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

This page last updated: 20 Sep 2019

YES and projects with several Yesmen

Igor Khoroshev
Oliver Wakeman
Benoît David
Jon Davison
Yes ft. Anderson Rabin Wakeman
Others associated with the band

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On this page—Yes: 50 Live - Early years archival box - Next album - Cruise to the Edge - On tour - Other live releases - Steven Wilson remixes - Covers of Yes songs - Documentaries & books

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

Yes news YesWorld; official Facebook; official Twitter; official SoundCloud; official MySpace; Yesfans.com
Yes are Steve Howe, Alan White, Geoff Downes, Jon Davison and Billy Sherwood, with Jay Schellen (ex-CIRCA:, ex-Asia, ex-World Trade, Unruly Child, Dukes of the Orient) supporting on tour. Tony Kaye also joined the band for most 2018 touring in celebration of the band's 50th anniversary, as well as on some 2019 dates. Meanwhile, Anderson, Rabin & Wakeman were working together as Yes featuring Anderson, Rabin & Wakeman: they are covered here.

Schellen filled in for White on the band's 2016 US summer tour while White was recovering from back problems and an operation for a herniated disc. White then returned to the band for Nov 2016 Japanese dates, but Schellen played the bulk of the shows on his own. Schellen remained with the band through their Feb 2017 touring, with White playing more of the set. The band then announced a dual drummer format for summer touring, with Dylan Howe (Steve's son; Steve Howe Trio, Wilko Johnson Band, ex-The Blockheads) as the second drummer instead: White and D Howe each played part of the set alone, and part was together. Around Nov 2017, Sherwood and Downes separately suggested the next touring would just be with White, but White had further health problems and said on 2 Feb 2018 that, "The wonderful doctors at Virginia Mason Hospital, Seattle, had in November detected a bacterial infection in my joints that severely limited my mobility [...] I'm making good progress in recovery and looking forward to performing in a limited capacity on the Cruise. Playing drums has been rewarding physical therapy but it will take a little time to build my strength to full capacity. My friend and comrade Jay Schellen will be helping me". See details on White's page. Schellen continued to play the bulk of live shows.

Touring continues with a US leg Jun/Jul 2019. A new studio album also seems to be planned, although the timeline for that is unclear.

On a Sirius XM interview on the 2017 Cruise to the Edge, White was asked if the band had ever considered retiring. He replied, "I don't think it's ever come into the band's minds. If you've been doing Yes music for years[?], you just want to keep on doing it and create something new all the time, which is what Yes music is about". In a Mar 2018 interview, White again said the band have no plans to retire, adding, "It's just what I do. I've been doing it all my life. We do work in bundles, we do a lot then rest for a while."

Yes 50 Live
Released 2 Aug 2019 was Yes 50 Live (Rhino Records; a.k.a. 50 Live), a 13-track live album (2CD, download or 4LP, including limited edition coloured vinyl) from the band's 50th anniversary tour. Much, but not all, of the album was recorded just over a year earlier at their two shows on 20-1 Jul 2018 in Philadelphia, where Yes played with Patrick Moraz and Trevor Horn among guests. Cover art is by Roger Dean; there is an 8-page booklet with photos by the Gottlieb brothers. Tracks—CD1:

1. "Close to the Edge"
2. "Nine Voices (Longwalker)"
3. "Sweet Dreams", based on the 1975 live arrangement
4. "Madrigal", acoustic re-arrangement
5. "We Can Fly From Here, Part 1", i.e. "We Can Fly", here in the Return Trip arrangement; without Horn, so presumably recorded on another night
6. "Soon", with Moraz
7. "Awaken"
8. "Parallels"
9. "Excerpt from The Ancient", i.e. the extended version of "Leaves of Green"
10. "Yours is No Disgrace", with Kaye
11. "Excerpt From Georgia's Song and Mood for a Day"
12. "Roundabout", with Kaye
13. "Starship Trooper", with Kaye


Most of the set was performed by Howe, Downes, Sherwood, Davison and Schellen. The actual sets on the Philadelphia nights were: intro: "Firebird Suite", "Close to the Edge", "Nine Voices", "Parallels", "Mood for a Day" (only 20 Jul), "Second Initial" (only 21 Jul), "Madrigal" (only 21 Jul), "Leaves of Green" (only 20 Jul), "We Can Fly" (with Horn on vocals), "Sweet Dreams", "Heart of the Sunrise", "Perpetual Change", "Does it Really Happen?", "Soon" (with Moraz), "Awaken" (White joins on drums and plays the rest of the show, with Schellen on additional percussion); encore (Tony Kaye joins too): "Yours is No Disgrace", "Roundabout", "Starship Trooper". For the 21 Jul "Starship Trooper", Horn, Moraz and Tom Brislin were also on stage (additional percussion). At the beginning of Jan 2019, Sherwood, on Facebook, described mixing "Awaken" for the album. In a Jan 2019 interview (I think from the end of the month), Sherwood said he'd just finished mixing the album.

The album charted at #34 in the UK midweek album chart (5 Aug), but didn't make the full top 100 for the week. The band's social media said the album was at #10 in the UK after day 1: I presume this is a day 1 sales chart, which isn't generally available to the public. It entered at #3 in the Aug 2019 Progressive Albums chart. The album was as high as #35 on the iTunes Rock chart in the US (2 Aug). It's been at least as high as #25 on Amazon.co.uk (#7 in Rock, #16 in Pop, #121 in Rock MP3s, #224 in vinyl; 4 Aug) and #61 on Amazon.com (#10 in Classic Rock; 6 Aug).

There is an accompanying documentary, "YES 50: Yesterday, Today, Tomorrow" (Crooked Hand Productions), filmed, produced and directed by Paul Gosling (worked with Steve Hackett, Neal Morse). The 37-minute film was released to YouTube on 7 Jun 2019. (As YesWorld explains, a 28-minute version had a limited release on YouTube, but only until 1 Jan 2019. This was then expanded for the new release.) Gosling followed the band on their UK leg, including the the London Fan Convention. He also interviewed Howe, White, Downes, Sherwood, Davison, Schellen, Trevor Horn, Roger Dean and the Gottlieb brothers. Concert footage was shot at the Birmingham, Liverpool and Paris shows. Gosling's full interview with Sherwood has now also been made available separately on YouTube.

Early years archival release
In a Jun 209 Facebook post, Yes announced that, "Towards the end of 2019, YES will be releasing a Box Set of BBC Sessions and Early Years recordings, primarily focussing on 1969 and 1970. This official release will eclipse anything released before, from this era, featuring a wealth of material that fans won't have heard before." I understand this to be a substantial release, possibly including material previously not known to exist. (Some BBC sessions by Yes were previously released on Something's Coming (1997; also released as Beyond & Before, Millenium Collection, and The BBC Recordings 1969-1970), but this was not a complete set and was not all sourced from master tapes.)

There was also a plea for fans to get in touch if they have any material from this period:
If any fans have any recordings (including BBC sessions), photographs or other memorabilia which may be suitable for inclusion, please drop us a line. There certainly won’t be any legal problems if you have something, and we’d be grateful to discuss, including items we don’t already have.

Please contact the recordings' Project Manager on behalf of YES, Daniel Earnshaw - DANIEL@QEDG.CO.UK.

(Note that music producer and author Denny Somach claimed in a Jun 2019 article for CNBC that, "In the next couple of months, you will see [web]sites for Led Zeppelin and Yes that will launch with the ability to buy or stream archival concerts..." However, this was a misunderstanding and no such plan exists.)
Fly from Here - Return Trip and more work with Trevor Horn
Fly from Here - Return Trip re-visited Fly from Here with a new mix and lead vocals by Trevor Horn, and additional instrumental recordings by Howe and Downes, plus a previously unreleased song. Tracks included "Don't Take No for an Answer" [Howe] (4:22), a previously unreleased song from the 2010/1 sessions for Fly from Here with Howe on lead vocals and Horn on backing vocals. Oliver Wakeman described on Twitter how "Don't Take No for an Answer" was a piece "that Steve wrote & demo'ed with myself and Benoit before Trevor came on board". It seems it was further worked on in the early 2011 album sessions, after Downes replaced Wakeman. There was further work on it for this release, by at least Downes and Horn.

The album is available through Burning Shed (as FFHRTCD). There is a CD, download and vinyl versions, 180g gatefold LP or a 12" picture disc.
It was back in Dec 2016 when journalist Jon Kirkman, appearing on an edition of the Yes Music Podcast, described a May 2016 interview with Horn (published in his book): "the last recording that he [Horn] worked on with them was Fly from Here [...] Trevor has re-recorded all the lead vocals for that album". He described how Horn played him the album and the interview continued:
Kevin Mulryne: Was that [re-recording the vocals] his idea?

Kirkman: I don't know [...] he'd done it, he said, 'Well, I've re-recorded all the vocals for Fly from Here. [...] Benoît [David] is still on it [...] [but] I just thought, as a project, it would be nice to do.'

On 6 Dec 2016, Kirkman clarified his comments on Facebook: "I just think he [Horn] wanted to see what it sounded like and he did do the original guide vocals on many tracks for Benoit [David] to follow." He also said that, "Benoit is fine about it". (Around Dec 2016, a fan also reported an earlier chance conversation with Jon Davison, who had said that Horn had wanted to re-record Fly from Here with Davison singing.) On 8 Dec, Kirkman described the album thus: "It is the album with new lead vocals [...] so essentially the Drama line up second album. Trevor did all the backing vocals with Chris [Squire] at the time of recording and also did guide vocals for the songs for Benoit [David] to follow. Benoit is still on the album though. The vocals were done in 2016 not 201 [sic]. It sounds great and very much the follow up to Drama". However, Kirkman appears to have heard a work in progress. David does not seem to be on the album at all (but Horn praises him in his notes). A press release for the album explains that Horn began re-recording the lead vocals on the day after he guested live with Yes at the Royal Albert Hall in 2016, "and within 24 hours the rest of the band had joined him at his studio. Additional overdubs by other members have also been added." Horn did further vocal recordings in 2017. In an Apr 2018 interview, he explained, "it turned out it was a bigger job than I thought because they [Yes] asked me to do it all. So I had to take Benoit's voice off everything, replace all his harmonies." Asked about whether he used any of his earlier guide recordings, he replied, "I did a couple of guide vocals [when the album was initially recorded] [...] [but] there was nothing I could keep. So I just sang all of it again." In a radio interview in Mar 2018, Horn describes recording vocals "on and off" over a 2 month period. Horn said of the new release: "I really enjoyed listening to Alan and Chris playing together again. Finishing off the album was a labour of love." White appears to have been a key driver behind the project. In a mid-Mar 2018 interview, Horn said, "Alan pointed out that if I did [sing on the album] then the album would be the same line-up as Drama. An opportunity we'll never get again now that Chris has passed away. So I thought: why not? Because I have to live with the album for the rest of my life, so I might as well re-do it. And as I was doing it, I changed a couple of solos on it, as one always does. Which is fine, because Geoff and I wrote it in the first place, so I didn't have to answer to anybody!" He also said that he hadn't spoken to David about the project.

The Apr 2018 issue of Prog had more. White said, "Trevor felt [...] the album [...] wasn't as good as it could have been." Horn is quoted next: "Alan asked me to redo the vocal [...] Alan doesn't say much but then he'll come out with something that surprises you. Steve called me up and said the same. I launched myself into it. I had singing lessons, worked on the tunes, rewrote the songs a little."

In a late Dec 2017 interview, Downes, reviewing his 2017, mentioned he had done recordings for the release: "I also managed to get in some work with my old colleague Trevor [Horn], on Yes's Fly From Here revisited". This is believed to mostly have been for the previously unreleased song, but with some re-recording done for the new versions of the Fly from Here tracks too. On Twitter at the end of Feb 2018, asked if he'd done overdubs for Return Trip, Downes replied, "Yes, quite a few."

Trevor Horn guested with Yes live in 2016, twice in the UK and once in the US. He did again in 2018 at the 2 London shows and in Paris, and at Philadelphia shows in Jul 2018. The band are believed to want Horn to produce their next album—discussed in the next section—but there is no clear indication either way whether that might happen.

 Other possible releases
Warner (who own the band's Atlantic back catalogue) were planning an anniversary compilation. Early rumours on the 2018 Cruise talked of a compilation including both studio and live material, and, possibly, a second release later in 2018, of a sequel to The Word is Live. There was also the suggestion of new Roger Dean art for the former. We now know of the vinyl-only release of The Steven Wilson Remixes, with new Dean art, so maybe parts of those reports were referring to that.

In an early Mar 2018 interview, Downes then said:
I think something will be coming out on Warners this year [2018] that will be a historical view of Yes.  That`ll be a nice release for Yes fans.  They generally try to get everything that comes out so we`ll make sure it`s something really special.
Trevor Horn also mentioned a Warner release. One report from the London Fan Convention (24/5 Mar 2018) had that the Warner retrospective will not include anything new (i.e., not previously released).

Mid-Apr, Yes featuring Anderson Rabin Wakeman then announced "an historical 2 CD/3 LP anthology of YES curated by band founder/singer Jon Anderson", due Aug 2018. Their promo might be taken to imply that the release will be called Quintessential Yes, but I don't think that was clear. In a May 2018 interview, Anderson said that he proposed a collection of live tracks, but that Warner baulked at the licensing costs and decided to do a compilation of previously released material instead:
I did a compilation for them featuring songs recorded all over the world and picked out all of the best versions of all of the great songs and they turned around and said it was going to cost so much money to get licensing that they wouldn`t be doing it.  I wish they`d told me that a few months ago before I`d done all of the work pulling it all together.  They said they were just going to put another best of album but we already have several of those.  I wanted to do something a bit different but the label just didn`t want to do it which was a shame.
So, I think that was implying a release was coming out, but which was not curated by Anderson...?

However, after all that, nothing was released. Vague rumour, or perhaps just conjecture, had that the Warner retrospective was cancelled and replaced by (or morphed into) The Steven Wilson Remixes.

It was in a Mar 2018 radio interview that Horn said, "there's another track that we dug out that Chris [Squire] had played bass on, called "Go Through This" [...] That's Warner Brothers reissue track, I think. It's all very complicated these days." This new version mixes archival material with Squire with new recordings by the current band. The song dates back to the Drama era: it was played live on that tour, as heard on The Word is Live. Two demo recordings of it have been previously release: by Yes on the Rhino expanded Drama, and by Howe on Homebrew 6. However, by Mar 2018, this new recording was already not expected on the Warner release, but is expected to be released some other way. Asked on Twitter about what might happen to it, Downes tweeted 16 Apr 2018, "Honestly not sure." Rumour in summer 2019 is that it will be on a new Yes album (see next section).
Next album?
Band members have talked in vaguer terms about moving towards a new album since at least early 2018. Reports suggest they have been working on ideas for several months and that there is a plan to release a new album summer 2020 on Rhino, with recording sessions expected from autumn 2019, possibly through to early 2020. One rumour has Sherwood set to produce. In an Aug 2019 interview, asked if there would be a new studio album, Howe said:
There’s a good chance there will be. We haven’t got all the pieces quite together yet but we’re working towards a direction where we could start to think that we’ve got it. And I think it’s about how much you believe in your own music and how much we believe in the collaboration we have. So, if we’ve got the right vehicles – which we’ve got a wealth of  – I think we’ve got to whittle it to the point where we start to think we’ve got it. So, we’re not thinking that we’ve got it but it’s an option!
At the end of the band's summer tour, in a Jul 2019 Billboard article, asked about doing a new album, Howe said: "we'll see -- that is the most honest and best answer I can give[.] We certainly still write music. I have a new solo album in progress, so I'm obviously writing. But to get the right team writing together [for Yes] is something we hope for. So let's put it this way -- I hope so." In a Jul 2019 interview, Downes said, "There's a fairly large window [between touring] this time[.] That's when we'll start talking about going into the studio and doing some new stuff." Indication that activity may be gathering pace came late Aug: Downes tweeted a picture on 30 Aug of himself and White, saying, "Hard at work in the studio yesterday with my good friend, king drummer and Yes bandmate, Alan White." (Davison was also in the British Isles around the same time, although there's been no confirmation yet that he has been involved.) Downes' wife, Martine, posted the same picture of them to Facebook (since deleted), saying:
Wonder what these boys are up to


But note also that Downes said to a fan, while on tour in Jun 2019, that he hoped to record a new Asia album in autumn 2019 and that there would be a new Asia album before a new Yes album.

In a Jul 2019 interview, Sherwood said, "I think there might be the possibility of a new album".
In an Apr 2019 review of a John Lodge show in the UK, the reviewer mentioned meeting Davison, "who revealed that Yes are currently writing new songs for a forthcoming album". In response to this report, journalist Jon Kirkman said the band had "been doing that since the end of last year [2018]". In a Jun 2019 interview, done just as the summer Yes tour was starting, White was asked, "Are you guys in the studio right now for a new album?" To which he replied, "No, that's going to be coming down the line."

