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

This page last updated: 26 Nov 15

YES and projects with several Yesmen
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On this page—Yes: On tourHeaven & Earth - Live releases - Panegyric/Steven Wilson series - Covers of Yes songs - Documentaries & books - Fandom

Projects involving multiple Yes men: Anderson Wakeman - CIRCA: (Sherwood, Kaye) - Anderson/Wakeman/Rabin - Sonic Reality project (w/ Sherwood, Kaye et al.) - Cleopatra Records album with guest artists (w/ Sherwood, Squire, Howe, Downes, Wakeman, Kaye, Banks)

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Yes are Steve Howe, Alan White, Geoff Downes, Jon Davison and Billy Sherwood. Founding member Chris Squire died during the night of 27 Jun 2015. Requiescat in pace. He had acute erythroid leukaemia, a type of acute myeloid leukaemia (AML). Before Squire's death, it was announced that planned live dates would go ahead with Sherwood filling in for Squire, and Sherwood has now stepped in to replace him. In early Jul, Sherwood, in a message entitled "The upcoming tour", said online: "A passion never dies. Yes is my passion as it was Chris and so as requested by my friend we go forward as Yes". White has since confirmed that the band will go on; he talked about their plans in a 21 Jul Billboard article:
It's certainly going to be hard without him, but he called me and asked me to keep everything going regardless of what happens[.] So absolutely we're moving ahead. I'm gonna do it for him.


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

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

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

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

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

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

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

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

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

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

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

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


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

I met Chris Squire in 1989, we became fast friends and have remained so ever since. I've worked with Yes in various capacities over the years, writing, producing, playing, touring etc... and have remained friends with all of them. Recently Chris phoned me to share some rather serious personal news, it seems some medical issues have arisen from out of the blue and they are needing to be dealt with before he can go back out on tour with the band. Chris went on to explain that Yes are meant to tour in Sept/Aug etc... but unfortunately this will be the 1st time he won't be able to go. The band has a deep loyalty to it's fans, I know this well having been a full member of Yes in the late 90's and witnessing the devotion to touring and sharing the great musical legacy with the people of the world who love this band. That said Chris suggested rather than cancel this upcoming tour, the band should go on for now without him. It was truly a bittersweet moment when my dear friend of many years phoned me to explain all this to me and then ask me "would you jump in and play bass and sing with the band till I get back up to speed". I was very moved, as I told Chris, he is the reason I wanted to play bass and sing when I started my professional career... My love for the band and for my friends made the answer very easy, "of course" I said, "under the banner of your returning asap", we agreed and so I'm very honored to say that I will be playing bass and singing with Yes on this upcoming Yes/Toto tour. Thanks to the fans for understanding these unusual circumstances and supporting Yes and Chris in this decision. I look forward to keeping the musical integrity and performances as high as my friend expects it to be.
Further details on Squire's passing here.

Yes released Heaven & Earth (Frontiers Records) in Jul 2014, produced by Roy Thomas Baker, mixed by Sherwood. The band toured through much of 2014; latter touring in 2014 was with a new set list, including material from the new album. A date on the 2014 European tour was recorded for a live CD/DVD/Blu-ray release, now out and also mixed by Sherwood. 2014 also saw The Yes Album and Relayer re-released with remixes by Steven Wilson and bonus material. Asked about Yes's plans for 2015, Howe said in a Nov 2014 interview for YesFANZ:
since 2008 it has been crazy busy [...] 2 albums and just loads of touring [...] is quite a good sense of progress [...] so we haven’t announced what we are doing [in 2015] but we are doing less, a bit less, not only do we need to take it a little bit easier and not jam the year up and also kind of … there might be different reasons why we agreed to not do too much [...] But there again, I particularly don’t want to lose all the momentum [...] Kind of stopping would be bizarre, doing less, you know, is the option we’ve got [...] Not only because Geoff’s still in Asia [...] So it is hard when you ask about next year, we hope that what we’ve got is kind of enough to keep us going but not too much to make it seem like we never stop seeing each other.
Releases for the year are Wilson's remix of Fragile; a live CD/DVD recorded in Mesa in 2014; and Progeny: Seven Shows from Seventy-Two, covering 7 shows from 1972 and now out. Touring resumed 7 Aug with a North American co-headlining tour with Toto, followed by the Cruise to the Edge and associated dates in Nov.

As for 2016, a European tour from Apr 2016 has been announced. In a Nov 2015 interview, Sherwood said, "From what I can gather, it looks like there's more things on the horizon next year, nothing I can really speak about yet, but I'm seeing it developing, and it looks good for Yes to be doing a lot of things next year, so that's exciting to see."

