in on the live set but obviously it's not on the album. [...] The last one you've heard which we're still playing around with is one of the new songs. We've got another albums' worth of songs, we just need to get together and put them down.
Hagger continued on the writing process: "Clive [Bayley] usually comes up with the idea and he puts down the chords and the structure, we try it out [...] he goes back to write the lyrics and then we put it all together afterwards. Clive has written just about all of the material." Hagger also says that there is some material from the 1960s that they simply cannot remember today, although Bayley is investigating an old ¼" tape he found that may contain old material.

In Jul 2015, the band announced that Max Hunt (worked with Jon Anderson, Fish) had joined on keys for sessions in Paris, with further sessions due in London. A 20 Jul 2015 rehearsal in Paris was with C Bayley, Hagger, Barré, Keren and Hunt.

Released 2016 (1 Sep on Amazon) is a digital-only EP, Images, consisting of the band's 1967/8 John Peel sessions of 5 songs, remastered by Appelbaum in 2015; artwork is by Carne Griffiths. Tracks (all written by Bayley/Squire):
  1. "Beyond and Before" (3:44)
  2. "Get Yourself Together" (2:26)
  3. "Jeanetta" (3:08)
  4. "Images of You and Me" (3:54)
  5. "Electric Funeral" (3:20)
Performing are Bayley (guitar, vocals), Peter Banks (guitar, vocals), Chris Squire (bass, vocals) and Hagger (drums). These are from the same source as used on Peter Banks' Can I Play You Something? (tracks subsequently re-released on a number of compilations), but this is the first release known for "Jeanetta". The album was earlier made available through the band's website with a bonus track of "Beyond and Before" with Sherwood and Kaye, presumably from New Way of Life, but this version is not remastered and appears to be a straight rip from Can I Play You Something?.

Billy Sherwood's Citizen
Billy Sherwood released Citizen (Frontiers Records, FR CD 710) on 6 Nov 2015. He described the album in Apr 2015 press as: "the story of a lost soul wandering through time and living through many lives during historic periods of time." Sherwood wrote the album and performed vocals, guitar, keys, bass and drums; performing guests include Chris Squire, Geoff Downes, Jon Davison, Tony Kaye, Rick Wakeman, Patrick Moraz, Steve Hackett (Squackett, ex-GTR, ex-Genesis), Jordan Rudess (Dream Theater), Steve Morse (Deep Purple, The Dixie Dregs, worked with Steve Howe, ex-Kansas), Steve Hillage (System 7, ex-Gong, ex-National Health), Alan Parsons, Colin Moulding (ex-XTC), John Wesley (worked with Porcupine Tree, Sound of Contact, Steve Rothery, Steve Hogarth, Fish, Sean Malone) and Jerry Goodman (ex-Mahavishnu Orchestra, worked with Dream Theater, Gary Husband, Jordan Rudess), all of whom have appeared on Sherwood-led projects before. John Wetton (Asia, ex-King Crimson) was due to be involved too, but it appears has been unable to contribute due to ill health (see more under Asia).

Frontiers approached Sherwood about doing a solo album and suggested a concept album. Sherwood based the idea loosely on General Patton's belief that he had been reincarnated on several battlefields through history. Sherwood talked about choosing guest artists in an interview around Dec 2015:

normally what I’ll do is I’ll construct the entire record myself and pretty much have it built so I can understand what I’ve got. And then I sort of back up a bit and start listening to the music and equating who I think would suit what parts. For instance, when I wrote “Just Galileo And Me” I immediately started hearing Colin Moulding’s voice on this track. And I wrote to him as soon as I finished that [...] That same application applies to all the material. Another good example is Rick Wakeman on “The Great Depression”. His piano work [...] lends itself to that melancholy sad feeling of this poor guy who’s at the end of his rope and about to jump. I had asked Rick when I sent him the files “Could you please tap into that emotion and enhance it?” [...] So I kind of think about who would be right for what and what their style is like, and tempos, the song, the lyrics and how that all works together.

The interviewer then asks, "Do you find that once you have a musician who’s going to be on a piece is there a lot of change in the song from your original concept to the final recording based upon their input?" He replied:

No, it’s more the case of I send them the file and then explain between this point and this point is where your main solo is to do your thing. And with the rest of the track feel free to add and enhance it in however way you see fit. By doing that and giving them that creative freedom they come back with amazing overdubs. But they’re working over my track as it exists and that track remains solvent and doesn’t change.