In a Feb 2019 interview from the Cruise to the Edge, White said the band are "looking to record an album in the near future, probably early next year [2020], the way it's looking. And, erm, we've all got pieces of music we're putting together". And when he was asked in a Mar 2019 interview, White said, "Pretty much everybody in the band has put thoughts out about new material. I think we're thinking about it. We couldn't possible get there this year, but possibly early next year we could venture in and make a new album." In Apr 2019, he also said to a fan that there would be a new album in early 2020. Asked on Twitter in early Dec 2018 about the possibility of a new album, Downes said, "Certainly not out of the reckoning. Worth keeping tabs on the forthcoming year [2019]". Asked in a Jan 2019 interview about a new Yes album, Sherwood said he is "sworn to secrecy". In a Feb 2019 interview, he said, "We've been discussing a new album over the last, y'know, year or so. Um, y'know, the fans want a new album right now, but, y'know, losing Chris and everything: there had to be some time between the idea of just 'Hey! We're going back into the studio.' Y'know, it just wasn't feeling right to anybody. But I think that now we've done so many tours and the band's settled, and we've got this sort of format of play that's working, that the conversations are coming up more and more. So we shall see what happens. There's no timeline to it, but the dialogue's begun. [...] Yes is slow! That's not a mystery to anybody. It takes time."
In a Jun 2018 interview, asked whether Yes "still has new things to say music-wise", Howe replied:
I’m very good at not making promises that are premature. Basically, in a low-key way, we’ve been getting ready to investigate each other’s music. And if that is very productive, then we could have something pretty good. But we have to feel that way about it. We’ve got interest from labels and things like that, but we’re not taking anything on[ ]board until we’ve got the kind of thing we like. [...] there is sort of hope that we will find good ways of developing new songs, it’s [a] fairly early process. It wouldn’t take much time once we got the space.
In another Jun 2018 interview, asked about the possibility of a new album, Howe replied:
We are starting to share things and have some plans, but nothing official. There is a lot of interest, but nothing until we internally have that feeling that we are growing the music together. We may put some time aside over the next 6 months to do a little more of that [...] It has to be right, it has to feel right. We have to assemble an outer shell that helps us make the record. It could be exciting, but there are no actual plans or a date or anything like that.
And in a third:
The trouble is, when you’ve got so many albums out that people love, it’s hard making more that they’re gonna love as much. [...] That’s a pretty hard act to follow. Sometimes I felt we shouldn't bother. If we can’t make an album as good as those [it's ambiguous here whether "those" refers to The Yes Album-Tales from Topographic Oceans, or through to Drama], don’t bother. But the other part of me says I make solo albums. I do collaborations. And basically Yes can still make records. We’re not making any promises, but we’re going to look at some stuff after this tour and see how we feel about the music. But you’ve got to be realistic about expectations. [...] The world doesn't move around what Yes’s next album is. It might move around what Coldplay’s next album is or some other band. So I understand that and I think we make albums for our fans. And that’s a pretty good thing.
And a fourth had this:
Howe predicts [...] some new Yes music [...] “Later in the year [2018] there may be an opportunity [...] where we can be creative. But we haven’t rushed out and accepted a huge advance from a record label because we don’t want to do it like that. We want to have our music lined up a little bit[,] then we’ll look to how we’ll release it and how we’ll do it if we get that far. But there’s no promises, and we haven’t made a commitment to our public or any business concerns that we need to make a record. We love the support we may get, but basically until there’s music to play there’s nothing more to talk about. Individually we’re gathering momentum but that’s about as much as I can say.”
In an early Jun 2018 interview, White was asked the same, leading to this exchange:
White: Everybody's got material. We are trying to figure out a plan – probably won't be until possibly next year [2019].

Interviewer: How do you approach composing?

White: I create on the piano. I have a little stockpile of ideas. I come up with ideas and beats and chord sequences. I'm not much for writing lyrics and melodies. I like writing chords and structure.

Later in Jun 2018, White said, "I think next year [2019] [...] everybody's got a lot of music ready to record, so next year, we'll put our heads together, come up with something, something new." In a Jul 2018 interview, he again talked of 2019 at the earliest. In a May 2018 interview, asked about new music, Downes said, "Yes, I think it's very important for a band to continue to have a creative output of new material. [...] We're talking about going in the studio in the fall. There are a lot of ideas floating about and hopefully we'll be able to put those to good use and come up with a new album for next year [2019]."

Asked how he is preparing for a new album in this Aug 2018 interview, Davison described how, "I'm always picking up a guitar. In fact, when I'm on tour, a good way for me to wind down at the end of the night is to sit up in bed and play my little travel guitar. This process serves as a bridge from being all wound up from performing to a more meditative, sleepy state. As a result, I'm quite creative on the road. [...] I'm always gathering ideas; spontaneous snippets that I make quick recordings of. I never want to develop something too much on my own. I'd rather leave a lot of open room for band collaboration." Later in the same interview, he said, "I'm looking forward to working with the guys again in the studio having learned so much from the first time around. [...] [Sherwood] [i]s such a creative force and wonderful to collaborate with."

The band discussed doing a new album in the #YES50 tour programme. Howe talked about how the band could go about making a new album: "Some people have said over the years, 'Oh, we can't go back and do it like we used to do. We can't sit and rehearse in a room for three weeks. We've got ProTools.' I dare say, that's the only way you can write another 'Close to the Edge.' [...] We have to just play it together!" He discussed some of their '70s recordings, and described how, "The demo of 'Gates [of Delirium]' is just a sketch of the song. [...] we took [...] it, and made it at least 100% better. Because what we had wasn't good enough [...] So we had to make it better by craft. By working on it together." He then continued, "That's why, for our next album, we're going to do that for a few weeks in a residential studio. [...] if we are in a room, and we're living upstairs, we can mess with stuff. That's what we're going to try." Downes made similar comments, saying, "[I]f we do go back and make another album, I think we want to make sure that we've got all the arrangements really good and everything in place. [...] I don't think there's any substitute for being in a recording studio and bashing out the arrangements." He also said, "I think we've all got different ideas. It's just a case of collating those ideas. [...] There are some things that we've never had a chance to look at [from the Heaven & Earth period] [...] I wrote a track with Jon Davison that we never got around to recording that's about ten minutes long. It's certainly something we want to look at". Downes also said he would like to see Yes work again with Trevor Horn. Sherwood said, "I think eventually the band has to make a new record. [...] I think that part of it is the band just allowing for some more healing time since Chris' passing", while Davison noted, "I [...] feel a positive momentum is building. This, I'm confident will inevitably lead to a collective creative outpouring. [...] It's all about getting everybody on the same page, at the same time."

On the Cruise to the Edge in early Feb 2018 and in an interview for the Feb 2018 issue of Eclipsed, Howe was tight-lipped about plans for a new album, but said the band are working on material. Davison suggested the band would be assembling material towards the end of 2018. At the Fan Convention in Mar 2018, asked whether we can expect new music, Howe replied, "I never like to say, 'Yeah, for certain. Y'know, it's going to be out in three weeks,' y'know, because it's not. But people do like to build up, y'know, before you've got it, and I was thinking we want to get a base, an area that we know we've got some songs, before we start talking more about it, but it's... very likely that we'll get something, um, you know, developed, kinda cultivated, and, er, possibly released! So, it could happen. Should happen."

Downes said in a Dec 2017 interview that "when we've finished this 50th anniversary celebration", i.e. touring that he describes in the interview as going up to Jul 2018, "we'll probably head in the studio and start working on another album." In an early Mar 2018 interview, Downes said:
We hope to start working on new songs later in [2018]. I think that we`ll approach it in a slightly different way this time as I think we didn`t really have the strength of material for an album at that point [Heaven & Earth] and I`m not blaming anyone for that.  If we do another album we`ll be conscious that we have great material that`ll be another point in the history of Yes.


We`ll be spending a lot of time out on the road but we will be fitting in some writing at some point too.  We`ll be in The States in June and July so after that we`ll work on some new Yes material

In another interview from the same period, he said, "We're hoping to do some new YES material. We've been a bit preoccupied with the 50th anniversary, but there's time for a new YES album pretty soon. It's important that we present new music." While in a Feb 2018 interview, he said, "We're hoping to do some new Yes material[.] We've been a bit preoccupied with the 50th anniversary, but there's time for a new Yes album pretty soon. It's important we present new music." In an Oct 2017 interview, Howe also hinted at a new album: "As to new music coming from the band? well, you never can tell..." And in a Dec 2017 interview, Howe said, "We've got an interim period where we're going to be fairly secretive about what we're up to[.] Maybe we're building up repertoire for a future project, but we can't say. We've got ideas, but I can't say more than this right now." In a late Dec 2017 interview of his own, Sherwood said of the band's 2018 touring, "hopefully along the way, there will be a spark and we'll start looking at making a new album, which I would never be opposed to." Asked about new material in a mid-Mar 2018 interview, Sherwood said, "I would be happy to do a new album. I think enough time has passed now that it's not disrespectful to Chris [Squire] and I know that Chris would have wished us to continue. We could make a new album now, and it would be a positive thing."

A couple of reports from the band's summer 2018 tour had Davison saying that he and Sherwood have been writing together extensively and one report had an album planned to be out by mid-2019. Rumour from the 2018 Cruise suggested that Yes are planning to use recordings with Chris Squire (both on bass and vocals) of two songs, both of which were started on before Heaven and Earth was released. One of these is "Horizons", a long piece (although exactly how long varies from report to report). This is the Downes/Davison piece not finished in time for Heaven & Earth; it may have a central role and it seems Horizons may also have been a working title for the album project. Rumours from the summer 2019 tour point to this song being on the new album. The other piece mentioned in 2018 is "Breaking Down on Easy Street", which dates back to 2012 and appears to be a Squire/Davison or Squire/Davison/White composition. An Aug 2017 backstage report from North Carolina had that Howe and Davison have been writing together extensively (with Davison very positive about the results), plus that Downes also has some material under consideration, so the band were then said to be looking at an album with "Horizons", some Howe/Davison tracks and a few Downes tracks.

There had already begun work towards a next album before Squire died. Squire, Davison and possibly White met in Squire's studio in Mar 2015 to go through ideas. There was a 2016 rumour that the new line-up were considering some unused recordings with Squire from a number of time periods. Jon Kirkman in a Dec 2016 edition of the Yes Music Podcast said that Yes "are considering an album", and that "there are two songs that Chris Squire is on [...] I'm not sure, entirely, what kind of a finished state they are in. If they are in a finished state and they can be worked on, then maybe they might see the light of day. I'm not sure [...] I don't know", with one of these being "Horizons". The first mention of "Horizons" was in a late Mar 2014 interview with Davison, when he was talking about Heaven & Earth:
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 2018 interview, without mentioning whether it would be on a new album, Downes described the track:
Jon [Davison] came over to my studio in Wales before we started going in the recording [of Heaven & Earth]. And we actually wrote two lengthy tracks, one of which was “Subway Walls” and the other one is still, as it stands unrecorded, but we did a substantial demo of it. And they are both, you know, 10 minute kind of tracks. And I think it was a great way that we worked together on that, because we literally had some different ideas and they just came together, and we put the whole thing together like that.
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 the 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 "centrepiece" of a follow-up album. While most consistently referred to as "Horizons", a rumour early in 2015 had it with a working title of "Pyramids" (with the album to be named the same) and to be ~18 minutes long. (Prior rumour had suggested that further material left off Heaven & Earth was receiving some attention from the band for a next album, with several pieces indicated. As well as "Horizons" and "Breaking Down on Easy Street", also mentioned had been: "From the Moment" or "To the Moment" (possibly by Howe); "Midnight" (possibly originally from Squire/White); and "Don't Take No for an Answer" (which ended up included on Return Trip). There was also reported to be a Howe/Davison piece and a Squire/Downes/Davison piece. Downes described one piece as having a "Tempus Fugit" feel, although which he meant is unclear.)

The band have been reported to be keen to work more with Trevor Horn. Horn met with the band in Apr 2016 (as per this tweet by Downes) and one report from around then has that they discussed the possibility of Horn producing the next Yes album. This report, which cannot be confirmed, had that the band were then considering 4 pieces (both old and new), including "Go Through This". Horn and the band have since worked on "Go Through This": see here. However, in comments on Facebook after his interview with Horn in May 2016, Kirkman said, "No more production for Yes [...] certainly not on the horizon for sure". Asked about the possibility of producing another Yes album in a  Jan 2019 Facebook Q&A, Horn pulled a face, saying, "Oooh, ouch... I don't know if I could do that. It would be difficult. I mean... I love working with Steve and Geoff and, er, I guess... I guess it would entirely depend on if they had something that caught my fancy".

Asked about new material in a Nov 2017 interview, Sherwood said, "Yes moves at its own pace. I've no clue as to a new record." Talking to Yes Music Podcast (#306), Downes talked about how, "if we were to do another Yes album", they would do it together in a studio (contrasting with his recent album Skyscraper Souls with Chris Braide). An article in the Jul 2017 issue of Prog has several comments from band members about the possibility of a new album. White described the band as being the type who "always [...] push forward with new material [...] Everyone in the band has a certain amount of material they want to get off their heads[.] Maybe [...] after the [2018] cruise." But he also noted that making a new album is "a lot of work for us. We're not spring chickens." Davison said, "I need to be creative and in the studio [...] and [...] [then] I start missing being out performing, and vice versa[.] You need the balance." Downes, however, noted that, "To be brutally honest, there isn't the clamour to hear, say, the next Yes or Genesis album. Much as I think it's important for a band to [...] make new music [...] the people that come and see you, they will remember the great tunes [...] [that] formed the backdrop of their lives." Howe was quoted most extensively. He described Fly from Here as "pretty good", but Heaven & Earth as "not so clever". Of Open Your Eyes through to Magnification, he said that "so many musicians in the band were so sad and disappointed that they didn't sell, and I wasn't. I wasn't surprised [...] the old days, you don't go back there — you remodel yourself for future work." He is also quoted saying how "Yes and Asia [...] have multiples of albums that are enjoyed [...] it's very rewarding to work those records [live] that are accepted pretty highly in the lists of great and big-selling records. [...] I need new music, and I keep writing[.] But with [...] Yes, the new albums will never be as well-received, even if we could make records like we used to, like Close to the Edge, which is almost impossible. And that's okay."

In a separate Jul 2017 interview, Howe said, "We're working on it [new music] cautiously and casually[.] We wouldn't rush into anything because we know that is a huge mistake [...] We have plans. We're obviously building material and getting that material refined and then selecting [...] We haven't fully concentrated on that, but after this summer [2017] tour, maybe one of our goals is to move into that in a creative way with the right producer and the right environment. It's a bit of a jigsaw to piece together, but I would say it's on the horizon." In an Aug 2017 interview, White said, "We have 21 studio albums[.] We always have an overload of music in everybody's mind, and we always want to come out with an album we've worked on. It's also something we all work on constantly, and every year and a half or whatever we pull it together and make a new album. That's still running within the band." In another that month (probably conducted in Jul), he said, "we're working on new material individually and we'll put it all together eventually, but we're not too worried about that yet because next year [2018] is the 50th anniversary and we'll be touring quite a lot."

White in a Feb 2017 interview said: "I think we'll see this year's touring cycle out and then we'll regroup later on this year [2017] and put our heads together. We have a lot of ideas for another album, we just have to pull them all together. The band still keeps on churning out songs and it's still really fun to be a part of it. I think it'll continue." In an interview from Feb 2017, White spoke of, "possibly doing another album in the studio after" a 2017 summer tour and possible South American dates. In an interview published Jun 2017, but seemingly conducted around Mar, he said: "Maybe after this cycle of touring we can reconvene in the studio. We're doing a summer tour, and we may be going to South America at the end of the year [which didn't then happen]. After that, maybe we'll put pen to paper and see what we come up with." White was also asked about the process of creating new music. He explained:
Everybody has ideas and develops songs. Once you get the basic idea for a song, it tends to take hold and then everybody contributes different pieces of music and certain lyrics and things like that. Things are tossed around quite a bit while we’re creating it. It’s something that just sort of falls together because of the people in the band.


Usually the demos are a one person kind of thing. But when you throw it out there, everybody’s creative juices get involved.