Heaven & Earth

Heaven & Earth—a summary dedicated website (with CD booklet) ; Frontiers Records page ; SoundCloud samples ; electronic press kit
When Released 16-22 Jul 2014.
Extensive pre-production late 2013. Sessions in Los Angeles, CA ran 6 Jan-14 Mar 2014. Mix in late Mar 2014.
Who Chris Squire: bass, backing vocals
Steve Howe: electric, acoustic & steel guitars (inc. pedal steel), backing vocals
Alan White: drums, percussion
Geoff Downes: keyboards, computer programming (inc. grand piano, Hammond, Solina, synth string & brass arrangements)
Jon Davison: lead & backing vocals, acoustic guitar (1, 6)
Produced by Roy Thomas Baker
Mixed by Billy Sherwood
Mastered by Maor Appelbaum
Engineered by Dave Dysart, Eric Corson; backing vocals engineered by Sherwood

Painting & logos: Roger Dean
Management: Paul Silveira Management
What 1. "Believe Again" [Davison/Howe] (8:02), preview at YouTube
2. "The Game"[Squire/Davison/Johnson] (6:51), preview at YouTube
3. "Step Beyond" [Howe/Davison] (5:34), preview at YouTube
4. "To Ascend" [Davison/White] (4:43), preview at YouTube
5. "In a World of Our Own" [Davison/Squire] (5:20), full preview at YouTube
6. "Light of the Ages" [Davison] (7:41), preview at YouTube
7. "It was All We Knew" [Howe] (4:13)
8. "Subway Walls" [Davison/Downes] (9:03)

Bonus track on Japanese CD:
9. "To Ascend" acoustic version (4:33)
There were various writing/pre-production sessions involving all or subsets of the band, dating back to early 2012. "The Game" is partly based on a demo from the 2006/7 writing sessions by Squire and Gerard Johnson that also produced "The Man You Always Wanted Me to Be" and parts of the Squackett album.

Davison has said the band had "more music than we can work with" and talked of a "bunch of extra material" that will probably appear on a future album.
How Frontiers Records (FR CD 651) in most of the world
Distribution in the US by Universal; in Germany by Soulfood Entertainment
Release in Japan by Victor Entertainment
Released as CD (Digipak) and, in Europe, limited edition 180g 2-disc vinyl release (available in black or blue). Japan also saw a limited edition SHM-CD release.

Vinyl tracks: LP1, side A—"Believe Again", "The Game"; side B—"Step Beyond", "To Ascend"; LP2, side A—"In a World of Our Own", "Light of the Ages"; side B—"It was All We Knew", "Subway Walls".

26 (9 Aug)
USA Hits Daily Double 27 (29 Jul); ~8,961 first week sales
US Rock
7 (9 Aug)
US Independent
4 (9 Aug)
US Tastemaker
13 (9 Aug)
20 (27 Jul)
UK Independent
4 (27 Jul)
UK midweek
10 (23 Jul)
18 (27 Jul)
Wallonia (Belgium)
Flanders (Belgium) 121
45 (week 30)
Global Chart Report
31 (25 Jul); 20,000 sales

On Amazon in the US, the album was as high as #5 overall (#3 in Rock, #4 in Pop) on 24 Jul. On 14 May, it was #1 in Movers & Shakers (biggest gainers in sales rank over the past 24 hours). The regular release was as high as #22 on Amazon UK (22 Jul; also #5 in Rock, 21-3 Jul); #79 (#21 in Rock) on Amazon Germany (18 Jul); #29 (#2 in Rock) on Amazon France (30 Jun; also #23 in Pop, 16 Jul); #5 (#5 in Pop) on Amazon Italy (23 Jul); #46 (#29 in Rock, #43 in Pop) on Amazon Spain (23 Jul); and #1 (#1 in Rock; #1 in Pop) on Amazon Canada (23 Jul). The limited edition has been as high as #146 (#3 in Rock) on Amazon Japan (2 Jul). The MP3 version has been as high as #14 in MP3 Albums (#4 in Rock) on Amazon UK (22 Jul), #30 (#3 in Rock) on Amazon Germany (18 Jul), #8 (#1 in Rock) on Amazon Italy (23 Jul), #50 (#6 in Rock) on Amazon France (23 Jul), and #186 (#23 in Rock) on Amazon Spain (22 Jul). The MP3 version has also been as high as #18 (#2 in Rock) in Paid MP3 Albums on Amazon US (23 Jul) and #1 in Progressive Rock MP3 Albums (at least 23-7 Jun & 1 Jul-2 Aug). The album was also #1 in Rock on UK iTunes (21 Jul), and #36 overall (22 Jul). On US iTunes, it was also #1 in Rock and #28 overall (22 Jul). The album was nominated in the Best Album category of the Progressive Music Awards 2014 from Prog magazine, but lost to Kaleidoscope by Transatlantic (worked with Jon Anderson), while the band was also nominated in the Best Band/Artist category, but lost to Dream Theater (worked with Steve Howe).