Squire recorded a 5-string bass track for the album in a hotel when Sherwood was visiting Arizona, not long before he told Sherwood about his diagnosis and his final recording work. On 5 Jul, Sherwood said on Facebook:

In memory of Chris I decided to mix the title lead off track from [...] "CITIZEN". The song is titled "The Citizen" and features the last recording of Chris playing great (about 7 weeks ago) !!! ALong side him is my dear friend and bandmate in CIRCA: Tony Kaye [...] This is an important track because it sets the stage for the conceptu...al aspect of the record [...] The record also features other friends [...] John Wetton co[m]mitted to the project early on but has since fallen ill and is dealing with his health, I hope and pray for my friends recovery, I hope he can make it to the party [...] today it's just been my pleasure to hear Chris blazing out of my speakers.

Sherwood continued mixing through the month (he talked of mixing "Trail Of Tears" on 6 Jul). Later in Jul, Sherwood continued on Facebook:

Just finished mixing "CITIZEN" [...] I wrote with a conceptual theme. A lost soul reincarnated into various periods of history, he is the citizen... A conscript legionnaire in the Roman army at the end of the empire. A trench runner in WW1. A friend to Galileo as he discovers the earth is not flat. A distraught Wall Street man stepping out onto the ledge... a casualty of the great depression. Assistant to Darwin as he discovers his Theory. A member of the tribe during the trail of tears. Reborn as Nostr[adamus] [...] For me the most special track on the record is the title track "The Citizen" which sets the stage for the concept behind it all, on this track is the last recording of Chris Squire and he's larger than life on it !! I recorded him not too long ago in a Holiday Inn when I went to visit with him just before he fell ill.
On 17 Jul, he posted about "Putting the finishing touches on the last 2 mixes for "CITIZEN"". While in this Dec 2015 interview, he talked more about the process of recording the guests:
If we tried to pull together a record like this back in the day it would be a very, very expensive process, traveling around [...] The way we do it now is doable. I recorded Jon Davison in my house, and I went to Alan Parsons’ studio to record his vocal for “Empire.” For the track “The Citizen,” which features Chris Squire [...] we recorded at a Holiday Inn near his home. Since I carry my mobile recording studio with me on the road, I just set up in the hotel and turned it into my studio for the day, and he did a great job.
  1. "The Citizen" (6:34), with Squire (bass), Kaye (Hammond, keys), Sherwood (vocals, guitars, drums)
  2. "Man and the Machine" (6:44), with Hackett (guitar solo), Sherwood (vocals, keys, bass, drums)
  3. "Just Galileo and Me" (5:01), with Moulding (vocals), Sherwood (guitars, keys, bass, drums, harmonica, backing vocals)
  4. "No Man's Land" (5:35), with Steve Morse (guitar), Sherwood (vocals, keys, bass, drums)
  5. "The Great Depression" (8:40), with Wakeman (keys, grand piano), Sherwood (vocals, guitars, bass, drums)
  6. "Empire" (5:34), with Parsons (lead & backing vocals), Goodman (violin), Sherwood (guitars, keys, bass, drums, backing vocals)
  7. "Age of the Atom" (6:23), with Downes (keys), Sherwood (vocals, guitars, bass, drums)
  8. "Trail of Tears" (6:28), with Moraz (keys), Sherwood (vocals, guitars, bass, drums)
  9. "Escape Velocity" (6:03), with Rudess (keys), Sherwood (vocals, guitars, bass, drums)
  10. "A Theory All It's [sic] Own" (5:32), with Wesley (guitar), Sherwood (vocals, keys, bass, drums)
  11. "Written in the Centuries" (7:20), with Davison (vocals), Sherwood (guitars, keys, bass, drums, backing vocals)
A promotional video for "No Man's Land", about a World War I trench runner, was shot Jul 2015, with the character played by David Hussey, who worked with Sherwood in XNA. Details in Yescography.
Buy MP3 version from Amazon (UK):
Buy MP3 version from Amazon (US):

In an Aug 2015 YesWorld Q&A, Sherwood described touring plans:

[Frontiers] want me to tour it. So I said to the label “well, you know, for me touring that, the best band I could get to do that behind me would be Circa [see here] and so they said “well that would be great idea because we’re going to release your Circa record too”.

So Circa will be the band that is sort of, for lack of a better phrase, the ‘House Band’ for ‘Citizen’, and then the idea is to bring in guests, maybe Steve Hackett comes and plays for a week or John Wetton comes and joins us for a week or Alan Parsons. And we take it out and we do some shows like that. So that’s the idea being floated [...]