But Howe in comments on the Cruise to the Edge 2017 was more reticent and seemed to suggest there were no immediate plans. Asked about the possibility of a new album on Twitter, Downes said 3 Mar, "Next year [2018] would be good, 50th Anniversary and all that. Let's see..." It appears White's back problems may have introduced some delay. In a late Mar 2017 Q&A, White said:
I have many ideas for music. A lot of the stuff I write is in collaboration with other artists including the members of YES. [...] I have things in my mind and demos I’ve recorded. I have a couple of songs that I did with Chris that we’re never released that I was thinking about reviving. It’s an excellent piece of music. Chris came up with certain chords and I wrote the melody. So, I’ve got some interesting stuff like that around. [...] in the back of my mind I have some music hanging around that I want to eventually record. I’m also getting new musical ideas all the time.
Asked specifically about when Yes will do another album, he answered:
We all have it in our minds to record another album but it’s a question of trying to find time to get back into studio together. Geoff Downes is on tour with Asia for a few weeks this summer and YES will also be on the road in August & September playing about 30 shows. It’s quite possible we’ll be touring later in the year [2017] as well, so trying to please everyone, it will realistically be 2018 before we can block out enough time to do this. We all continue to write even when we’re doing other things like touring.
In his late Mar 2017 Q&A, Howe was also asked about doing a new album:
This is asked quite often. We like the fact that people anticipate and enjoy new music. Much of our focus admittedly is on the great pieces from the 70s and around that era. So we take it slow.

I tried to slow down ‘Heaven & Earth’, because I thought maybe we could refine it. But we’ve gotta get some material that we think is really worthy of doing this, first of all, and that’s gonna take a bit more writing and a bit more collaboration.

And there’s every chance that Jon Davison and I will do some more writing like we did on ‘Heaven & Earth’. YES albums are all about collaboration. Not only in the writing, but also in the arrangements because the skill of the great records in the 70s was definitely that we arranged the hell out of something that was really quite innocent. We’d drum it up to be something. And I think that allowed the musicianship and the ideas to flow.

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. Asked in a Nov 2016 interview about whether there will be a new album, White said: "Everybody's got music in their minds. [...] we do stuff at home [...] you've got to get that stuff out of your brain and get it recorded. [...] Everybody's very enterprising in that area." He went on to say that it is important for the band to keep doing new material. 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.

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 above]

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 [2017]?

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.

Downes talked about the importance of new material in two 2016 interviews: in Mar, saying that new music is "something that will come off"; and in Apr, "The beauty of a band like Yes is that it constantly keeps visiting new material and I think that's important". Asked about making a new album in an Apr 2016 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.
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 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.
Previously asked about recording plans in a Jan 2015 interview from NAMM 2015, White replied, "we've all got music [...] 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 [...] 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 Horn at some point.

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 re-released a series of Yes albums: in order, Close to the Edge, The Yes Album, Relayer, Fragile and Tales from Topographic Oceans. The releases included 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 for King Crimson, ELP etc. The new mixes use the original multitrack masters. The original stereo mixes are also included. Sleeves notes are by Sid Smith. The band and Roger Dean were also involved and approved the releases. The 5 albums were due out in UHQCD format in Japan, with mini-LP sleeves, on 6 Feb 2019.

Out is the 6LP The Steven Wilson Remixes (Atlantic Catalog Group), consisting of Wilson's stereo remixes on vinyl, mastered for vinyl by Chris Bellman. The album has a new cover by Dean, and he also did new covers for Close to the Edge and Tales from Topographic Oceans, and re-worked the remaining covers (with Fragile looking the most changed). The Steven Wilson Remixes has also seen a digital release. The album has been nominated in the Reissue of the Year category of the 2019 Progressive Music Awards: you can vote here. On Spotify, Amazon Music and Apple Music, several tracks are sub-divided as follows:

15. "Heart of the Sunrise" (10:38)
16. "We Have Heaven (Reprise)" (0:48)
17. "The Solid Time of Change" (6:04)
18. "Total Mass Retain" (2:24)
19. "I Get Up I Get Down" (5:44)
20. "Seasons of Man" (4:28)
23. "The Revealing Science of God, Pt. 1" (3:32)
24. "The Revealing Science of God, Pt. 2" (6:09)
25. "The Revealing Science of God, Pt. 3" (3:17)
26. "The Revealing Science of God, Pt. 4" (4:34)
27. "The Revealing Science of God, Pt. 5" (2:42)
28. "The Remembering, Pt. 1" (4:34)
29. "The Remembering, Pt. 2" (3:07)
30. "The Remembering, Pt. 3" (8:07)
31. "The Remembering, Pt. 4" (1:40)
32. "The Remembering, Pt. 5" (3:02)
33. "The Ancient, Pt. 1" (3:15)
34. "The Ancient, Pt. 1" (5:06)
35. "The Ancient, Pt. 1" (4:02)
36. "The Ancient, Pt. 1" (2:11)
37. "The Ancient, Pt. 1" (4:03)
38. "Ritual, Pt. 1" (4:02)
39. "Ritual, Pt. 2" (7:05)
40. "Ritual, Pt. 3" (3:20)
41. "Ritual, Pt. 4" (3:01)
42. "Ritual, Pt. 5" (4:14)
43. "The Gates of Delirium, Pt. 1" (6:20)
44. "The Gates of Delirium, Pt. 2" (9:51)
45. "The Gates of Delirium, Pt. 3" (5:46)

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." In Nov 2017, Panegyric's Declan Colgan said on 28 Nov 2017 at the DGM forum that, "Panegyric released all five Yes albums for which full multi-track tapes were available, thanks to the work by Rhino Records & Yes' management in locating/transferring those tapes. Despite rumours to the contrary, the full multi-tracks to the other albums have not, at this time, been located. Happily, as we know from working with other bands, tapes do turn up/are found & if /when the tapes are located, I am sure that there would be sufficient interest to continue with these releases." In a Jul 2018 interview, asked how the albums in The Steven Wilson Remixes were chosen, Downes replied, "Those were chosen, I think, because they're the only ones that could be found. [...] I don't know if he'll do any more, though, since he tends to look at the defining albums from a band's history."

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 have been 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.

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

Preliminary work for a Going for the One release was done. 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, he 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." Asked about further archival releases on the 2015 Cruise to the Edge, Howe also said there was plenty more in the vaults.

Cruise to the Edge
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. A 2020 Cruise is planned on the NCL Pearl (as for the 2014/5 cruises), 27 Mar-1 Apr: stops will include Miami, FL; Harvest Cave, Belize; Roatan, Honduras. Yes, as usual, headline, with other acts including Glass Hammer, Steve Hackett, Dave Kerzner & Friends, Fernando Perdomo, Gong, Marillion, The Flower Kings, Le Orme, Anathema, Moon Safari, Flying Colors, Saga, Haken, Pendragon, Lifesigns, Riverside, Stu Hamm, Nerve Bundle (with Steve Lukather), Simon Phillip's Protocol, Marbin and Alex Machacek ft. FAT. There's planning towards a 2021 Cruise too.

The sold out 2019 Cruise to the Edge was in Feb on the Royal Caribbean Brilliance of the Seas out of Tampa, FL. Attendance was around 2000. Yes headlined, with Tony Kaye guesting, while also appearing were The Sea Within (with Tom Brislin), Steve Hackett, John Lodge (The Moody Blues), Brand X (their first show had White, Downes and Davison in the audience), David Cross Band ft. David Jackson, Adrian Belew Power Trio (with Sherwood in the audience), Frost*, Soft Machine, PFM (with Sherwood in the audience), Spock's Beard, Neal Morse Band, Focus, Alan Hewitt and One Nation, Riverside, District 97 (with Sherwood in the audience), Pendragon, Airbag (with Sherwood in the audience), Electric Asturias, Mike Portnoy (ex-Dream Theater), Jordan Rudess (Dream Theater), In Continuum (with Dave Kerzner), Fernando Perdomo (Dave Kerzner Band), Gazpacho, Pendragon, Enchant, Haken, IO Earth, Rachel Flowers, Baraka, UniKuE, Marbin and Magic Pie. Fish (ex-Marillion) was scheduled, but had to pull out because of family circumstances, with Michael Sadler a last minute replacement. The cruise was again hosted by Jon Kirkman.

Yes's first set (7 Feb) was: intro: "Firebird Suite", "Parallels", "Sweet Dreams", "We Can Fly", "Nine Voices" (up to here with Schellen on drums), "Clap" (Howe solo), "Madrigal" (with just Howe on acoustic guitar, Sherwood on backing vocals and Davison on vocals and acoustic guitar), "Close to the Edge" (with Schellen), "And You and I" (with Schellen), "Siberian Khatru" (with White); encore (all with the addition of Kaye): "No Opportunity Needed, No Experience Necessary" (with Schellen; Downes as second keyboardist; seems to be Howe's first live performance of the piece), "Roundabout" (with White), "Starship Trooper" (with White; Schellen on additional percussion). Rachel Flowers opened for the band both nights with a solo piano set. Yes's second set was the same, except omitting "Starship Trooper".

The Mike Portnoy & Friends show (8 Feb, I think) included a Transatlantic set by Portnoy (drums), Neal Morse (keys, vocals, guitar) and Roine Stolt (guitar, vocal), with Ted Leonard (vocals, guitar), Randy George (bass), Bill Hubauer (keys, backing vocals), at which they played the band's "Suite Charlotte Pike Medley" (which interleaves the band's "Suite Charlotte Pike" and The Beatles' Abbey Road). Davison guested with them to sing "She Came in Through the Bathroom Window". Other events on the cruise included a Roger Dean exhibition (and a live painting event), and a Q&A with Howe, Dean and Hackett. UniKuE, a ukulele-based covers band, played "Roundabout". Late night sessions included various Yes covers. In particular, there was a Late Night Live session with a Yes set performed by Perdomo, Joe Cass (Fernando Perdomo band), Joel Simches et al. This included a performance of "Tempus Fugit" with Downes, Perdomo, Simches, Cass, Patrick Igoe and Rob Rutz. Later than the Late Night Live sessions, Brislin and Chris Clark did piano versions of Drama plus "Sound Chaser", while some other passengers also covered Yes material on the piano. Brislin and Ted Leonard (and, I think, also with Clark) also did an impromptu Kansas selection.

There was a sold out (1100 capacity) pre-cruise show on 3 Feb, Tampa, FL by the Neal Morse Band and the Dave Kerzner Band, with support from Marbin. The Dave Kerzner Band set included Pink Floyd's "Time" (with the McBroom sisters) and Rush's "Tom Sawyer". The line-up for the latter was Kerzner (keys, backing vocals), Jon Davison (lead vocals), John Wesley (guitar), Derek Cintron (drums) and Roger Houdaille (bass). On Facebook, Kerzner said of the show, "Fernando Perdomo, Wes Dearth, Randy McStine, Durga McBroom, Lorelei McBroom, Derek Cintron, Roger Houdaille, Andy Robbins, Ruti Celli, Joe Deninzon, Jon Davison, Billy Sherwood, Nick D'Virgilio, Gabriel Agudo and Jay Schellen (we didn't get to do our planned songs with some of them but hopefully we will on the boat!)." For his 2 shows with In Continuum, Kerzner promised, "special guests from Yes, Genesis and Pink Floyd joining us on stage!" Davison performed in the first show. He also sat in with The CJ's Live Band at a 31 Jan Florida show before the cruise, including singing "Owner of a Lonely Heart".

The previous Cruise to the Edge was 3-8 Feb 2018; it was close to sold out. It came 5th in the 2018 Prog Readers' Poll, event category. Yes headlined (with White playing in a limited capacity, Schellen also on drums, and with Tony Kaye guesting—see more below); the band rehearsed in Tampa beforehand. Other acts included Glass Hammer, Stick Men (with Tony Levin and guest David Cross (ex-King Crimson)), Carl Palmer's ELP Legacy, Steve Hackett (with a set to include solo, Genesis and GTR material), Dave Kerzner (worked with Billy Sherwood, Jon Anderson, Steve Hackett), Marillion, the Adrian Belew Power Trio, Gong, Sons of Apollo (debut shows from new supergroup with Mike Portnoy and Derek Sherinian (both ex-Dream Theater)), Saga (playing their final shows ever), Martin Barre (ex-Jethro Tull), Neal Morse (with a partial Transatlantic reunion as guests), Focus, Enchant, Lifesigns, Moon Safari, Haken, Knifeworld, Baraka, IOEarth, Bad Dreams, Thank You Scientist and others. Roger Dean was also on the cruise. (The previously advertised Sound of Contact and Anathema both had to pull out.) (In a Dec 2017 interview, Downes said Patrick Moraz would also be with them, but he wasn't.) The cruise had a tribute to John Wetton, including The Aurora Project performing Asia's "The Last to Know" on 7 Feb.

There was a pre-cruise concert in Tampa on 2 Feb by Dave Kerner's All-Stars playing the music of Pink Floyd. The line-up was based around the Dave Kerzner Band, with Kerzner, Fernando Perdomo, Durga & Lorelei McBroom (worked with Pink Floyd), Derek Cintron and Roger Houdaille, with guests including Billy Sherwood and Jon Davison (just on "Comfortably Numb"), Steve Rothery (Marillion, worked with Steve Hackett), Harry Waters (Roger Waters' son; keys), Gabriel Agudo (In Continuum), John Wesley, Wes Dearth, Randy McStine, Rick Armstrong (Neil Armstrong's son), Andy Robbins (Brit Floyd), and Jamison Smeltz. The set was all of Dark Side of the Moon, "Shine on You Crazy Diamond", "Have a Cigar", "Wish You were Here", "Run Like Hell", "Comfortably Numb" (with Sherwood on lead vocals, Kerzner on keys and additional vocals, and Davison joining the McBroom sisters on backing vocals). Baraka opened the evening, and Carl Palmer's ELP Legacy performed a set at the end. On the first day of cruising, Stick Men with David Cross played: intro, improvisation/"Larks' Tongues in Aspic, Part Two", "Hide the Trees", "Mantra", "Sartori in Tangier", "Shades of Starless", "Cusp", "Prog Noir", "Level Five", "Open, Part 3".

Yes did a Q&A with Howe, White, Downes, Sherwood, Davison and Schellen. Their set on 4 Feb was: intro: "Benjamin Britten's Young Person's Guide to the Orchestra", "Survival", "Time and a Word", "I've Seen All Good People", "South Side of the Sky", "And You and I", "Madrigal", "Clap" (Howe solo), "Bolero" (Downes solo, from Asia's "Cutting It Fine"), "Soon", "Going for the One", "Don't Kill the Whale", "Machine Messiah", encore: "Yours is No Disgrace", "Roundabout", "Starship Trooper". The main set was with Howe/Downes/Sherwood/Davison/Schellen, while the encore was with Howe/Downes/Sherwood/Davison/White/Kaye (with Schellen on additional percussion). The second set was the same, except with "Madrigal" replaced by "Leaves of Green".

Also on the cruise, Dean did a Q&A and painted live. Downes guested on a performance of "Into the Sun" by the Dave Kerzner Band. Some Yes members sat in on the Late Night Jams.