In a Jun 2014 interview, Patrick Moraz said, "I think people will be absolutely happy and surprised by their new album with Jon Davison ...'Heaven and Earth.'"

"Believe Again" is rumoured to have had a working title of "We Used to Believe" and to have originated with Davison, dating back to at least early 2013. "The Game" is partly based on an idea that goes back to the 2006/7 writing sessions by Squire and Gerard Johnson (The Electric Opera/Funky Monkey, St Etienne, ex-The Syn, ex-Peter Banks) that also produced "The Man You Always Wanted Me to Be" and songs on Squackett's A Life Within a Day album. White has said "To Ascend" began with a piano piece of his.

Rehearsal sessions began 6 Jan in Van Nuys, Los Angeles, CA with Squire, White and Davison, with Howe and Downes arriving later in the week, and producer Roy Thomas Baker sometimes present. (Howe is thought to have arrived on 7 Jan. Downes was flying to Los Angeles on 8 Jan according to his Twitter feed. Downes has also filmed a video for Asia while in Los Angeles and attended NAMM.) On 15 Jan, Downes tweeted, "Great to have @RoyThomasBaker at the Yes rehearsal sessions today in Van Nuys. Next stop - Album! :-)" He had tweeted on 14 Jan: "Another few days rehearsing backing tracks for new Yes album, then start recording in a private studio on Friday [i.e., 17 Jan] +producer." However, on 17 Jan, he said, "Final day's pre-production rehearsals today with @yesofficial Next stop - recording studio with @RoyThomasBaker" and then on 18 Jan, "Off out to do some essential shopping whilst the crew guys set up the gear in the studio. Sort of a day off :-)" By the end of Feb, much of the recording had been completed, with some keyboard parts being recorded late Feb through to beginning of Mar. In an interview published 23 Feb 2014, White said, "I've finished a lot of the percussion work, we're doing the guitars right now." In an interview carried out 3 Mar 2014 by Brian Neeson of the Scottish Yes Network (SYN), White said, "There's a bit to do [on the album], but we're getting close to finishing it now. We could be finished by the end of this week." Downes tweeted 7 Mar: "See ya Los Angeles! Done my bits on the Yes album. Been fun. Good luck to @RoyThomasBaker and the rest of the lads finishing up next week". White also returned to Seattle that day. One report has sessions completely finishing on 14 Mar. Around the beginning of Mar, Billy Sherwood announced on Facebook:
Got a phone call from the Yes camp tonight, asking me to engineer the backing vocal sessions for their new record. Tomorrow I start with Jon Davison, Squire comes in later in the day to sing, Steve Howe after that and so on for the next week or so...
(One report suggests that Sherwood effectively worked with the band on arranging the backing vocals.) The studio time used was shorter than for recent Yes albums and the band were rushed at the end. Squire explained to the Jun 2014 issue of Prog: "This did help focus [...] us on what we were recording, but at one time it led to us working simultaneously in three studios[.] Roy was in the main room at the studio in LA working on guitar overdubs. I was in a smaller room with Billy Sherwood getting the vocal harmonies completed, and Alan White was in a Seattle studio doing drum parts. But it worked out fine." In the Jul 2014 Prog, Squire described this period as "a kind of fun pressure, not a nasty pressure. Everyone rose to the occasion." In a late Mar 2014 interview (seemingly done some time between 27-9 Mar), Davison described the end of the sessions thus:
we finished recording just in time [...] we were doubling up in the studio, meaning that Chris and I were still there working on background vocals, Steve was finishing guitars at the same time. Geoff was in Wales, Alan in Seattle, and they were both sending tracks still. Alan had some percussion to do. So we were just kind of throwing everything in at the last minute. And then we only had, I think, two or three days maximum before we had to start this [Canadian] tour [first show was 19 Mar]. The tracks still have to be mixed and Roy Thomas Baker will start that in a couple of days. And then what he's going to do is send us, um, mix examples and then we all kind of sign off on them, or make, er, comments about changes we feel needed.
Davison explained this approach to mixing was because "we just ran out of time". Davison above, Squire and Howe in an interview with Vintage Rock, and a first press release refer to Baker mixing Heaven & Earth, as was the original plan. Indeed, the band said on the cruise (11 Apr) that Baker was currently mixing the album. However, Sherwood mixed the album, at his own CIRCA:HQ studios, using Hafler speakers. On 16 May, he said on Facebook that, "I'm mixing the new YES record !!! Finished the 1st song late last night and now heading into the 2nd track." Late on 17 May, he said, "Mixing the new Yes record "Heaven & Earth".... 2 songs of 9 so far, "everybody happy happy happy". Moving into the 3rd track as we speak." 18 May, he described mixing the third song; 19 May, the fourth; 20 May, the fifth, with this comment: "song 5 of 9 today, spoke to the band, everyone happy happy happy with the mixes". Song 6 was mixed on 21 May, song 7 on 22 May, and the last two on 23 May. Sherwood said on 23 May: "Finished all the mixes for the new YES record... now I'm going to address a few minor tweaks the band members have (turn this up a bit or down etc...) and then it's off to mastering". And on 24 May: "Mixing Yes, actually doing some little tweaks on the mixs... I had Squire on Skype as I was addressing a few things with the mix, it was a blast lol. Tomorrow the entire band will be on skype with me as we'll be looking at the last and final tweaks." Posting in the early hours of the 26th, Sherwood said, "Operation "Mix Heaven And Earth for YES" is done [...] All mix[e]s done and dropped of at the mastering studio. [...] FUn day, working closely with the band , they were on skype from Holland while I was in my studio in LA. We did 8 hours of it, came out great, everybody happy happy happy !!!" In a Jul 2014 interview with MusicRadar, Howe said, "we just didn't feel that it was quite Yes" (seemingly referring to an initial mix by Baker). He continued: "Billy has a history with the band [...] we trusted him [...] That's how the swinging roundabout came; we might have been going around with this with Roy Thomas Baker, but that's not how we finished it. We wanted Billy to bring it back to Yes Central." In an interview published Dec 2014, but seemingly done much earlier (possibly Aug), Howe said:
we met up with Roy [...] and he heard some songs. He didn’t comment much. We got to January, and we played him some more things. He didn’t comment much. We went into the rehearsal room, and he didn’t say a lot. He kind of thought that most of the material could kind of make it through, which was right; it did. So it wasn’t an easy relationship to describe, really. I mean, in a way it was a meeting of different camps [...] like it always is with a band and a producer. [...] you know, we got there.