Proper management have stepped up to the table and agents and it’s early going but we’ve talked about all this [...] The ‘Citizen’ album is an hour long and [...] we’re going to need a couple of hours, so [...] we’ll probably do an hour of Circa music and then come back out and do the ‘Citizen’ set

In a Nov 2015 interview, Sherwood said:

I can say that I’ve pretty much built the core band that I believe can hold down the fort [...] to cover the entire record. The idea I have is that we’ll invite some guest artists to come and play some shows, depending on schedules and where people are with their own artistry [...] so I don’t really know who’s committed yet. [...] management is in place and the agents are getting together and the label’s supporting it, so… I want to do it for sure, between all of the Yes stuff that’s going on, and I think it’s going to happen.

However, on 23 Nov 2015, CIRCA: drummer Scott Connor said the current plan was him, Sherwood, keyboardist Scott Walton (worked with Conspiracy, CIRCA:, Weird Al Yankovic) and guitarist John Thomas (XNA, worked with Toni Childs, Vixen, Graham Bonnet). Sherwood talked more about touring plans in the Dec 2015 interview:

I’ve got management looking at gigs now. Yes has become a priority in my life [...] But there is time still to do other things, and my other priority is to get Citizen on the road. I’ve built a core band [...] I will be playing bass and lead vocals. I will be joined by [Connor/Thomas/Walton] [...] The core of the band will be the four of us, and we plan to have guests playing with us as well. There’s nothing confirmed yet, but I’ve spoken to several musicians from the album, and they’ve all mentioned their desire to participate, schedules permitting.

Action Moves People United
Now out is Actions Moves People United, a 2CD album from UNESCO and Action Moves People United (Facebook) launched as part of the Nelson Mandela Day celebrations and released 21 Sep 2016. Those involved in the spoken word with music project include Alan White, Geoff Downes, Patrick Moraz, Tony Levin, John Wetton (Asia, ex-King Crimson), Jon Kirkman (written about Yes and Cruise to the Edge host), Annie Haslam (Renaissance, worked with Steve Howe), Ian Anderson (ex-Jethro Tull), Martin Barre (ex-Jethro Tull), Julian Lennon, Steve Walsh (Kansas), Kathy Sledge (ex-Sister Sledge), Janis Ian, Dan Aykroyd, Sharon Katz, Lillias White (Sesame Street, Hercules), the boxer Ray Mercer, basketball player DJ Mbenga and the cosmonaut Dumitru-Dorin Prunariu. The album was produced by Kevin Mackie, well-known Yes fan Krista Wallhagen (worked as an artist with The Syn, Renaissance, Magenta) and Rupam Sarmah. An accompanying documentary is expected 2017. Tracks – disc 1:

  1. Dan Aykroyd, Rupam Sarmah, Alan White, Alex Kariotis & Ruth Weber: "Enlighten Your Soul" [mus: Sarmah; words: Laurie Ziel] (5:52), with White (drums), Aykroyd (spoken word)
  2. Cindi Griffin & Lonnie Park: "All Around the World at One Time" (2:39)
  3. Julian Lennon: "Saltwater (Reggae Version)"
  4. Annie Haslam, Patrick Moraz & Bunny Brunel: "Keep the Children Alive" [Moraz], with Haslam (vocals, spoken word),  Brunel (bass), Moraz (all other instruments), programmed/co-engineered/co-mixed by Moraz
  5. Zia Mohyeddin, Zoe Viccaji & Rupam Sarmah: "Story of Gulsher"
  6. Colin Andrews, Lonnie Park, Tiokasin Ghosthorse & Krista Wallhagen: "Lost in the Digital Age" [mus: Park; words: Andrews/Wallhagen]
  7. Lisa Sniderman & Trevor Sewell: "Blue Gold"
  8. Vicki Kiely & Rupam Sarmah: "Tragedy at the Cove"
  9. Janis Ian & Rupam Sarmah: "The Song Unsung" [mus: Sarmah], with Ian (vocals)
  10. Marilyn McPhie, Emilia Lopez-Ynez & Ruth Weber: "Through Love", performend by The Discipline Singers choir and written by their director Weber
  11. Sharon Katz, Rupam Sarmah & Nonhlanla Wanda: "Mandela Meets Gandhi" [Katz/Sarmah] (6:04)
  12. Lillias White, Timothy Graphenreed & Ron Aprea: "A Child's Dream will Light the Way (Gospel Edition)" (3:39)
  13. Kenya Autie, Alex Mitnick, Catherine Marie Charlton & Lois Bliss Herbine: "I Cried"
  14. Else Geveart, Jeeja Ghosh & Stephen Melillo: "Disfigured"
  15. Jody Quine, D. Edward & Wouter Kellerman: "All of Us" [mus: Kellerman; words: Amie Penwell] with Quine (spoken word), Edward (spoken word)
  16. Dumitru-Dorin Prunariu, Fiona Joy & Tony Levin: "Our Planet Earth" [mus: Joy; words: Prunariu], with Levin (bass)
  17. Amy Otey & Alex Otey: "Acute Witness" (3:20)
  18. Dyana Williams & Bill Jolly: "Ode to Tomorrow and Today"
  19. Kathy Sanborn, Bill Caterini, Tim Gleeson & Kevin Mackie: "Count on You" [Mackie/Wallhagen/Tim Farrell/Liz Collins] (3:33), with Sanborn (vocals)
Disc 2:
  1. Janice Kephart, Ken Eros & April Theriault: "Curious Girl" (2:23)
  2. Brian Sargent & Dr. Louis Anthony Delise: "Hand in Hand Beyond Cultures" (2:01)
  3. Aaron Ableman & Kevin Lucas: "Forest Nation" (2:37)
  4. Martin Barre, Guy Eckstine & Evan Marks: "Answer the Call" (2:42)
  5. Grant Maloy Smith: "Isht a Lhampko" (4:17)
  6. Cindy Paulos, Shakila Mohseni, Art Tawanghar, David Ivory & EJ Ouellette: "Dove of Peace" (5:05)
  7. Nona Brown & Rupam Sarmah: "Peace is" (3:22), featuring Natalie Jean; based on the poem "Peace is" by Orlyn Ruwe
  8. Maura Sweeney & Ricky Kej: "Unlocking the World's Heart" [music: Kej; words: Chris Kaiser] (1:59), with Sweeney (spoken word)
  9. Mia Moravia, Anne Roos & Erwilian: "As Long as We Believe" (2:48)
  10. Jacqueline Piazza & Marlow Rosado: "Good Thoughts, Good Words, Good Deeds" (1:41)
  11. Austin McPhee & Ruslan Sirota: "Madiba" (4:15)
  12. Ben Gundersheimer: "Unfinished Masterpiece" (1:56)
  13. Whitney Payton, Charlie Leeder & Rupam Sarmah: "Humanity" (2:16)
  14. Guy Djoken & Oscar Autie: "Kids in War" (1:05)
  15. Ryan Cole & Aurelia-Jennifer Zulli: "Love Peace and Death" (1:25)
  16. Mursel Isik, Menekse Isik & Rave Tesar: "Forever Lonely" (1:05)
  17. F. Alex Johnson & Paul Marturano: "A Dream of Peace" (2:09), based on the poem "A Dream of Peace" by Renee Ruwe (Orlyn Ruwe's granddaughter) and Ed McCarthys
  18. Mike Greenly & Paul Avgerinos: "What Difference?" (2:03)
  19. Jann Klose: "Make It Better" (3:39)
  20. Bobby Susser & Laura Sullivan: "Hope is in the Air" [mus: Sullivan; words: Susser] (1:41), with Susser (spoken word)
  21.  Baruch Friedland, Matthew Shell & Arun Shenoy: "All I Wish is for a Piece of Peace" (3:04)
  22. Tim Battersby & Laura Battersby: "World Peace" (2:39)
  23. John Wetton & Geoffrey Downes: "The Wake Behind" [mus: Wetton/Downes; words: Wallhagen] (2:47), with Downes (keys), Wetton (spoken word), produced & engineered by Wetton/Downes
  24. Jon Kirkman & Rashid Lanie: "Colors in the Sky" (2:01)
  25. Kathy Sledge: "Seizing the Day" (3:33)
  26. Dan Aykroyd, Kathy Sledge, Linda Chorney, Rupam Sarmah et al.: "Voices For Peace" (5:10)

Digital only in the UK:

The album made #8 in the US Compilations chart.