In a Nov 2014 interview with YesFANZ, White 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.
2018 fan conventions &c.
There was a US fan convention, YesFanFest, to celebrate the band's 50th anniversary; the event was co-ordinated by Brian Neeson, Ruth Zurawka and Jim Tauberg. It was on 21 Jul in Philadelphia, where Yes played on 20 and 21 Jul. All profits from the convention were donated to two charities: the Leukemia & Lymphoma Society (in memory of Chris Squire) and the Performing Animal Welfare Society (PAWS). There was a Q&A with Yes and the additional alumni and separate performances by Patrick Moraz (70 min. acoustic piano set), Tom Brislin (performing original material and referencing Yes), and the tribute band Total Mass Retain. Trevor Horn also appeared. Moraz and Horn both guested with Yes at the 20 and 21 Jul shows, on 1 song each. There was an exhibit by Roger Dean, who travelled with the band from 16 Jul through to the convention. Also appearing were Roy Clair (long worked with Yes, including doing their sound systems for touring in the '70s), doing a Q&A with Dean; and representatives of the Cruise to the Edge team. (Media executive Lee Abrams was expected, but had to withdraw.) The day was hosted by DJ Ray Koob. The planned schedule of events was:
12:00 Total Mass Retain (set: "No Opportunity Necessary, No Experience Needed", "Siberian Khatru", "Sound Chaser", "Future Times/Rejoice", "Changes", "Hearts", "Brother of Mine", "The More We Live—Let Go", "Subway Walls"; Kaye, Moraz, Sherwood, Davison and Schellen were in the audience)
13:30 Tom Brislin (half hour set from solo album Hurry Up and Smell the Roses + 1 song from The Sea Within; Kaye, Moraz, Davison and Downes were in the audience)
14:00 Dean/Clair
14:25 Cruise to the Edge team
14:40 Patrick Moraz (set of mostly solo material + an interpretation of "Soon")
16:15 Q&A with Yes, includng Schellen and Kaye, plus Horn and Moraz (video on YouTube: part 1, part 2)
16:40 Raffle
This follows on from an earlier UK fan convention that was part of a weekend of 50th anniversary celebratory events in London on 24/5 Mar 2018, including the convention on 25 Mar, which was co-organised by David Watkinson (author of "Yes—Perpetual Change") and Brian Neeson, both good friends of this site. The band also played London both those days within their European tour leg. The event saw the launch of Fly from Here - Return Trip (see above). Roger Dean unveiled a not quite finished new painting of an alternate view of the inside painting of Close to the Edge, and a painting for the cover of The Steven Wilson Remixes. Prog's editor Jerry Ewing compered, while also attending were Yes book authors Watkinson and Simon Barrow. There was a raffle of Yes collectables for charity and a display of memorabilia curated by Watkinson. The Yes tribute bands Seyes and Fragile (with Claire Hamill (worked with Alan White) and Max Hunt (Mabel Greer's Toyshop, worked with Jon Anderson, Fish)) performed. Profits went to The Christie Hospital in Manchester and Kangaroos. Nearly £8000 was raised. Approximate timetable:
13:00 Seyes ("Gates of Delirium", "Close to the Edge")
13:50 Dean, Watkinson and Barrow Q&A with Ewing
14:30 charity auction
15:15 Fragile ("Siberian Khatru", "Heart of the Sunrise", "Awaken")
16:15 Yes (Howe, White, Downes, Sherwood, Davison, Schellen) Q&A with Ewing (on YouTube)
There is an official page with photos from the event. The UK event was nominated for the Event of the Year category in the Progressive Music Awards 2018, but failed to make the top 3. It came 7th in the 2018 Prog Readers' Poll, event category.
Watkinson and YesWorld also organised a plaque at 184 Shaftesbury Avenue, Soho, London, once The Lucky Horseshoe Café (and now the Wildwood restaurant). This is were the band rented rehearsal space in Jun 1968, still then as Mabel Greer's Toyshop, prior to the band's first show as Yes on 3 Aug 1968. The plaque was unveiled by Bill Bruford on the 50th anniversary of that date, with attendees including Watkinson, journalist/Yes biographer Chris Welch, Chris Squire's brother and sister, Kevin Mulryne of Yes Music Podcast, Simon Barrow (author of "Solid Mental Grace"), and myself. A video and photos of the event is on the UK Fan Convention page, while my report is here.

On tour
Both Howe and Downes have talked about Yes playing dates in 2020. In the Apr 2019 issue of Prog, Howe said the band has "plans to tour in the summer [2019, as they did] and then come back to the UK in March or April next year [2020]." The 2020 Cruise has been announced for 27 Mar-1 Apr (and there's planning towards a 2021 Cruise), with the European leg expected to be after that, possibly in May. In a Jul 2019 interview, Sherwood talked of future touring plans: "I know Japan is coming. They are talking about the UK and Europe again for next year and we've already started booking another summer tour". Sherwood said in another Jul 2019 interview that, "There's chatter about it [the Royal Affair format] going into other markets, but we'll have to see what happens." In a Jul 2019 article, Howe said, "We've already got plans for future years[.] The younger guys in the band give us a fresh balance, but I've certainly got the energy. I still love to play guitar and I'm still playing well. Fingers crossed, we'll be doing this for another few years because I don't believe in farewell tours." Asked on Twitter in Oct 2018 if there were any plans for Australia/New Zealand dates, Downes replied, "Nothing planned as yet". In Jan 2019 on Twitter, Downes said there were no dates planned for Brazil.

Reports suggest that the band plan to play all of [SPOILERS—highlight to read] Relayer live in 2020, possibly with all of a second album. Yes and Patrick Moraz had discussed him touring with the band in 2019 to play all of Relayer, something he had earlier talked about wanting to do. This hasn't happened, but rumours from the first half of 2019 suggest he will joining touring in 2020. Moraz talked about 2019 plans on several occasions in late Jul/early Aug 2018, in conversation with various fans (e.g., as reported on Yesfans.com). He said late Jul 2018 that he'd been asked by Yes management, but no contract had yet been signed. In his Dec 2018 interview, Kaye said, "There was kind of talk of maybe doing Relayer, which would've been great, with Patrick [...] at some point, maybe Relayer can be re-visited with this band. It would be kinda cool, wouldn't it?" But his tone implied that this wasn't imminent, however.

The Royal Affair Tour saw 28 dates 12 Jun-28 Jul in the US and Canada. (An additional date was cancelled because of a  hurricane.) Most venues were in the 2,500-5,000 range. Downes flew out for Asia and Yes rehearsals in Lititz, PA on 31 May and he posted pictures from Asia's rehearsals (including Sherwood) on 5 Jun. On Facebook, Sherwood described flying out on 31 May too, saying, "Tomorrow is rehearsals with Asia and a few days later rehearsals with Yes !!!"

They play in this order: Carl Palmer's ELP Legacy (Palmer, Paul Bielatowicz, David Pastorius, plus Arthur Brown guesting on vocals); John Lodge (playing mostly The Moody Blues material); Asia (Downes, Palmer, Sherwood, Ron "Bumblefoot" Thal, with Howe also guesting for a portion of the set); and Yes (Howe, White, Downes, Sherwood, Davison, Schellen). Note there is very little gap between the first three acts. Roger Dean is also joining the tour: he has a stand at all tour dates, and joined the tour himself from 24 Jun onwards. Joe Comeau was the tour manager. Techs were André Cholmondeley (guitars), Steve Rispin (keys), John Walsh (drums) and Patrick Higgins (bass). Video backgrounds were by Andy Clark, lighting production by Bryan Schrumpf. Don Weeks is the production manager/lighting designer Don Weeks, with Colin Johnson as audio/video tech. Dean Mattson was the front of house engineer/production manager, while Simone Angelini was the monitor engineer.

Yes's set was said to honour both Chris Squire and Peter Banks. On the first night (12 Jun), Palmer's set (30 minutes) was "Karn Evil 9: 1st Impression, Part 2" (with Brown), "Hoedown", "Knife-Edge" (with Brown), "Fire" (with Brown), "Fanfare for the Common Man" (including Palmer drum solo). Lodge's set (35 minutes) included "Steppin' in the Slide Zone", "Gemini Dream", "Isn't Life Strange", "Just a Singer (in a Rock and Roll Band)", "Ride My See-Saw" (with Davison sharing lead vocals). At at least one later show, they played "Legend of a Mind"; he's also done "Saved by the Music". Asia's set (50 minutes) was "Go", "Don't Cry", "Video Killed the Radio Star", "The Smile has Left Your Eyes", "Lucky Man" (originally by ELP), "Bolero" ("Cutting It Fine" extract, Downes keys solo), "Wildest Dreams" (with Howe on guitar and Thal just on lead vocals until end of set), "Sole Survivor", "Only Time will Tell", "Heat of the Moment". Yes's set (110 minutes) on the first and second nights was: intro: "Firebird Suite", "No Opportunity Necessary, No Experience Needed", "America", "Going for the One", "I've Seen All Good People", "Sketches in the Sun", "Siberian Khatru", "Onward", "Tempus Fugit" (all with Schellen up to here), "Rhythm of Love" (with White), "The Gates of Delirium" (with Schellen on drums and White on additional percussion, except White returned to the drum kit for "Soon"); encore (with White on drums and Schellen on additional percussion): "Imagine", "Roundabout". Mike Portnoy (Transatlantic, Neal Morse Band, Flying Colors, ex-Dream Theater) and Dylan Wetton (John's son) were in the audience on 12 Jun. At subsequent shows, White didn't play on most of "The Gates of Delirium", just taking over for "Soon". Howe has varied his solo: he has also played "Clap", "Cactus Boogie" and "Second Initial" (with an intro of Vivaldi's "Concerto in D"). From 16 Jun, the set list was re-ordered: "No Opportunity Necessary, No Experience Needed", "Tempus Fugit", "Going for the One", "I've Seen All Good People", Howe solo, "Siberian Khatru", "Onward", "America", "Rhythm of Love" and then as previously. By late Jun, White was joining at "America" and playing the rest of the set. At the 29 Jun show, "Rhythm of Love" was dropped, with "Starship Trooper" added to the end of the encore.

The 14 Jun show reportedly had an audience of around 5000.
The 18 Jun show was "private", i.e. just for Mohegan Sun attendees, and only had Asia and Yes. The audience was estimated to be 8000. The 24 Jun show was estimated to have 10000, while the 22 Jun show was estimated at close to 4000.

The band played Cruise to the Edge 2019 (set list above) and then 5 Japan dates in Feb 2019, all with Tony Kaye again guesting with the band. Schellen was also with the band, sharing drumming with White. Japan dates were badged as part of the #YES50 touring, although Sherwood in a Feb 2019 interview said that would be the last leg under that badge. On the first three dates of their Japan leg (19 Feb), the set was: intro: "Firebird Suite", "Parallels", "Sweet Dreams", "We Can Fly", "Nine Voices", "Clap", "Madrigal", "Yours is No Disgrace" (with Kaye), intermission, "Close to the Edge", "And You and I", "Siberian Khatru" (with White); encore: "No Opportunity Needed, No Experience Necessary", "Roundabout" (with White), "Starship Trooper" (with White). The last 3 dates of the Japan leg were all in Tokyo, and sold out. They have been promoted as playing different sets on each day: 22 Feb, all of Close to the Edge (which was the usual set); 23 Feb, a best-of selection ("Close to the Edge", "Nine Voices", "Parallels", "Madrigal", "We Can Fly", "Sweet Dreams", "Heart of the Sunrise", "Perpetual Change", "Does It Really Happen?", "Soon", "Yours is No Disgrace", usual encore), with Kaye on the last 4 songs; and 24 Feb, all of The Yes Album (i.e., "Close to the Edge", "Nine Voices", "Parallels", "Madrigal", "We Can Fly", "Sweet Dreams", "Heart of the Sunrise", all of The Yes Album, encore: "No Opportunity Necessary, No Experience Needed", "Roundabout").

In the late Sep 2018 interview, Howe also said, "I feel that it's a desirable thing to keep playing this [Yes] music, playing songs that are maybe sometimes being missed by the band. For instance, our album series tours were so successful; they covered five albums – five and a half, actually – in their entirety." He continued:
We’ve become more interested in really looking at the original recordings as much as possible, taking everything we can from them. There are obviously compromises we might make, but that doesn’t really matter. What we’re interested in is giving a sense of realism to it. Without that realism, we might as well not even go and play the right notes. [...] and I think that’s brought together with improvisation.

After all, a solo is a solo, and you can play what you like. [...] There’s got to be some freedom. But again, it’s nice hearing the raw, core tunes that call in that solo.

In a Jun 2018 interview, Howe was asked what happens after the 50th anniversary tour. He replied, "we'll keep thinking about the set list; we want to have a different approach to that. And we might have a more collective approach – [touring] with other bands – next year [2019]. We've got other things we might do as well; we've already got Japan [scheduled]." In another that month, Howe said, "After doing this [2018] summer tour on our own, we might think about special team-ups". As for future set lists, another Jun 2018 interview with Howe describes the situation thus:
After bassist Chris Squire’s death in 2015, Howe inherited the job of putting Yes’ concert set list together. “I make a set list generally with two considerations. There’s gotta be some challenges; There’s got to be some things we haven’t been playing in the last two years or so. [...] you’ve got to go do some homework at home. But the other thing is we’ve got to make it possible. [...] our set list is generally a mix of challenging new things -- or new in the context of what we’ve been playing recently -- and then some really familiar stuff, but not the same-old, same-old -- although we can’t do a show without ‘Roundabout.’ [...]”

Downes also talked sets in a Jun 2018 interview:

Interviewer: Are there any songs that you personally would like to retire? [...]

Downes: We approach each tour differently. [...] it’d be nice maybe to look at a couple of 80’s era Yes tracks as well. And maybe even something from the 90’s, you know. Well we do a couple of tracks from the 90’s anyway. [...] there’s so much there [...] you’ve got 22 or 23 studio albums to pick material from, that’s a pretty enormous body of work to tackle. But certainly, I’m game to try anything that’s in the Yes catalog.

Interviewer: [...] is there a song or two you wish you guys could play, specifically?

Downes: I think I’d like to just do one of the big pieces from the album Relayer. We did a little bit of that, but something like either “Sound Chaser” or maybe “Gates of Delirium,” which would be an enormous challenge to actually learn something like that [...] quite a fascinating challenge to do that.

In a Jun 2018 interview of his own, White said, "we tried not playing "Roundabout" for a while. We got so many complaints because we didn't play it, we've been playing it ever since." Asked in the Yes Music Podcast about YesWest material, Downes replied, "that would be something a lot of the fans would appreciate [...] certainly I think Steve's up for doing some of it". Asked about the possibility of performing "The Gates of Delirium", he began by remarking on the challenge of doing so, but continued, "everything's possible […] Whether or not we do it next year [2018], I don't know. We might do it the year after [2019]. We might even at some point attempt the whole of Relayer. That's... that's something that has been put forward. I think in terms of it being the fiftieth anniversary of Yes that the focus is going to be more on a historical view of Yes's music rather than any specific albums". In his Mar 2017 Q&A, White had said, "we plan to play the entire "Relayer' album in the UK next year [2018]", but he backed away from that by this Aug 2017 interview: "I think next year [2018] should be a really good selection of songs from every era. We actually thought about playing the whole "Relayer" album, but I think that would be too much for the kind of show it should be next year [2018] for our 50th anniversary." In the Feb 2018 issue of Eclipsed, Howe also said they wanted to play all of Relayer but described this as challenging to do. In the mid-Mar 2018 interview, asked about whether Relayer is a possibility for summer US dates, Sherwood replied, "You never know. I've been lobbying for that for years now as it's one of my favourites. [...] As of yet it's not been spoken about, so we'll just have to see what happens." Sherwood in a Nov 2017 interview said he would like to play "The Gates of Delirium" and "On the Silent Wings of Freedom". Asked in his matching interview what songs he would like to include, White mentioned "America", "Awaken" and "Mind Drive"; he implied that, with Kaye present, they would do "Yours is No Disgrace". In the #YES50 tour programme, out Mar 2018, Downes said, "I'm excited about taking on the Relayer album". At the Jul 2018 YesFanFest, Howe was asked about doing Relayer in 2019 and replied, "Maybe". In an Aug 2018 interview, asked what songs he would like to do, Davison picked Relayer first, then saying, "I'd like to bring to the stage all of Tormato and Relayer and make the '70s Album Series a complete thing. Beyond that, some of the '80s and '90s material." He then mentions "The More We Live—Let Go" and "Shoot High Aim Low". In a Jul 2019 interview, Sherwood supported the idea of playing "Sound Chaser". Asked how set list decisions come about, he replied:

Steve [Howe] usually does it, and we have suggestions along the way, but Steve's got a really good sense of ebb and flow in the set. If too many songs are in the same key and they’re bundled up together, he can move them around, and based on tempos and all that type of thing. We sort of just wait for Steve to give us the set list. [...] then [...] anyone’s allowed to throw in their opinions but usually it’s pretty spot on, I’ve found.

The #YES50 tour saw the band celebrating their 50th anniversary. They played 35 US dates Jun/Jul 2018 (28 Jul Atlanta at 1762 capacity sold out). There was another Fan Convention on 21 Jul. Downes tweeted 25 Apr, "Been working very hard this week on the new Yes set for USA 2018." The band rehearsed for about a week before the tour started. In Oct 2017, Sherwood on the New Ears radio show, talked of Yes also playing South America and Japan in 2018, but Howe in Jun 2018 said they would be touring Japan after the next Cruise to the Edge, which is in Feb 2019. Management in Jun said that the band "are hopeful to get down to Oz and NZ but as ever that is in the hands of local promoters." In a late Dec 2017 interview, he said, "there's a summer tour coming, and I believe Japan is on the radar, and some other territories." In a late Dec 2017 interview, Downes said, "there is big US tour planned for Yes in June and July, and possibly some more Asia shows in the autumn." They started the tour with the Cruise to the Edge in Feb 2018; and then toured western Europe with 13 dates 13-30 Mar 2018: 10 UK (Bristol at 1834+ capacity and Manchester at 2341 capacity sold out; 24 Mar London at 2286 capacity was close to sold out), 1 each for the Netherlands, Belgium and France (sold out, 2500 capacity). Rehearsals started 6 Mar. The tour leg included 2 London dates on the weekend of 24/25 Mar, when a 50th Anniversary Fan Convention was held.