Levin Torn White
Levin Torn White, a trio of Tony Levin (bass, Stick), Alan White (drums, percussion) and David Torn (worked with Bill Bruford, Terry Bozzio, Jeff Beck, David Bowie, John Legend; guitar, textural events), released the instrumental album Levin - Torn - White (Lazy Bones), produced by Levin and Scott Schorr. Details in Yescography. A Sep 2012 interview asked White about a follow-up album. He replied: "we're talking about it, right now. I'm not sure when and where but we're talking about not doing something similar, but just move on. Probably we'll not do it until early next year [2013]." In a Feb 2014 interview, asked about doing a new album, White said, "They want us to make another album – I'm not sure whether David Torn but Tony and myself want to make another album whether David does or not, I'm not sure but it's in the back of our minds." Meanwhile, there was a sort of follow-up in the form of Levin Minnemann Rudess (Lazy Bones), produced by Schorr and Levin: details under Levin.

Sonic Elements projects &c.
Sonic Elements (Facebook; SoundCloud) is a group of progressive/classic rock projects led by Dave Kerzner (Facebook, Twitter, YouTube, SoundCloud; Sound of Contact, Mantra Vega, Lo-Fi Resistance, working with Billy Sherwood, worked with Francis Dunnery, Jon Anderson, Steve Hackett, Steven Wilson, ex-Giraffe), founder of the music software development company Sonic Reality. Kerzner is the main producer and keyboardist of a number of projects, including often Billy Sherwood, that are recording various covers (including of Yes, Rush, Pink Floyd, Genesis and ELP) and original songs for upcoming releases, but where some of the instrumental tracks are also available through Sonic Reality's sample libraries. Kerzner's other work, including with his own band and Sound of Contact, has seen these projects delayed. In Sep 2015 on ProgressiveEars.com, Kerzner said: "I've put the Sonic Elements tribute albums on temporary hold while I finish mixing the Mantra Vega album [...] and yes I've returned to Sound of Contact so that's a priority over tributes as well (although everyone is working on multiple projects besides SOC). That said, The Lamb as well as the Rush tribute and the Floyd tribute are all about 80% done and I'm looking forward to final tracking with Francis [Dunnery] and others then mixing them and releasing them! They sound really good and they were a lot of fun to do!"

Plans have evolved over time. Back in Dec 2011, Kerzner described to ProgressiveEars.com a plan consisting of:

Sonic Elements Fantasy Interactive Dark Side of the Moon w/ Alan Parsons
Sonic Elements XYZ Fantasy Band Tribute to Rush featuring Neil Peart Drums
Sonic Elements Lamb Lies Down on Broadway Fantasy Soundtrack Tribute to Genesis
Sonic Elements Trifecta (original music with Billy Sherwood and drums from Terry Bozzio, Rod Morgenstein, Neil Peart...)
Sonic Elements TBA fantasy progressive rock project featuring...

... all involving Sherwood in some capacity. The tribute to Rush and 'Trifecta' serve to explain the model for these projects. The original track "Trifecta", previewed here, features newly composed material performed by Sherwood (bass, guitars) and Kerzner (keys) to an existing drum track for Rush's "YYZ" that was recently recorded by Neil Peart for a sample library at Sonic Reality with producer Nick Raskulinecz (worked with Rush), while the Rush tribute consists of covers of Rush songs, again using Peart's drum tracks.

In Feb 2012, Kerzner said on Facebook: "So that no one has to wait too long for these wonderful projects to make their way to full album releases... a decision has been made [...] to release a variety of singles and EPs spanning originals and covers." Full-length albums will follow. A 5-song EP, XYZ—A Tribute to Rush, produced by Kerzner, came first on download and as a limited edition CD from esoundz. Pre-orders included a bonus, downloadable 6th track. Details in Yescography. Tracks:

  1. "Tom Sawyer", with John Wesley (Porcupine Tree, ex-Fish, working with Billy Sherwood; vocals, guitar), Sherwood (bass) and Kerzner (keys); sample here
  2. "Red Barchetta", with Rik Emmett (Triumph; guitars, vocals), Matt Dorsey (Sound of Contact; bass), Kerzner (keys); sample here; video in production
  3. "YYZ", with Sherwood (bass, guitars), Alastair Greene (Alan Parsons Live Project; guitars), Kerzner (keys); sample here
  4. "Limelight", with Sherwood (bass), Wesley (guitars), Kerzner (keys), Randy McStine (Lo-Fi Resistance; vocals); sample here
  5. "Trifecta" [Sherwood/Kerzner], with Sherwood (bass, guitars), Kerzner (keys); composed around the existing Peart drum track for "XYZ"
  6. pre-order only bonus track: "Times Gone" [Sherwood/Kerzner], with Sherwood (bass, guitars), Kerzner (keys); composed around the existing Peart drum track for "Tom Sawyer"; sample here

In Apr 2012, Kerzner explained that there:

will at least be another EP of different material (the "keyboard era" stuff) and then eventually a full album and that will have different versions of some of these songs on it as well.

Plus there's going to interactive versions of the songs similar to Jammit except they can work inside products like AmpliTube where you can play guitar through modeled amps and pedals or inside Garageband and play anything you want. That's coming along with Neil Peart's isolated drum tracks. But these interactive versions are more for musicians to interact with.

We're also thinking about putting XYZ out on limited edition vinyl. Just 300 of them.

However, in an Oct 2012 post to ProgressiveEars.com, he said the next Rush-related release will be the full-length album Moving Signals & Waves, covering tracks from the Rush albums Moving Pictures, Signals and Permanent Waves. The album is due, digitally and as a CD; mixing was going on in May 2013. Confirmed tracks for the album include "Digital Man" with Sherwood (vocals, guitar, bass), Kerzner (keys) and Fernando Perdomo (Dreaming in Stereo, worked with Mika; guitars); "Spirit of Radio", with Sherwood (bass), Kerzner (keys), Mike Keneally (ex-Frank Zappa, ex-Stanley Snail, worked with Robert Fripp; guitars), Nick D'Virgilio (Mystery, ex-Spock's Beard, Big Big Train, ex-Genesis, ex-Tears for Fears, worked with Chris Squire; vocals); and "Subdivisions", with Kerzner, John Payne (ex-Asia, Asia Featuring John Payne, GPS; vocals), Erik Norlander (Asia Featuring John Payne). Another song on the album features Kerzner (keys), Sherwood (bass, guitar), Steve Hackett (Squackett, ex-GTR, ex-Genesis) and Keith Emerson (ex-ELP), while either that one or another features guitar from both Hackett and Francis Dunnery (ex-It Bites, ex-The Syn, worked with ABWH). The album will also include the 4 Rush tracks on the XYZ EP, but in different versions. At various times, Kerzner or others have described covers of further Rush songs:

Dunnery is also singing on some of the Rush songs.

Glass Hammer's Steve Babb said in this Dec 2013 interview that the band is "slated to contribute a track on Sonic Realities' Neal Peart Project." This appears to be the 'Trifecta' release. Kerzner said on Facebook in Feb 2014: "I'll be mixing a unique track from the progressive rock band Glass Hammer next week! This song will have a very interesting new "element" in it." I asked Steve Babb about their contribution in a Mar 2014 interview (available here) and he explained the track consists of Glass Hammer (here, Babb, Fred Schendel, Alan Shikoh, Carl Groves) playing along to a drum part by Peart: "Fred composed most of the music for this track, and I did the lyrics. Alan added a good deal too. Carl Groves is singing this one. We were given many of Peart's tracks to choose from, then asked to write music to his drumming and to incorporate his ideas into the Glass Hammer sound. [...] We just wrapped up this song, which for now at least is called "Impulse"."

Seemingly referring or related to the 'Trifecta' album project, in Jan 2012, Kerzner said on Facebook: "Among the various music releases you can expect this year [2012] from Sonic Elements are some original tunes, many of which have been done with ex-Yes-man Billy Sherwood along with SR sampled grooves of great drummers such as Rod Morgenstein of the Dixie Dregs." However, this release has yet to appear. There is an accompanying clip to a piece entitled "Razors Edge" with Sherwood and samples from Morgenstein. Then there's "Racing Through Time" (sample), another original piece by Sherwood, this time using a sample library from Alan Parsons.

Also due is a Genesis tribute. The plan, after some evolution, is for a 40th anniversary tribute to The Lamb Lies Down on Broadway led by Kerzner (keys) and Dunnery (lead vocals), both of whom also worked on Steve Hackett's Genesis Revisited 2 album. The album, It: A Tribute to Genesis & The Lamb Lies Down on Broadway (teaser here), was due 2015 but has been delayed until 2016 at the earliest; it features multiple guests, including Sherwood, Steve Rothery (Marillion), Lee Pomeroy (Rick Wakeman, It Bites, Steve Hackett), Dan Hancock (ex-Giraffe), Martin Levac (The Musical Box) and Nad Sylvan (Steve Hackett). The album is described as, "done in a "classic rock-meets-modern film score" style combining authentic vintage instruments from the 70s (including sounds recorded at Genesis' studio with engineer Nick Davis) along with a full orchestra." Previous reports have also mentioned the involvement of Stan Cotey (ex-Giraffe), McStine and Mark Hornsby (worked with D'Virgilio), plus the use of samples of Tony Banks' keyboard playing. Sherwood plays on at least "Lilywhite Lilith". He also sang lead vocals on versions of that song and "The Lamb Lies Down on Broadway": those and "Chamber of 32 Doors" sang by Sylvan are expected as bonus material on the album. A Peter Gabriel cover, "Rhythm of the Night", with Dunnery (vocals), using Sonic Reality's Jerry Marotta drum library was also mooted previously.