The line-up consisted of Howe (guitars, backing vocals), White (drums), Downes (keys, backing vocals), Sherwood (bass, backing vocals) and Davison (lead vocals, acoustic guitar, additional percussion, sound effects), with Jay Schellen (drums, additional percussion) following further health problems for White. Tony Kaye guested with the band on Cruise to the Edge 2018 and on the US leg, but was not on the European leg. Patrick Moraz guested with the band on 20-1 Jul, playing "Soon" (with Downes also on stage playing), and also appeared separately at the US Fan Convention on 21 Jul. Trevor Horn guested with the band for 1 song at the 2 London dates and in Paris; he also guested with the band on 20-1 Jul. He sang "We Can Fly" on both nights (with backing vocals from Davison). For the 21 Jul encore of "Starship Trooper", Horn, Moraz, Brislin and Schellen were also on stage (additional percussion).

On their opening night of the US tour, most of the show was with Howe, Downes, Sherwood, Davison and Schellen; set: intro: "Firebird Suite", "Close to the Edge", "Nine Voices", "Parallels", "Mood for a Day", "Leaves of Green" (slightly extended version), "We Can Fly" (Davison described this as being closer to the Return Trip arrangement in this Aug 2018 interview), "Sweet Dreams" (explicitly the 1975 arrangement), "Heart of the Sunrise", intermission, "Perpetual Change", "Does it Really Happen?", "Soon" (White joins on drums for the end and plays the rest of the show), "Believe Again", "Awaken"; encore (Tony Kaye joins too): "Yours is No Disgrace", "Roundabout", "Starship Trooper". Schellen plays additional percussion while White is behind the drum kit. The second night saw the same set, except "Perpetual Change" was omitted. However, the set soon stabilised to having "Perpetual Change", but not "Believe Again", and White joining for "Awaken" rather than coming out during "Soon". With interval, the show is about 3 hours long. Their third night and a number of others (including 13-4 Jul) were casino shows with a substantially shorter set: "Close to the Edge", "Nine Voices", "Parallels", "Sweet Dreams", "Soon", "Awaken", "Yours is No Disgrace", "Roundabout", "Starship Trooper". In Anaheim, White sat out "Yours is No Disgrace". At the 21 and 23 Jul shows, Yes played "Second Initial"/"Madrigal" instead of "Mood for a Day"/"Leaves of Green".

André Cholmondeley was the guitar tech and Steve Rispin was the bass tech. On the European leg, there was a 124-page 12"x12" tourbook, with new interview material, by the Gottlieb Brothers. The US leg saw that expanded further with 24 additional pages, including material on Return Trip from Horn. This expanded version is a limited edition of 1000 copies.

They played the first two nights at the same 897-seat venue in St Charles, IL, selling out the first night and selling out or nearly selling out the second night (reports conflict). The 6 Jul 2018 show was at capacity (1550). Tom Brislin and Mike Portnoy (Transatlantic, Neal Morse Band, Flying Colors, ex-Dream Theater) were in the audience for the 21 Jul show. The 16 Mar Glasgow show sold 1433 tickets, grossing $93,926.

The European set was: intro: "Firebird Suite", "Yours is No Disgrace", "I've Seen All Good People", "Sweet Dreams" (the 1975 arrangement), "South Side of the Sky", "Onward", "Mood for a Day", "Wonderous Stories", "Parallels", "And You and I", interval, "The Revealing Science of God", "Leaves of Green", "Ritual"; encore: "Roundabout", "Starship Trooper". ("Onward" wasn't played in Newcastle.) The evening was 2 hours and 50 minute long, including a 20 minute interval. Most of the set was with Howe/Downes/Sherwood/Davison/Schellen; White replaced Schellen on the drum kit partway through "Ritual" (with Schellen continuing on additional percussion) and played the encore (with Schellen on additional percussion). At both London shows (24-5 Mar), Howe/Downes/Sherwood/White/Horn played "Tempus Fugit" as the opening number of the encore and "Starship Trooper" was abbreviated ("Life Seeker" was greatly shortened). On 24 Mar, "Onward" was dropped from earlier in the set, while on 25 Mar, it was "South Side of the Sky" that was dropped, with "Onward" dedicated to multiple members of the Squire family in the audience (including his brother, sister, niece and possibly nephew). Horn and "Tempus Fugit" were back in the same slot for the 30 Mar Paris show, with "Onward" omitted. Steve's daughter Stephanie and her partner (who both worked on design elements of Nexus), David Cross (ex-King Crimson, worked with Peter Banks), Lisa Wetton (John Wetton's widow) and Keith Emerson's partner attended the 24 Mar show. The 25 Mar performance was introduced by Bill Bruford, who then sat in the audience for the show. Hugo Barré (Mabel Greer's Toyshop) attended the 30 Mar show.

On their first 2018 Cruise performance, the set was intro: "Benjamin Britten's Young Person's Guide to the Orchestra", "Survival", "Time and a Word", "I've Seen All Good People", "South Side of the Sky", "And You and I", "Madrigal", "Clap" (Howe solo), "Bolero" (Downes solo, from Asia's "Cutting It Fine"), "Soon", "Going for the One", "Don't Kill the Whale", "Machine Messiah", encore: "Yours is No Disgrace", "Roundabout", "Starship Trooper". The main set was with Howe/Downes/Sherwood/Davison/Schellen, while the encore was with Howe/Downes/Sherwood/Davison/White/Kaye (plus Schellen on additional percussion).

Asked if there are plans to play any other albums in a Feb 2016 podcast interview, Howe said: "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] [...] 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 [...] 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 Feb 2017 interview, Howe discussed the band's set and possibilities for the future:
I like playing new music. I’ve done 12 solo records over the years – I’ve been delighted to not have to only play old music. But my favorite stuff is definitely looking at Yes.

It doesn’t have to be that old – we might come onto the ‘90s at some point and start looking at Keys to Ascension or something. There’s a lot of music that we’d like to look at. But we do get a lot from the ‘70s, and we don’t have a problem.

On Eddie Trunk's Sirius XM radio show from the Cruise to the Edge 2017, White said the band had been discussing playing material from Relayer, including "Sound Chaser". He later spoke of "doing some things from Relayer", i.e. not the full album. He also said, "We can't get away with not playing "Roundabout". We've tried many times." Also on the cruise, asked what other albums they might tackle, Howe again said they would like to Relayer (but that it would take "an enormous amount of work to capture the performances on that album"), but he also mooted "Keys to Ascension" (presumably meaning the studio tracks on Keys to Ascension 2) and Magnification. Asked about Tormato material, he was more negative, saying the album "wasn't designed for the stage" but that "maybe one day we will try to revisit it." In his Mar 2017 YesWorld Q&A, White said, "'Relayer' is a hard album to play but we're discussing performing that album next year [2018]." Asked about playing songs from Tormato, he also said "On the Silent Wings of Freedom" would be "a great song to include".

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 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." In a Mar 2013 Q&A, Davison talked of wanting to sing "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." In an Apr 2014 interview, Howe said, "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."

In the interview with Vintage Rock conducted around Apr 2014, White put 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 hoped 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 wanted to do Relayer, and White and Downes wanted to do Drama and possibly 90125; US promoters are said to remain keen on 90125. 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.

[...] 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 "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 [a reference to the Anderson/Wakeman tour], 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 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.

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".

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

Relationships with Yes featuring Anderson Rabin Wakeman and with past members
With the band being inducted into the Hall of Fame and the reunion of the current line-up and ARW at the ceremony, the question of a longer term reunion refuses to go away. It has appeared very unlikely. In a Dec 2017 interview, Todd Rundgren, who had recently toured with Yes, said, "There are actually two versions of Yes. There are conflicts between members of the band."

The Jul 2019 Billboard article quoted Howe as saying that Yes "has had nothing to say" about Yes featuring Anderson Rabin Wakeman using the band name. It went on to quote him: "Anybody can play Yes music; [w]e'd never stop anybody doing what they want to do[.] Basically I say 'Good luck' to them." However, commenting on ARW's hiatus from activity in 2019, Howe also said, "we're not unhappy, so that maybe tells you something."

In a Feb 2019 interview from the Cruise to the Edge, asked what he would still like to accomplish with Yes, White said, "Well, it will be good to, maybe, in the future, see some kind of union tour. […] I don't think it's totally out of the question […] we'll see what happens." In a follow-up interview with Sherwood, told about White's comments, Sherwood responded, "Wow... he's the great uniter in the band, y'know. He's always wanting that to happen." Asked about the possibility of a reunion in a Mar 2019 interview, White said, "I'm not going to say definitely no. I'll say there is a possibility, but everybody is getting up there in age now. I don't see it as out of the question in the next few years [...] I definitely won't say "no." It's a "maybe."" In a Jun 2019 interview, asked about "bringing together many members of Yes from the past 50 years", White replied, "I'm not going to say no because anything's a possibility. Maybe one day everybody will just come together and be able to do a big show of everything again, which might be in the future. But as of now, we're just getting on with this Yes." In a Jul 2019 interview, Sherwood was asked about a reunion, and answered, "that question's a little above my pay grade [...] from my perspective I just see us going along this same course right now because we're a really happy unit moving forward [...] I know that the fans are speculating about another union-type scenario, but I don't know. I think it's kind of a long shot, to be honest with you."

Howe guested on Anderson's 1000 Hands (albeit remotely). After discussing this, a Mar 2018 interview with Anderson has this exchange:

Interviewer: Of course, you'll never get the band back together [...]

Anderson: No. No, it's just one of those things. Life isn't... that organised. [chuckles] [...] For some reason, for whatever many reasons, it's not meant to be. That's OK. I've got things to do.

Interviewer: Yeah. Well, you've certainly got good relationships with everyone and you've kept in touch.

Anderson: Yeah, yeah, you keep in touch and, y'know, like anything, you have highs and lows. Like any family. Because we're family people. We're brothers, all musical brothers. Sometimes you love each other, sometimes you don't.

Later in the interview, Anderson was asked about his "next dream" after 1000 Hands, he replied:

I really want to do the final, great Yes album. I've got an idea of what it looks like, what it sounds like, but I'm not sure how to pull it off. [...] it's one of those things. I know what it should be, I know there's a lot of people who would love it to happen and I would love it to happen as well.

In another interview later that same month, talking about Howe's appearance on the album, Anderson said, "I just called him up and he said he'd love to play on it[.] I haven't sang with him in many, many years. It felt really comfortable and cathartic to do that. We're brothers. Sometimes you don't understand or misunderstand your brother and want to do different things. I think that is called a family." The article then raises the question of a reunion:

“I’m very open to it,” says Anderson. “It’s been 50 years now. You think something has got to happen. To me, a great album has to be made. That’s what I think. I don’t know how it’s going to be made, but the final Yes event should happen. I’ve talked to a couple of people about it and they get it. I really want to do this. I’ve even written eight songs for the record that I’m thinking would work with a full orchestra and a choir.”

Is Steve Howe into this idea? “I don’t know,” says Anderson with a sigh. “Maybe he’ll read this article and say ‘Yes’ or ‘No.’ I don’t know.”

A Jul 2019 interview with Anderson had this exchange:

So is the recent Anderson/Howe collaboration on “1000 Hands” a harbinger of a real Yes reunion? Anderson doesn’t say no.

“When it happens, it’ll happen,” Anderson said.

In yet another Mar 2019 interview, Anderson said, immediately after talking about ARW, "I've always said it would be nice to do a Yestival and get everybody together on stage, that's like a magic wand to make that happen, but you never know in this life." And, in yet another Mar 2019 interview, asked what is the possibility of a reunion with Howe, Anderson replied, "I don't know [...] If I got the right phone call, I'd be there."

When Howe was asked by Prog magazine (Apr 2019 issue) about prospects of a re-union with Anderson and Wakeman, he replied, "We're happy doing our own parallel things. It's always a challenge to build the time to work with the people you are working with, let alone the people you did work with [...] let's leave it at that for now."

Asked about tensions between the two bands, Downes said in the Nov 2018 issue of Prog, "Any real direct confrontations have hopefully been nipped in the bud. As time has progressed it's become less critical. When they first came out they were pretty gung-ho—they were making a lot of comments in the press which were not very pleasant, calling us The Steve Howe Tribute Band. [...] For the most part, we've attempted to keep the high road and not get involved too much with slagging them off." Later in the same interview, he went on: "they do their thing, they've got their own agenda going on. They're not getting in my face. That's all I'm particularly bothered about." In a late Sep 2018 interview, Howe said any re-union is "completely off the table".

In an early Jun 2018 interview, Howe said this on the two bands situation:

When ABWH went out, Bill, Rick and I basically wanted to carry on being called ABWH. We weren't really interested in being called Yes, but there was a contingent in the band [i.e., Anderson] and the management [i.e., Brian Lane] that very much encouraged us to rejoin Yes. Actually, the three of us ended up with nothing. That lineup didn't continue after Union so we lost everything.

ARW came out and they justified their existence. They're ARW. Nobody can deny them the right to do that. Now there's a bit of game playing going on, adding that particular thing [presumably Howe means here the "Yes featuring..." part of their name]. I don't know if they are going to make things more interestingly confusing by calling it quintessential Yes [a reference to ARW's promotion for their 2018 touring].

It's up to them what they do. They're free, we're free. We're tolerant and they're tolerant. Hopefully, people won't go around saying "We don't like those guys." [Anderson in Mar 2017 said, "We don't like them" about Yes] We never said that. We want to be sharing and positive about everything we can generate, which I think is important.

If the fans have got a choice, now, to see different versions of things, then so be it. I can't see a problem.

In a Mar 2017 interview, Wakeman and Anderson both dismissed any possibility of a reunion. Asked about that in a Dec 2016 interview with Rolling Stone, Rabin replied, "Oh, I very much doubt it. It's kind of like, if it's not broke, don't fix it. We've got the ARW thing right now and we're just loving it. That's certainly where we're at right now." In a matching interview, Howe replied to a similar question: "We know the 50-year anniversary is going to be quite colossal. The Union tour was popular with many fans, but it would have to be re-thought if we were considering that. It would need some reinvention. But that's a ways away." When the interviewer returned to the question of repeating the Union tour, Howe continued:

As long as its not trying to put a square peg in a round hole. The Union tour [...] [f]or the fans, it was seen in a particular light. But internally, it was complex. [...] you'd have to think about how it could work in a different way. It's nice seeing people play together, but it's really about the mood and the willingness and the love and the sharing. It just comes down to a lot of other things, unfortunately, like business and technical. Those other parts both help and interfere and destruct. A few people have said to me that although it was great to see us together all night for the Union tour, it was really a lot to try and fill your ears with. But I do appreciate that people are thinking about seeing us together, and that's a very nice sentiment.

Some of that was put to Anderson in his Rolling Stone interview and he was asked whether he thinks anything will happen to commemorate the 50th anniversary. He replied:

I'll call you! You'll be the first person I call [laughs]. Like anything, my idea of Yes is ARW at the moment. That's what I feel is the Yes I always dreamed of coming back together with.

In a late Jan 2017 interview, Howe was asked about the Union tour, and replied, "It's not something that we know we're going to do again. Obviously it would need good planning." White was asked why don't they "go back to Anderson & Wakeman" in his Mar 2017 YesWorld Q&A; he replied:

Well, you know, I’m open to anything in the future. I’m not opposed to the idea of that down the line but I’m part of the YES touring band and it makes more sense to continue with the group of musicians I’m currently working with… we have a great working vibe between us. You asked why we don’t “go back” and that’s really key because I always try to be positive and continue to move forward instead, I want to make progressively new and interesting music and we’re performing great on stage together. I’m happy with the way things are and looking forward to continuing on with the current YES line up.

In his late Mar 2017 Q&A, Howe was asked something similar. He replied:

This topic has gone round the houses a little bit. Before we can take on board ideas, there has to be a good line of communication. And as far as I understand ARW aren’t really interested in doing this and we’re most probably not really interested in doing this either.

Now that sounds like a big shut down, but in another way, one’s gotta understand that things aren’t always what they appear. Reinventing the ‘Union Tour’ is not really a concept that anyone from either of the lineups of YES or ARW have endorsed.

So basically, I would say, it’s not foreseeable. I think there’s ways that we can celebrate YES’s 50th year and most probably they want to as well. I think the complexity is unmeasurable by the fans. Those things aren’t easy. It’s not any one person that’s particularly making it difficult, but people can make it difficult and then it’s gotta be done in the right spirit. I’d say don’t hold your breath.

In a May 2017 interview, White was a little bit more positive: "There's a possibility [of a reunion] way down the line here[.] The next tour is the 50th anniversary of the band, so who knows what will happen then."

Relations between the band have not gotten any better since ARW switched name to "Yes featuring Anderson Rabin Wakeman". Howe was interviewed for an article in the Jul 2017 issue of Prog on the subject, using language described by the magazine as "both damning and colourful", but he subsequently asked for his comments not to be used. However, it is also revealed that:

he [Howe] wrote to them before, their tour, wishing them good luck. "That's my true spirit: that anyone can play Yes."