A Pink Floyd/Dark Side of the Moon project also involves Nick Mason (ex-Pink Floyd), Nick Davis (worked with Genesis), Dorie Jackson (works with Dunnery, ex-The Syn; vocals), Guy Pratt (worked with Pink Floyd, Michael Jackson; bass), Colin Edwin (ex-Porcupine Tree; bass), Natalie Azerad (vocals), Durga McBroom-Hudson & Lorelei McBroom (worked with Pink Floyd; vocals). The Sonic Elements Facebook page in Jan 2013 said: "I've assembled a Sonic Elements band in LA this week to work with the McBroom sisters (former backing vocalists for Pink Floyd). Billy Sherwood, Randy McStine, Fernando Perdomo and myself (with Pink Floyd's rhythm section already recorded/sampled)". An update in Jan 2014 announced The Dark Side of Sonic Elements album for 2014 with Sherwood, Dunnery, McStine, McBroom-Hudson and McBroom and "utilizing the brand new Sonic Reality 2014 sample library releases from Nick Mason, Guy Pratt, Alan Parsons, the McBroom Sisters and more." However, this has yet to appear.

Various further progressive rock covers have been described. In Aug 2011, Kerzner described Sherwood and "several other ex-members of Yes" yet to be specified as working on some Yes covers. Sherwood (bass, vocals) and Kerzner (vocals) then described a cover of "The Fish" (sample), using existing drum samples from Bill Bruford and also some other samples from D'Virgilio. There's a teaser sample here. Kerzner described in Oct 2011 working on a Yes medley with Sherwood, possibly including "Starship Trooper: Würm". Next came a sample from "Changes" with Sherwood (bass, guitars, drums, vocals) and Kerzner (keys, vocals). Then in Mar 2012, Kerzner referred to a cover of "Yours is No Disgrace" with Sherwood (bass, drums), Tony Kaye (keys) and Johnny Bruhns (ex-CIRCA:, ex-Yoso, ex-Yes tribute band Roundabout; guitar); Kerzner may also play keys on the piece. Kerzner's also described doing 3 tracks for an Alan Parsons project with Sherwood. An ELP cover with Keith Emerson (ex-ELP; keys) and Payne (vocals) is planned.

Kerzner has released his debut solo album, New World. The line-up on the album was Kerzner (vocals, keys, guitars, drum programming, sound design), Fernando Perdomo (guitars, bass), Nick D'Virgilio (Big Big Train, ex-Spock's Beard, worked with Tears for Fears, Mystery, Jordan Rudess; drums), with guests Billy Sherwood (bass on 5), Steve Hackett (Squackett, ex-Genesis, ex-GTR; guitar on 1, 11), Francis Dunnery (ex-It Bites, ex-The Syn; guitar on 10, 11), Keith Emerson (ex-ELP; Moog synth solo on 5 via Sonic Reality), Simon Phillips (worked with Asia; drums on 5), Colin Edwin (bass on 2), Russ Parrish (guitar on 6), Heather Findlay (Mantra Vega, ex-Mostly Autumn; vocals on 2), Jason Scheff (Chicago; vocals on 1, 11), David Longdon (Big Big Train; vocals on 10), Durga McBroom-Hudson (Australian Pink Floyd, ex-Blue Pearl, worked with Pink Floyd; vocals on 1, 11), Lorelei McBroom (Australian Pink Floyd, worked with Pink Floyd; vocals on 7, 8), Emily Lynn (Australian Pink Floyd; vocals on 8, 11), Lara Smiles (Australian Pink Floyd; vocals on 8), Christine Leakey (vocals on 7), Maryem Tollar (vocals on 6), Ana Cristina (vocals on 1). Tracks:
  1. "Stranded pt1-5" (10:32)
  2. "Into the Sun" (7:21)
  3. "The Lie" (5:04)
  4. "Under Control" (5:54)
  5. "Crossing of Fates" (4:49)
  6. "My Old Friend" (5:27)
  7. "Ocean of Stars" (5:36)
  8. "Solitude" (3:39)
  9. "Nothing" (6:17)
  10. "New World" (5:57)
  11. "Redemption: Stranded pt. 6-10" (17:25)
The basic album was released digitally Dec 2014, including on Bandcamp. Feb 2015 saw a 78-min. 1CD release; a 2CD deluxe edition; and a 3CD bundle with both.