In the same issue, Downes and Wakeman both professed to be unbothered about the other band, although their language comes across as rather passive aggressive! Downes said: "We're focusing on what we're doing [...] We wish them well. We've got no axe to grind. We hope they succeed. They may have something against us. If they do that's their problem not ours." Wakeman: "I don't care what they do. They're fully entitled to do whatever they live. [...] I have no idea what they're doing [...] It's of no interest to me. [...] They're not a rival band. They're another lot out there playing Yes music, same as we are. We're just doing it our way [...] Good luck to them." Sherwood meanwhile said that he would go see Yes featuring ARW perform if he was free.

Asked how he feels about the other band touring at the same time as them, White said in an Aug 2017 interview, "It's quite funny. Quite frankly, I don't think about it very much. [...] They're doing their thing." In answer to a similar question in this Aug 2017 interview, Sherwood replied:

It’s interesting and strange at the same time. I haven’t really been paying too much attention to it because we keep staying on our track [...] I’m happy to hear as much Yes music in 2017 from the participants thereof and see the music thriving. There’s the obvious political push and pull that goes on in Yes; it’s always been that way and will always be that way. [...] there’s always much chaos and many moments to have it. (laughs) It’s really not surprising that we’re in this current state of affairs, but we go forward as Yes doing what we do.

On Eddie Trunk's radio show broadcasting from the Cruise to the Edge 2018 in early Feb, Sherwood said much the same: "From my perspective, I'm a long-time Yes fan, the more Yes music out there in 2018, the better. Um... obviously there is a lot of politics involved, but that's way above my pay grade. I just want to play the music […] It's all good as far as I'm concerned."

Before hearing they would be inducted, in a Nov 2016 interview, asked about a reunion with Yes if the band get inducted in the Hall of Fame, Wakeman said: "I think there's no chance of us ever reuniting[.] There's not a hope in hell of that happening."

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." Asked in the Dec 2016 interview when he last spoke to Anderson, Howe replied, "I don't know whether I can reveal things like that. It's a little bit personal. We've been working in different bands and different areas for a very long time."

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". Asked in an early Nov 2016 interview whether, in the context of putting on a united performance should Yes be inducted into the Hall of Fame, there is animosity between the two bands, White replied: "There's a certain amount, y'know. I actually talk to everybody, so... so, it's a matter of other people sorting their opinions out". In the Dec 2016 interview, Howe was asked, "How do you feel about ARW being on tour now? Do you think that's a good idea? Are you cool with it?" He replied:

[Laughs] It's an idea that has every right to exist, as much as ABWH when we were together in the late 1980s. Basically there's room for anybody to play Yes music. We love to hear other people play Yes music. These guys have quite a bit of credibility to do that and they are outstanding musicians, so there's no reason why they shouldn't go out and play. There's not any reason.

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 whether they would reunite 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 2016 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 Oct 2016 interview, Rabin talked about how Squire stayed in contact with him:
[Squire] would just always call and be in touch, and we never stopped talking. On numerous occasions since I’d left the band and was very busy doing film work, he called a number of times and said, ‘You know, I think it’s time for you to get up from your desk job and get back on the street.’ And you know, I was always a bit reluctant about, if the band’s going to be called Yes, for it to not have Jon in it. It seemed a bit strange to me. But the prime reason was that I was just so busy with what I was doing and really enjoying it. Chris put me together with two of the managers that were there during the time, but, besides that, we just remained very good friends.
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 suggested 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." In the Apr 2018 issue of Prog, Downes said, "I had many conversations with Chris [Squire] where he said Yes' music should continue for as long as it can. It will probably be here long after we've gone."

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 interview published Jun 2017, but seemingly conducted around Mar, White said:
Someone asked me the other day, “Do you think the band will ever get to the point where there’s no [classic] members?” And I said, perhaps, because it’s the music that makes it all worthwhile. There are a few Yes tribute bands out there, but not as many as other tribute bands because the music is quite hard to play.
In a Jul 2019 interview, asked if Yes could continue on "for decades", "with younger generations", Sherwood answered, "Yeah, I do. I could see that happening. Because the music is so good…it's like classical music [...] Anything that's timeless is always going to be revisited. And while we would love all of the original members to still be alive, reality is that life goes on and we lose people as we go. But the music lives on and I think that's important and I think it will go on in the future." In an Aug 2019 interview, asked whether Yes could continue after his death, Howe said: "I'm not overly possessive in what Yes is. I know that to help Yes you've got to have good ideas so if a guitarist could replace me and add good ideas then I don't see why not."

Animated film project: Roger Dean's "Floating Islands" film or something else
Yes 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 were 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 was 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 were 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 or were involved with planning for "Floating Islands". The film was 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 was 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
Buy 3LP from Amazon (UK):

Buy 3LP from Amazon (US):

Topographic Drama – Live Across America, out Nov 2017 on Warner, documented the band's tour playing Drama and over half of Tales from Topographic Oceans. This is a live album (2CD, 3LP or digital) taken from 12 shows across the band's Feb 2017 tour leg (when Jay Schellen and Alan White were sharing drum duties). There is no accompanying DVD. No overdubs were used on the album. The cover is by Roger Dean; photos/package design by Doug & Glenn Gottlieb. Sherwood confirmed he was mixing in May 2017 on Facebook and he chose the performances. After an Asia show in Jun or Jul 2017, Sherwood said a CD is completed. Tracks—CD1:
  1. "Machine Messiah" (LP side 1)
  2. "White Car" (LP side 1)
  3. "Does It Really Happen?" (LP side 1)
  4. "Into the Lens" (LP side 2)
  5. "Run Through the Light" (LP side 2)
  6. "Tempus Fugit" (LP side 2)
  7. "And You and I" (LP side 3)
  8. "Heart of the Sunrise" (LP side 3)
  1. "The Revealing Science of God" (LP side 4)
  2. "Leaves of Green" (LP side 4)
  3. "Ritual (Nous Sommes du Soleil)" (LP side 5)
  4. "Roundabout" (LP side 6), released digitally a week before and available on streaming audio
  5. "Starship Trooper" (LP side 6)
Buy 2CD from Amazon (UK):

Buy MP3 version from Amazon (US):

White is probably performing on "Machine Messiah" and from "Ritual" to the end, while Schellen is on everything (on percussion for "Roundabout" and "Starship Trooper") except probably not "Machine Messiah". It was decided not to include any of Trevor Horn's guest performances from earlier touring as no good, multitrack recordings were available, according to Sherwood in a Nov 2017 interview.

Archival live releases
Yes's 2003 performance at the Glastonbury Festival was previously released on the "Yesspeak Live: The Director's Cut" DVD, along side a second show from the same tour. The show is now being released as an audio album, Live at Glastonbury Festival 2003 (2CD, download), by The Store for Music on 11 Oct 2019.
  1. "Siberian Khatru" (11:23)
  2. "Magnification" (7:17)
  3. "Don't Kill the Whale" (4:38)
  4. "We Have Heaven" (1:28)
  5. "South Side of the Sky" (9:59)
  6. "And You and I" (11:45)
  7. "Heart of the Sunrise" (11:46)
  8. "Awaken" (18:51)
  9. "I've Seen All Good People" (7:16)
  10. "Roundabout" (6:31)
  11. "Long Distance Runaround" (3:14)
  12. "Show Me" (3:46)
  13. "Time is Time" (2:51)
  14. "Tiger Rag" (3:59)
The last four tracks are described as bonus tracks: these appear to be acoustic versions, as on 2004's "Yes Acoustic".

Following on from Progeny, it appears that further archival live releases (from other tours) may be planned. Brian Kehew, who mixed Progeny, 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. On the 2017 Cruise, he said they were considering some sort of follow-up to Progeny, possibly covering the Union tour, where they have around 6 shows they could use.

Other re-releases &c.
Exclusively for Record Store Day on 23 Nov 2018, there was a limited edition (4000 copies) 180g vinyl release of Time and a Word (Atlantic Catalog Group), which replicates the original West German release with alternate tracklisting, mixes and cover art. (All the alternate mixes were included on the Rhino expanded CD of the album.) There was then an exclusive 180g, orange vinyl release of Yes for Record Store Day 2019. This limited edition (6500 copies) was newly cut from the original analogue tapes with the original UK gatefold art.

Two previously unreleased alternative versions of tracks on Union are on Steve Howe's Anthology 2: Groups & Collaborations: see under Steve Howe. These are without Anderson's vocals and feature very different guitar parts to the album versions. There is also an earlier version of the Yes track "Masquerade" recorded by Asia as a full band instrumental.

"Owner of a Lonely Heart" and Asia's "Heat of the Moment" are included on Universal's compilation Soft Rock Forever, release Apr 2018. "Owner" is also on Rhino's 80 Smash Hits of the 80s, out the same month in the UK.

Covers of Yes songs & other news
An orchestral version of "Owner of a Lonely Heart" sung by Trevor Horn is on Trevor Horn Reimagines the Eighties.

The Booboo'zzz All Stars' 12-track album Studio Reggae Bash Volume 2 (Baco Records), released 30 Mar 2018, includes a cover of "Owner of a Lonely Heart" featuring Rebecca M'Boungou on lead vocals (video).

Jenn Champion (ex-Carissa's Wierd) released (Apr 2018) a cover of "Owner of a Lonely Heart" as a digital single, which can be heard on streaming audio through Bandcamp.

Robert Berry (ex-3, ex-Nerotrend) is touring North America Sep/Oct 2019 with a set list to include "Roundabout" (as he covered on Tales from Yesterday) and the post-GTR collaboration with Steve Howe "No One Else to Blame".

Media, books, fandom etc.
David Watkinson (author of "Yes—Perpetual Change") has been working on several Yes-related projects. His forthcoming book about Jon Anderson's career before Yes, "Jon Anderson and The Warriors - The Road to Yes", and associated activity is covered under Anderson.

Another good friend of this site, Simon Barrow, has written a book about Yes's music. "Solid Mental Grace: Listening to the Music of Yes" (Cultured Llama; Facebook, Twitter) is now out. Orders available here. Simon explains the book's approach:

This isn't yet another biography, but a detailed overview of the entire Yes catalogue from the perspective of critical music appreciation. I'm interested in exploring why and how this music impacts and moves us (or not), and what is involved in the encounter between the recorded artefact (or live concert) and the listener. I seek to identify the value, as well as some of the flaws, in Yes music from every era up to the present. There is also a chapter looking at ‘Yes after progressive rock’ and another looking at clues to the band’s legacy.

And yet another good friend, Aymeric Leroy (translated Bill Bruford's autobiography), wrote "Yes" (Le Mot et le Reste), a 352-page history of the band in French, now out. The book made #1 on Pop et rock Livres on Amazon (France).

Prog editor Jerry Ewing has written "Wonderous Stories: A Journey Through the Landscape of Progressive Rock" (Flood Gallery Publishing): a limited edition (600 copies) deluxe edition was released late 2017, with a regular hardcover (240 pages) following 18 Feb 2017. Slate journalist David Weigel has written "The Show that Never Ends: The Rise and Fall of Prog Rock" (WW Norton & Co., 320 pages), released 13 Jun 2017 (hardcover, ebook and audio book). The book covers Yes and Asia among other prog bands.

Geoff Bailie, another friend of this site, has a new podcast series, "Yes Years 50", about the band on Prog Report radio, and available through iTunes and Google Play.

Journalist Jon Kirkman (worked with Yes, Asia; Cruise to the Edge host), who's also been helpful to the site over the years, wrote an authorised book about Yes largely consisting of full interviews with various band members, "Time and a Word: The Yes Interviews" (Facebook, YouTube; Rufus Stone Limited Editions), which was initially released as a limited edition. An updated, large format, softback version followed under the name "Yes Dialogue" (Stereo33Books) as a large format, limited edition (600 copies). The book then received a general paperback release under the original title. It contained 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 contained many photographs, many not previously published (including from Moraz' personal collection). New material for the softback included additional interviews with Squire, Downes, Sherwood and Horn (Horn's conducted in May 2016), and interviews with Roger Dean and Mabel Greer's Toyshop's Robert Hagger and Clive Bayley. Kirkman is now re-releasing the book through Lulu as four paperback volumes with more interviews (including another with Kaye), but without any photographs. The first two volumes—"Dialogue" (ISBN 978-1-78972-377-9) and "Dialogue 2" (ISBN 978-1-78972-396-0)—are due soon, with the final two due around Nov/Dec 2019.

Kirkman has two more books, "Tales from the Prog Vaults" (now out) and "Tales from the Prog Vaults 2" (due), with various unseen interview with prog musicians, including Downes and Sherwood.

"Melody Makers" is a documentary film about the magazine Melody Maker, principally from the mid-1960s to the end of the 1970s. Interviewees include Steve Howe, Alan White, Chris Squire, Roger Dean, Barrie Wentzell (Melody Maker photographer), Chris Welch (Melody Maker journalist, Yes biographer), Ian Anderson (Jethro Tull), Steve Nardelli (The Syn), Sonja Kristina (Curved Air) and Judy Dyble (ex-Fairport Convention, ex-Giles, Giles & Fripp). The film was shown at a number of US and UK film festivals in 2017. It is released in North America on 29 Nov 2019. See my review here.

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. David Watkinson is considering an updated version of his book "Perpetual Change".

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

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 by a "big publisher": 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.

Management etc.

From the beginning of 2016, Yes are managed by Martin Darvill of QEDG Management (Facebook, Twitter), who already managed 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. Copyright management is by Daniel Earnshaw (worked with Jon Anderson, Rick Wakeman, Billy Sherwood). Further management and contact details are available at YesWorld. Publicity is by the Mitch Schneider Organization.

Precisely who owns the Yes name, or what that question even means, is unclear with various different rights at play. 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. Copyright in the classic Roger Dean logo belongs to Dean and Howe, but there is a US trademark including it (serial number 73266222) belonging to Anderson, White and Squire. 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". (This now appears to be a reference to the trademark.) 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 Jan 2017 interview, Wakeman described events in 2008 so: "The other guys in Yes decided they wanted to carry on [without Anderson] but I felt very strongly that you couldn't have Yes without Jon singing and wanted to wait. But they had a democratic vote and they went out on tour". 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
In late Jan 2017, ARW started using the 'Yes' name in promotion, billing themselves as "Yes feat. Anderson, Rabin and Wakeman (ARW)". They did so against the wishes of the current Yes band. See more under ARW. When ARW then made a press announcement switching to that name on 10 Apr, Yes announced:
While Jon Anderson has rights to use the name as one of the co-owners of the trademark, Yes' position is that every effort should be made by promoters, ticket agencies and all involved to respect Yes' magnificant and loyal fanbase and minimize confusion regarding the use of Yes Featuring Anderson, Rabin, Wakeman.
An Apr 2017 UltimateClassicRock article reports that, at the time of Squire's death, ownership of the Yes brand (whatever precisely that means) was jointly held by Squire/Anderson/Howe/White. The article talks of a gentleman's agreement to that point between Anderson and Squire over use of the name, although it is unclear whether this is their theory or was confirmed by sources. They quote management for the continuity Yes as saying that while Anderson "has a co-ownership right to use the name", he also "presumably" has "a duty to ensure that the use does not cause unnecessary confusion for fans." Yes management also said they had been given exclusive use of the classic Dean logo. (Roger Dean himself said to one fan in late 2017 that he is open to doing cover art for ARW.) The article quotes Anderson's management too: "Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman have as much right – if not more so – to call themselves Yes, since Jon Anderson, the co-founder of the group, has always had the rights to use the name and the trademark".

In a May 2018 article, Howe said, "It's complicated. Instead of going to court for five years and wasting £2m, we basically are just kind of enjoying the fact that we're Yes and they're Yes as well sometimes. Hey, you know, it's a bit like accepting that Cornish pasties aren't simply made in Cornwall." In a Jun 2018 article, asked about the other band, he said, "I've got nothing to say really[.] Our position is non-aggression ... but it's not a perfect scenario."

In a May 2018 interview of his own, Anderson said that, "I owned the name and Chris Squire and Alan White owned the name. His wife said that when Chris leaves us maybe we could use the name. We said that the year we got into the Hall of Fame we'd be out there as Yes in front on one million people around the world so why didn't we use the name. We used the addition of featuring Anderson, Rabin and Wakeman to differentiate us from the other Yes." Asked whether he has any problems with the other band, he replied:
They`ve been really cool about it.  It`s never been a problem.  I had a conversation with the other guys and just said to them to let people know who`s in the band as I keep getting phone calls about me playing somewhere but I`m not in your band, so please tell people who`s in the band so they don`t expect to see me.
A Jun 2018 article in The San Diego Union-Tribune stated that, "A longstanding agreement stipulated that the only band that could be billed as Yes was the one that included Squire. After his death, Squire's widow told Anderson she saw no reason he, Wakeman and Rabin could not also assume the Yes name. So they did." Asked in another Jun 2018 interview whether each band has the other's blessing, White said:
Well, I don’t know. I don’t really think about it much, to tell you the truth. It’s their thing; their version of Yes. We do our version, but really this band is still Yes. There are comments that come from the other camp, but I wouldn’t reply to the comments because I don’t need to.
Rumour suggests there have actually been ongoing arguments over the use of the Dean logo, with ARW periodically using it and then stopping using it.

In a Jun 2018 interview, commenting on the two bands situation, White said:
It’s a lot of business stuff. We own the name. They own the name. Jon Anderson and I own it, but the logo we own, because Steve Howe owns most of the logo.
A Mar 2019 interview with White had this exchange:
Interviewer: Who owns the name “Yes” since there are two of them now?

White: Well, there’s not really two of them. This Yes I’m in is the guys with the Yes name and always had it. And so legally, we are still Yes. Even though the other guys were in it for long periods of time at different times, they’ve all done other things. Chris and myself had never done anything else. We just carried on.

Interviewer: But they call themselves “Yes featuring ARW.” How is that legal if you guys own the name?

White: They can legally do that because Jon still has some of the copyright. It’s kind of a legal thing. They they can say “Yes Featuring ARW,” but they can’t call themselves “Yes.” We own the logo.

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.

Details about Yes featuring Anderson Rabin Wakeman are covered on a separate page here.

Billy Sherwood and Tony Kaye have continued to work on several projects together, including CIRCA:, covered here. Sherwood, Kaye and Jay Schellen completed an unfinished recording by Peter Banks for his compilation, Be Well, Be Safe, Be Lucky... The Anthology, now out and covered here.

Chris Squire, Alan White and Steve Howe guest on Anderson's 1000 Hands solo album, covered here.

Mabel Greer's Toyshop Official site; Facebook; YouTube; Twitter; Pinterest
Clive Bayley and Bob Hagger (ex-So Rare) reunited Mabel Greer's Toyshop in 2013. They recorded sessions with Hugo Barré (JP Raillot Quartet, works with Alex Keren; bass) and Clive's daughter, Annouchka Bayley (vocals). Billy Sherwood and Tony Kaye then became involved and an album, New Way of Life, was released 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). In an interview, Hagger referred 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." However, this has yet to appear. In another early 2015 interview, Hagger again referred to "the Paris Tapes", saying, "it's worthy of another album at some point".

Max Hunt (Yes tribute band Fragile, worked with Jon Anderson, Fish) joined on keys in 2015. A 9-track album, The Secret, was released on 8 Dec 2017 on CD, performed by Bayley (guitars, lead vocals), Hunt (keys, guitar, backing vocals), Hagger (drums, percussion) and Barré (bass); produced by Hunt and the band. he final track, "The Secret", was written around an existing guitar solo by Pete Banks. The band are hoping to tour the UK and possibly Europe.

Chris Squire tribute album

In Jan 2017, Billy Sherwood announced that he had signed on to produce a tribute album to Chris Squire. He (bass) and Jay Schellen (drums) perform throughout, with guests including Jon Davison, Tony Kaye and Patrick Moraz. A Life in Yes: The Chris Squire Tribute (Purple Pyramid), produced, recorded and mixed by Sherwood, is now out on CD and 2LP (without the bonus tracks). Details in Yescography. Tracks:

  1. "On the Silent Wings of Freedom", with Sherwood (bass, guitar, backing vocals), Schellen (drums), Jon Davison (lead vocals), Patrick Moraz (keys)
  2. "Hold Out Your Hand", with Sherwood (bass, guitars), Schellen (drums), Steve Hogarth (Marillion; vocals), Larry Fast (ex-Nektar, worked with Tony Levin, Peter Gabriel, Annie Haslam; keys); streaming audio
  3. "Onward", with Annie Haslam (Renaissance; lead vocals), Sherwood (bass, keys, guitars, backing vocals), Schellen (drums)
  4. "South Side of the Sky", with Sherwood (lead & backing vocals, bass), David Sancious (worked with Jon Anderson; piano), Steve Stevens (works with Billy Idol, worked with Squire; guitar), Schellen (drums); side B begins
  5. "The Fish", with Sonja Kristina (Curved Air; vocals), Sherwood (bass), Schellen (drums); includes a bit of the bass riff from "Open Your Eyes"
  6. "The More We Live—Let Go", with Sherwood (lead & backing vocals, bass, sitar), Schellen (drums), Steve Hackett (ex-Genesis, ex-GTR, ex-Squackett; guitar), Steve Porcaro (Toto, ex-Chris Squire Experiment; keys)
  7. "Parallels", with Sherwood (bass, guitar, backing vocals), Schellen (drums), Jon Davison (vocals), Tony Kaye (keys); side C begins
  8. "Owner of a Lonely Heart", with Nikki Squire (Chris's ex; Esquire; lead vocals), Dweezil Zappa (guitars), Sherwood (bass, keys, backing vocals), Schellen (drums)
  9. "Roundabout", with Todd Rundgren (lead & backing vocals), John Wesley (worked with Steve Hogarth, Porcupine Tree, Fish, Dave Kerzner; guitars), Kaye (keys), Sherwood (bass, backing vocals), Schellen (drums)
  10. "Don't Kill the Whale", with Candice Night (Blackmore's Night; lead vocals), Brian Auger (worked with Jimi Hendrix, John McLaughlin, Rod Stewart; keys), Sherwood (bass, guitars), Schellen (drums), David Hussey (XNA; backing vocals); side D begins
  11. "The Technical Divide" (bonus track), from The Prog Collective; with Squire, Sancious, Sherwood, Alan Parsons, Gary Green
  12. "Comfortably Numb" (bonus track), from Pigs & Pyramids—An All Star Lineup Performing the Songs of Pink Floyd; with Squire, White, Sherwood

Asked late Dec 2017 whether any of Anderson, Wakeman and Rabin would be on the release, Sherwood said on Facebook: "this record is a labor of love and being made to honor my very dear friend Chris.... this is the last place where I would let ugly politics muddy the waters. In case you're not up in current events .... and so since it's my baby, I've invited all those who loved Chris and truly were motivated by the spirit of Squire. Those you wished to participate have the talent skills and finances to do their own tribute to Chris... Hope that puts this line of questioning to bed."

Dave Kerzner projects
Keyboardist Dave Kerzner (Facebook, Twitter, YouTube, SoundCloud; Sound of Contact, In Continuum, Mantra Vega, worked with Francis Dunnery, Jon Anderson, Steve Hackett, Steven Wilson, ex-Giraffe) has worked and is working on several projects involving Yes members. The first and second albums of his new band In Continuum have Jon Davison guesting, plus a song Kerzner wrote with Anderson on the second: see under Davison for details. Davison and Billy Sherwood guested on "Comfortably Numb" at a pre-Cruise to the Edge show in 2018 by Kerzner's All-Star band, while Geoff  Downes guested on a song by the Dave Kerzner Band during the cruise: details in the Cruise section. Davison guested with Kerzner on the 2019 Cruise and a pre-cruise show: details above. From the cruise, Kerzner posted on Instagram, "Making more plans to work with my friends from Yes this year! Good hang at the artist party on CTTE with Geoff, Martine [Geoff's wife], Billy, Jay and Jon!"

Kerzner described on Instagram on 11 Jun 2019 about "an upcoming album I'm making with some of the guys from Yes this year! A cool collaboration with Jon D and friends [...] while Yes is on their Royal Affair Summer tour!" Answering a question on Twitter about it, he expanded, "Working with Jon and Billy on a new album/project and they're recording themselves remotely with me on their @ikmultimedia iRig Pro IO and AXE IO set ups while on tour with Yes this Summer! More news coming!"

Released Nov 2018 was Yesterday and Today: A 50th Anniversary Tribute to Yes (sampler) by Sonic Elements. Sonic Elements (Facebook; SoundCloud) is a group of progressive/classic rock projects led by Kerzner dating back some years and connected to his music software development company Sonic Reality. Yesterday and Today was mixed mid-Sep 2018 and co-produced/co-mixed by Kerzner and Fernando Perdomo (In Continuum, The New Empire, worked with Mika). Kerzner reported the album recording finished on 11 Sep 2018. Kerzner performs keys, bass is mostly by Billy Sherwood or Perdomo, with other guests including Tony Kaye, Geoff Downes, Jon Davison, Jay Schellen, Tom Brislin, Johnny Bruhns (ex-CIRCA:, ex-Yoso, ex-Yes tribute band Roundabout; guitar), Mark Murdock (ex-Empire, The New Empire) and others. Details in Yescography. Tracks:

  1. "Machine Messiah" with Downes (keys), Kerzner (additional keys), Nick D'Virgilio (Pulse, In Continuum, ex-Spock's Beard, ex-Genesis; vocals), Randy McStine (The Fringe, In Continuum; vocals), Perdomo (guitar, bass), Bruhns (guitar), Joe Cass (Total Mass Retain Yes tribute band; drums)
  2. "Yours is No Disgrace", with Sherwood (bass), Schellen (drums), Kaye (keys), Bruhns, Dennis Atlas (Bad Dreams; vocals), Marisol Koss (worked with Perdomo, The New Empire)
  3. "Turn of the Century", with Sally Minnear (Kerry Minnear's daugther; Celestial Fire; vocals, big drum, recorders, percussion), Dave Bainbridge (Iona, The Strawbs, Celestial Fire)
  4. "Sweetness", with Pat Sansone (Wilco; vocals), Perdomo (bass, acoustic guitar, keys, electric guitar), Derek Cintron (drums)
  5. "Soon", with Curved Air (Sonja Kristina, Robert Norton, Paul Sax, Chris Harris, Kit Morgan, Andy Tween), Kerzner (additional keys, effects), Perdomo (lap steel, additional keys and guitars)
  6. "Cinema", with Steve Hackett (ex-Genesis, ex-GTR, ex-Squackett; guitar), McStine (guitar), Kerzner (keys), Sherwood (bass, guitar), Marco Minnemann (In Continuum, worked with Tony Levin, Eddie Jobson; drums)
  7. "Changes" (sample here) with Brislin (piano), Robert Berry (ex-3, worked with Steve Howe; vocals), Hal Rosenfeld (marimba), Derek Cintron (Dave Kerzner Band; drums)
  8. "I'm Running", with Sherwood (lead vocals, guitar, bass), Robin Schell (backing vocals), Minnemann (drums), Perdomo (acoustic guitars, banjo, percussion)
  9. "Acoustic Medley", with "Your Move"/"And You and I"/"Wonderous Stories", with Davison (vocals), Kerzner (harmonium, claviola, backing vocals), Perdomo (acoustic guitars, mandolin, acoustic bass, backing vocals), Bruhns (guitar), Minnear (backing vocals, big drum, percussion), Schell (backing vocals)
  10. "Yesterday and Today", with Dr Danny (Danny Ayala; vocals, piano), Perdomo (acoustic guitars, keys, vibraphone, drums, percussion)
  11. "Long Distance Runaround", with Leslie Hunt (District 97; vocals), Jonathan Schang (District 97; drums)
  12. "The Fish" (sample here), with Sherwood (bass), Kerzner (keys), Perdomo (guitar), Cintron (drums)
  13. "Starship Trooper", with Francis Dunnery (vocals, guitar), Schell (vocals), Perdomo (guitar)
  14. "Trifecta" [Sherwood/Kerzner], bonus track on Bandcamp pre-order, with Kerzner, Sherwood; built around a Neil Peart (Rush) drum track and previously released on Sonic Elements' XYZ—A Tribute to Rush
  15. "The Architect II", bonus track on Bandcamp pre-order, with Fernando Perdomo & The Out to Sea Band (Vic Kingsley—guitar; Roger Houdaille—bass; Cintron—drums); a re-recording of "The Architect (Tribute to Peter Banks)" on Perdomo's Out to Sea. (Perdomo, Murdock and Koss have also formed a new band, The New Empire, to play Peter Banks' music: see under Banks.)

The basic 13-track album is released through Cherry Red (RCPLCD06), with the bonus tracks available digitally. The two bonus tracks, plus the album sampler, were released digitally as a standalone through Bandcamp on 22 Sep and available on streaming audio. There is also a special edition, with the 13-track CD and 10 high res digital tracks: the two bonus tracks as before, plus "Times Gone" (with Sherwood; the bonus track from XYZ—A Tribute to Rush), "Yescape" (with Kerzner), "Cinema Demo" (with Sherwood, McStine), "Changes Demo" (with Sherwood), "I'm Running Demo" (with Sherwood), "Soon (Instrumental)" (with Perdomo, Cass), "The Fish Mash Up" (with Sherwood, Perdomo, Kerzner), "Wurm Jam" (with Dunnery, Perdomo). Kerzner is open to the possibility of a volume 2.

There were sessions for the album in early Sep 2018 with Atlas, Bruhns, Cass, Cintron, D'Virgilio, Dunnery, Minnemann and Schell. Downes, Sherwood and Davison recorded parts in their own studios and then sent to Kerzner. Kerzner began work on the album some years ago. In Aug 2011, he described Sherwood and "several other ex-members of Yes" (unspecified) 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, tracks of which were used on the release. 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); this is the bonus demo version described above. Then in Mar 2012, Kerzner referred to a cover of "Yours is No Disgrace" with Sherwood, Kaye and Bruhns; this was the basis for the released version. Kerzner then returned to the project in 2018 to complete it.

As well as In Continuum and the tribute album, Kerzner wrote in Sep 2018 on ProgressiveEars.com that, "I may do some more stuff with both Jon, Billy and Geoff (either separately or in combination with each other)."

Kerzner's second solo album, Static (>75 minutes duration), was with Kerzner (vocals, keys, guitars), Perdomo (guitar, bass, drums), Derek Cintron (In Continuum; drums), Randy McStine (The Fringe, In Continuum; guitar, bass), Matt Dorsey (Sound of Contact, In Continuum; bass), Durga & Lorelei McBroom (worked with Pink Floyd; vocals), Nick Mason (Pink Floyd), Alex Cromarty (Mostly Autumn; drums), Stuart Fletcher (Sea Horses; bass), Colin Edwin (ex-Porcupine Tree; bass), Stuart Fletcher (bass), Sherwood (bass), D'Virgilio (drums), and Ruti Celli (cello). Kerzner also recorded, mixed and produced the album. Tracks include "Crossing of Fates" with Kerzner (keys), Keith Emerson (modular Moog), Perdomo (guitar), Sherwood (bass) and Simon Phillips (ex-Asia; drums): video here. Sherwood sat in with the Dave Kerzner Band for one song on the Cruise to the Edge 2015, and again on the 2017 Cruise.

Kerzner is the main producer and keyboardist on the Sonic Elements projects, of which further released are expected, including a lot of work with Sherwood. The original idea for Sonic Elements was to do tribute album using drum tracks available through Sonic Reality by various famous drummers: a Rush tribute using Peart's drum tracks, a Pink Floyd tribute using Mason's, etc., thus mixing elements like the original recordings (parts recorded by the original drummer) with new elements, although the Yes tribute didn't take this approach. Then, as Kerzner explained to ProgressiveEars.com (Nov 2018):

In addition to that, the plan was/is to do some experimental original songs with these elements (particularly with the re-arranged drum tracks to other songs because drum parts on their own are copyright free in terms of songwriting). So, starting about 6 years ago Billy Sherwood and I co-wrote a bunch of vocal and instrumental tunes to drum tracks from Neil Peart, Nick Mason, Terry Bozzio, Billy Cobham and others. "Times Gone" and "Trifecta" [...] are examples of that [...] Most of those songs are predominantly Billy's style (especially with him writing lyrics [...]) and he sings them [...] But, that's just the start. It could possibly expand to include myself and others singing original songs with these various "elements" too.

Thus "Trifecta" features newly composed material performed by Sherwood and Kerzner to an existing drum track for Rush's "YYZ" that was recorded by Neil Peart for a sample library at Sonic Reality with producer Nick Raskulinecz (worked with Rush).

Earlier that month, Kerzner explained on ProgressiveEars.com:

with Billy I've already recorded a LOT of material, both original and cover/tribute material that's been sitting here waiting to be finished when the time slot opens up. [...] Billy and I have been friends for decades so we could always collaborate deeper at some point and do more than experimental creative re-workings of drum tracks. That would be fun. The only thing is, he's one of the busiest guys I know (and I'm quite busy myself!)