Buy digital version of the basic album from Amazon (US):

Sherwood sat in with the Dave Kerzner Band for one song on the Cruise to the Edge 2015.

In 2005, Kerzner (keys) led a live performance of "Long Distance Runaround", with an instrumental intro taken from The Lamb Lies Down on Broadway, with Jon Anderson (vocals), D'Virgilio (drums), Hornsby (bass) and Cotey (guitar), briefly available on Sonic Elements' SoundCloud. Kerzner has worked with Anderson since. He said on Facebook in March 2012:

I also WROTE a song with Jon Anderson that's absolutely beautiful. It's not finished yet but he sang a rough and it's really cool. Stylistically between old Yes, Vangelis and something futuristic/film soundtrack-like. Not sure if that will end up on his albums or one of ours but at some point we'll be able to share something!

The demo for this piece, "Shell Sea", was made available to Kickstarter backers of New World. (Kerzner also talked of how another piece, initially called "Don't Leave Me Now", that he had intended for possible collaboration with Anderson ended up being used on Sound of Contact's Dimensionaut album as "Beyond Illumination".)

Cleopatra Records tribute/covers projects
Cleopatra Records continues to release multiple albums—generally tribute and covers albums—featuring multiple guest artists, including in some cases multiple Yesmen. Several of these were projects led by Billy Sherwood and these are covered in his section.

Leon Alvarado
Leon Alvarado's concept album The Future Left Behind, released 30 Jul 2016 on Melodic Revolution Records, features guest appearances by both Billy Sherwood and Rick Wakeman. Tracks: Buy MP3 version
  1. "Preface" (1:16)
  2. "Launch Overture" (6:10); a 4:11 alternate edit was also released as a digital single (Amazon US link; Amazon UK link)
  3. "Voyage…" (0:49)
  4. "Journey Into Space" (2:38)
  5. "Weightless" (2:24)
  6. "Hard Choices" (0:50)
  7. "The Ones Left Behind" (6:14)
  8. "Life in the Outside" (0:54)
  9. "Among the Stars" (6:06)
  10. "Much Ado About…" (0:36)
  11. "In Our Quiet Orbit" (6:36)
  12. "To be Loved" (2:42)
  13. "A Silver Lining" (0:38)
  14. "The Star Seekers" (3:28)
The album features Alvarado (keys, sequencing, drums, percussion, voices) with Sherwood (guitars, all except "To be Loved"), Wakeman (Moog solo on "Launch Overture", extra keys), Johnny Bruhns (ex-Yoso; acoustic guitar on "To be Loved") and Steve Thamer (narration). The album was produced and mixed by Alvarado, except for the guitar tracks produced by Sherwood. It was mastered by Andy Jackson. All tracks were by Alvarado, except "To be Loved" by Alvarado/Bruhns.

Time Horizon
Transitions is the second album from US West Coast Christian prog band Time Horizon. The album was produced and mixed by Billy Sherwood. The band are Ralph Otteson (keys, vocals), Allen White (bass) and Dave Miller (guitar). Also performing on the album are: Sherwood (guitar), Tony Kaye (Hammond B3 on 1 track), David Wallimann (ex-Glass Hammer; guitars), Lang Bliss (drums, percussion), Jake Livgren (Proto-Kaw; vocals on 1 track), Bruce Gaetke (drums, vocals), Jeff Garner (guitar), Michael Mullen (violin), Dan Eidem (drums), Gary Gehman (backing vocals). The album was recorded by Otteson and Gaetke, with additional recording by Sherwood, Bliss and Walliman. It was mastered by Maor Appelbaum (worked with Yes, Sherwood). Artwork was by Ken Westphal.

While the album has been mastered, there is a Kickstarter to support manufacturing costs.

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YES and projects with several Yesmen
Igor Khoroshev
Oliver Wakeman

Benoît David
Jon Davison

Anderson Rabin Wakeman
Others associated with the band

Any news, additions or corrections, please e-mail Henry Potts. Thanks.