Kerzner also said that the full Rush tribute (after the XYZ EP) is due 2019, with drums being from the Peart library or played by Minnemann. Kerzner again: "However, I'm behind on releasing the Genesis-related ones, Pink Floyd-related [...] and others". He did hint a Genesis tribute could be released in 2019. Back in Sep 2015 on ProgressiveEars.com, Kerzner said: "The Lamb [Lies Down on Broadway tribute] 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!" 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. A 5-song EP, XYZ—A Tribute to Rush, was released previously. Details in Yescography. In Apr 2012, Kerzner said that there:

will at least be another EP of different [Rush] 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.

In an Oct 2012 post to ProgressiveEars.com, he said the next Rush-related release would be the full-length album Moving Signals & Waves, covering tracks from the Rush albums Moving Pictures, Signals and Permanent Waves. Mixing was going on in May 2013. Confirmed tracks for the album included "Digital Man" with Sherwood (vocals, guitar, bass), Kerzner (keys) and Perdomo (guitars); "Spirit of Radio", with Sherwood (bass), Kerzner (keys), Mike Keneally (ex-Frank Zappa, ex-Stanley Snail, worked with Robert Fripp; guitars), D'Virgilio (vocals); and "Subdivisions", with Kerzner, John Payne (ex-Asia, Asia Featuring John Payne; vocals) and Erik Norlander (ex-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 was also to 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 did a track for the Trifecta release, but this was eventually released instead on Glass Hammer's Untold Tales under the title "The Impulsive Type" (see under Davison, who is on other tracks on that album). Seemingly referring or related to the Trifecta album project, in Jan 2012, Kerzner said on Facebook: "Among the various music releases you can expect [...] 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." There was 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 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), was due 2015 but has been delayed; it features multiple guests, including Sherwood, Steve Rothery (Marillion), Lee Pomeroy (Anderson Rabin Wakeman, 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 were 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.

The Pink Floyd/Dark Side of the Moon project involves Nick Mason (ex-Pink Floyd), Davis, 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 & Lorelei McBroom (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 [...] 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, the McBrooms and "utilizing the brand new Sonic Reality 2014 sample library releases from Nick Mason, Guy Pratt, Alan Parsons, the McBroom Sisters and more." This has yet to appear.

Various further progressive rock covers have been described. 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) was planned.

In Mar 2018 on ProgressiveEars.com, Kerzner updated us thus:
I was just talking with Francis Dunnery about finishing up The Lamb tracks next month [Apr 2018]. The Rush tribute is the closest to finish and I was just holding out to do a track with David Longdon of Big Big Train [...] but it would have to be built from scratch since I don't have the drum track from Neil Peart for that song... and I was going to play it from the keyboard using Neil's drum samples but it's in 5/8 and a little tricky. A fun challenge but I need a bit of time to do it right. Arrrggghhh. Maybe I'll still do it. There's also an original music side to the project too and I have material from Glass Hammer, Billy Sherwood and others for that as well. The Floyd tribute split into two projects, one I did with Alan Parsons participating and the other that's become a female led Floyd tribute sung by the McBroom Sisters and it'll be their album that I'm co-producing which will also have original songs written with various people who played with Floyd like Guy Pratt, Jon Carin and others. Even a tune they wrote with Lemmy from Motorhead will be on that one. Some of the guys from Australian Pink Floyd are helping finish that album because I've gotten a bit too overloaded to do ALL of them at the same time. There is also another Genesis-related Sonic Elements thing that may come out as well but it hasn't been announced publicly so that's probably the lowest priority. Then there's the Yes stuff which I don't know if I have enough to do a full album of Yes music. Might put those on an SE compilation album or something just to get everything I've worked on a home and unless we do any others (might) that will wrap up the tributes. Obviously if they do really well for my distributors there could be more. [...] I'm imposing my own deadline of releasing them all before the end of the year [2018]. Probably around Summer time or at least by the end of the year as I'll be playing some of it on CTTE!

John Holden
John Holden (Facebook) released his debut solo album, Capture Light (samples), on Mar 2018, and is working on a follow-up, Rise and Fall, due early Mar 2020. Billy Sherwood and Oliver Wakeman guested on the first and are to appear on the second; Oliver on 2 tracks. Album 2 will be 7 songs long: Holden emailed in Mar 2019 to say 6 songs were written, and 4 are ready to mix. O Wakeman has already recorded parts for the album. Further returning guests, who appeared on Capture Light, are Oliver Day (Yes tribute band Fragile, Winter Springs), Joe Payne (ex-The Enid), Jean Pageau (Mystery), Peter Jones (Tiger Moth Tales, Camel), and Emily Dolan Davies (worked with Bryan Ferry, The Darkness). Additional guests include Simon Fitzpatrick (Carl Palmer's ELP Legacy, Celestial Fire; bass, Stick), Vikram Shankar, Sally Minnear (Kerry Minnear's daugther; Celestial Fire, worked with Dave Kerzner), Jon Camp (ex-Renaissance), Amy Birks, Michel St-Père (Mystery), and Nick D'Virgilio (In Continuum, ex-Spock's Beard, Big Big Train, ex-Genesis, ex-Tears for Fears, worked with Chris Squire). On 4 May, O Wakeman tweeted about finishing a piano session for a song on the album with vocals by Payne. On 12 Jun on Yesfans.com, Holden said he had just finished mixing a song for the second album with Sherwood (bass), O Wakeman (keys) and D'Virgilio (drums).

Capture Light was produced by Holden, who is responsible for guitars, bass, keys and programming, while Day (electric & acoustic guitars, lute, mandolin) appears on tracks 1-5 & 8. Details in Yescography. Tracks:

  1. "Tears from the Sun" (9:07), with O Wakeman (piano, keys), Payne (vocals); preview on YouTube; included in the cover disc for Prog magazine's Apr 2018 issue
  2. "Crimson Sky" (5:53), with Sherwood (guitar solo), Julie Gater (vocals), Dolan Davies (drums)
  3. "Capture Light" (7:26), with O Wakeman (piano, keys), Payne (vocals); video released 22 Mar 2019
  4. "Ancient of Days" (7:53), with Pageau (vocals), Dolan Davies (drums), Gater (backing vocals), Marc Atkinson (Riversea; backing vocals), Lee-Anne Beecher (backing vocals)
  5. "One Race" (6:11), with Payne (vocals), Max Read (ex-The Enid; backing vocals), Dolan Davies (drums); available on YouTube
  6. "Dreamcatching" (7:04), with Sherwood (bass), Jones (sax, flute, backing vocals), Gater (backing vocals)
  7. "No Man's Land" (6:13), with O Wakeman (piano, keys), Gater (vocals), Gary O'Toole (works with Steve Hackett; drums, backing vocals)
  8. "Seaglass Hearts" (5:10), with Gater (vocals), Jones (vocals, sax, flute), Dolan Davies (drums)

The music was by Holden, with lyrics by Holden and Elizabeth Buckley. A piano arrangement of "Seaglass Hearts" performed by Shankar is available for free on Bandcamp. Holden band came 9th in the 2018 Prog Readers' Poll, unsigned band category.

Edison's Lab
US prog band Edison's Lab previously collaborated with Billy Sherwood and Tony Kaye. On Facebook in late Feb 2017, Edison's Lab's Kurt Schweizer (drums)  announced that Jon Davison would be guesting "on one of our recordings in the extremely near future." And that they "are also greatly looking forward to further work with [...] Sherwood in the not too distant future." He went on to explain that Davison's appearance will be on "a remix of one of our songs with Sherwood and Kaye from our last album. But we do have some brand new stuff in the works. :) Got some basic tracks for a couple things already laid down." Davison has sung 4 tracks of backing vocals for the song "Difference" from the band's debut EP, which otherwise has lead and backing vocals by Sherwood and keys by Kaye: this was released digitally in late 2018 (produced by Bill Duncan, Schweizer, Wendy Wood, Sherwood, Davison). Edison's Lab are working towards a new album. Davison has talked to the band about doing a whole EP or album together.

John Wetton box set
An Extraordinary Life is a forthcoming box set commemorating John Wetton's life to be released initially through Burning Shed and then more widely. It will contain all six of his studio solo albums: Caught in the Crossfire (1980), Battle Lines (1994), Arkangel (1997), Sinister (2000), Rock of Faith (2003, with Geoff Downes) and Raised in Captivity (2011, with Billy Sherwood, Tony Kaye and Eddie Jobson). Each will be remastered and come with bonus material, in some cases expanding them to 2 CDs. Also included will be a hardback book by Nich Shilton with interviews with Wetton's collaborators and friends. There will also be video content. The set includes artwork chosen by Wetton towards the end of his life. Wetton's widow Lisa (worked with United Progressive Fraternity) and son Dylan are involved in the project.

To celebrate what would have been John Wetton's 70th birthday and in conjunction with the news of the box set, a 1981 rehearsal recording of Asia performing "Déyà" was released on YouTube. The piece was eventually released on Phoenix.

John Vehadija
Light Freedom Revival (Facebook) is a project headed by singer-songwriter John Vehadija (ex-Inyth, worked with Jon Anderson). A first album, Eterniverse Deja Vu, was released 2017 with contributions from Billy Sherwood and Oliver Wakeman among others. Details in Yescography.

There have also been various single releases before and after the album, including "Whitefield (Homeland Lifestar)" (6:07), with O Wakeman, Marisa Frantz and Eric Gillette (Neal Morse Band), and "Where Words Fail", with Sherwood and O Wakeman, after. Light Freedom Revival have released further material without any Yes connections.

A concept album, Truthonomy, came Jul 2018 with Sherwood (drums, bass), O Wakeman (piano, keys), Jamie Glaser (ex-Anderson Ponty Band; acoustic guitar), Frantz (harmony vocals) and Gillette (additional electric guitar, mixing, mastering). To quote Vehadija about the album, it is "a concept album of someone moving through many parallel negative timelines, constantly searching for the truth, trying to find the original one that had once been his real home, a place from where it's safe to project into the future and reality will not anti respond to soul impulse calculations." Tracks:
  1. "Lies No More", lyric video here
  2. "Caravan"
  3. "Lady Marian", lyric video here
  4. "Jesus with a Guitar"
  5. "Allah is Cool"
  6. "Emma"
  7. "Judgement Day"
  8. "Arcadia"
  9. "Truthonomy", >16 minutes long
There was then a 13-track Xmas album, Cristamagicrystal, but I am unclear who played on that. Then came an Apr 2019 3-track single of "Wildest Dreams":
  1. "Wildest Dreams" (6:52), a cover of the Taylor Swift song (streaming audio on YouTube) with Sherwood, O Wakeman, Dylan Howe and Lino Gonzalez
  2. "America" (3:13), a cover of Yes's arrangement of the song, with Frantz and Gonzalez (video on YouTube)
  3. "You Belong with Me" (3:35), a cover of the Taylor Swift song
Light Freedom Revival is promising a 4CD boxset in tribute to Anderson, seemingly called Superconscious Music Continuum. There are four preview tracks, one per disc, on YouTube, with lead vocals by Vehadija:
O Wakeman's Sep 2019 newsletter then referred to the tribute to Anderson as Tribute Musicsoul Continuum, with covers of his music, and due late 2019.

United Progressive Fraternity
Planetary Overload Part 1: Loss (GEP, GEPCD1061; details in Yescography), released around May 2019, and Part 2: Hope, due later, come from United Progressive Fraternity (Facebook). The band are led by Mark "Truey" Trueack (Unitopia) and Steve Unruh (The Samurai of Prog). Tracks—CD1:

Phase I: Dawning on Us:
1. "Loss (Anthem)", with Jon Davison guesting
2. "What Happens Now" [Trueack/Unruh]
3. "Cruel Times" [mus: Salati/Racz/Trueack; lyr: Trueack]
4. "What are We Doing to Ourselves" [Trueack/Unruh]

Phase II: Destraction and Destruction:
5. "Stop-Time" [mus: Unruh/Magnus; lyr: Trueack/Unruh]
6. "One More" [Unruh/Trueack]
7. "Mercenaries" [mus: Unruh/Williams; lyr: Unruh]
8. "What If"
9. "Forgive Me, My Son"

Phase III: Growing
10. "Dying to be Reborn"
11. "Seeds for Life", with Davison guesting on backing vocals
12. "Loss to Lost" [mus: Cides, Gancedo García, Trueack, Unruh; lyr: Trueack], based on Guillermo Cides' "You're Still There"

CD2 consists of 9 "surreal mixes" by Romantechs, i.e. Trueack, Unruh and Lebled and guests, including one of "Seeds for Life".

A promo video for "What Happens Now" credits Trueack (vocals), Unruh (vocals, flute, violins, slide guitar, keys, percussion, mix), Lisa Wetton (John Wetton's widow; vocals), Marek Arnold (Damanek; sax), Cides (Stick), Brendon Darby (trumpet, flugelhorn), Mark Franco (fretless bass), Clive Hodson (trombone, alto sax), Angus Keay (electric guitar), Christophe Lebled (worked with Jon Anderson; keys, piano, synth), and Jerry Marotta (worked with Tony Levin, Peter Gabriel, Iggy Pop; drums). Another for "Loss to Lost" credits Trueack (vocals), Raf Azaria (vocals, piano), Unruh (vocals, electric guitar, sitar guitar, flute, percussion), Bawden (vocals), Cides (Stick), Jesús Gancedo García (works with Guillermo Cides; drums).

The band's website credit Trueack (vocals, songwriter, artistic direction, co-production), Unruh (violin, guitars, flute, vocals, songwriter, co-production), Lebled (keys, soundscapes, guest arranger), Cornel Wilczek (Qua; orchestration, conductor on "Seeds for Life"), Dan Mash (Damanek; bass), Matthew Atherton (Sound; vocals, soundscapes, synths), Arnold (sax), Joe Toscano (The Loving Tongue; drums, vocals), Mark Franco (Sound; bass, vocals), and with guests including Jon Davison, Claire Vezina (vocals), Michel St-Père (Mystery; guitar), Angelo Racz (keys), Nick Magnus (ex-Steve Hackett, ex-The Enid; keys), Michelle Young (ex-Glass Hammer; vocals), Gancedo García (drums), Hasse Fröberg (The Flower Kings; vocals), Cides (Stick), Bawden (vocals), L Wetton (vocals), Steve Hackett (ex-Genesis, ex-GTR, ex-Squackett; acoustic guitars), Charlie Cawood (Knifeworld, Mediaeval Baebe; oud, bağlama saz, bouzouki, hammered dulcimer, zither, pipa, zhongruan, liuqin, 12-string acoustic guitar, electric guitar, bass), Azaria (piano, synth, slide guitar, electric guitar), Hodson (alto sax, trombone, trumpet), Marotta (drums), Keay (guitar), Alex Grata (Sixth Sense, Voices of Babylon; vocals, piano, synths, loops, electric guitars, acoustic guitars), Hans Jörg Schmitz (drums), Colin Edwin (ex-Porcupine Tree; fretless bass, soundscapes), Phill Soka (CosMoS; drums), Brendon Darby (trumpet, flugelhorn), George Perdikis (guitar), Valentine Halembakov (guitars on "Forgive Me, My Son"), Matt Williams (electric guitars, acoustic guitars, backing vocals on "Mercenaries"), David Hopgood (Unitopia; drums on "Mercenaries"), Marc Papeghin (French horn) and Ettore Salati (worked with David Jackson; electric & acoustic guitars on "Cruel Times", arrangements). Narration is from various environmental leaders and scientists, some participating directly—lead of which is Dr James Hansen (ex-NASA)—some licensed from existing material. A 60-piece orchestra also perform. There are also contributions by Gordo Bennett (arranged "Seeds for Life") and Cindy L Spear (lyrics for "Forgive Me, My Son"). Artwork is by Ed Unitsky (worked with The Tangent, The Flower Kings).

The project dates back some years. Trueack and Stephen Layton (worked with Jon Anderson) made contact in 2009 and planned a project called The Hope to feature multiple guest musicians. That led to Jon Anderson guesting on an album entitled Fall in Love with the World, the United Progressive Fraternity debut, released 2014. The Hope was then initially expected in 2015, with early reports giving the following tracks: "Home", "Hope", "Reality Breaks Through", "Broken World", "Water" (an alternate version of the piece on Fall in Love with the World with Anderson), "In the Palm of Your Hands", "Dreaming the Truth", "Follow Me", "Leading Me On", "Cruel Times", "Free the People", "Hope (Reprise)". A Dec 2015 update said that, "Significant progress has been made regarding development of lyrics, arrangements, vocalists, and musicians allocated for each track." The project evolved further, splitting into 2 albums. Trueack was also, at various times, in contact with Anderson, Billy Sherwood and Nikki Squire about possibly guesting, but none of them are now involved. There was talk of Igor Khoroshev contributing keys and arrangements, as described here, but he is not listed as being involved on the website and not on Loss.

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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.