But when we finished the recording [...] we kind of felt [...] we needed somebody like Billy Sherwood to come in and not only help us finish up the [...] backing vocals, which was one of the projects that was looking like we couldn’t do in the time frame. [...] and then he’d be able to mix it, with us [...] Billy went off and mixed it and we said. “No, yes, no, no, yes, yes,” you know. And we kind of detailed the mix as best we could [...]

Yes always tends to get pressure when we do projects. [...] In the ’70s, we’d worked where we were finishing and maybe had to go straight off on tour. So I really shouldn’t complain. It’s not any different [...]

That happens to artists because they always take more time, then they do a lot of work right at the end. In other words, everybody’s laid back, walking around saying, “Ah, there’s no rush.” Then they hit the last few weeks, and it’s like “Oh, we gotta rush! We have no time to finish it! We’ve got to cancel this and that!” [...] [laughs]

In an interview Jun 2014 with Jon Kirkman, Squire said: "[Baker] threw in some useful ideas, actually, as well as his engineering skills. And things seemed to roll along quite well [...] still, we're used to a Yes album usually taking about four or five months from the beginning to the end of the mixing, but we really only had about two [...] so we started starting earlier and leaving the studio later and just generally trying to put more work into the record". He went on: "the last two or three weeks [...] we got [...] Sherwood in [...] We did the harmonies with him in a different studio while Roy was overdubbing keyboards and guitar parts. [...] Alan was in a different studio doing percussion parts [...] So it got a little bit [...] hectic towards the end [...] no-one was really doing what anyone else was doing until the last couple of days when we pulled everything together and listened to it with Roy [...] he made notes on what everybody thought about this bit or that bit and then we left". Squire continued, explaining that the expected studio time then became unavailable ("or the engineers did, or something — I'm not sure exactly what"), so Baker went to a studio in Phoenix (Salt Mine) owned by someone Squire knows, "and started to mix there, but that didn't go too well for one reason or another, I'm not too sure of, some equipment problems etc." Given the approaching deadline, the decision was taken to hand the mix over to Sherwood as the band knows him, he "works quite quickly" and knows Yes's music. In the Sep 2014 issue of Classic Rock, Squire likewise said, "We had problems with certain studios, nothing was getting done and we'd already missed our deadline[.] It wasn't Roy's fault." In an Aug 2014 interview, Squire said: "Billy actually wasn't supposed to be involved at first. There were a few scheduling hiccups at the end and we needed to get the album delivered on time. So we brought Billy in to help out."

Mastering was by Maor Appelbaum (who works regularly with Sherwood). On 26 May, Sherwood said on Facebook: "Mastering the new YES Record all day... although I'm more of an observer in this case, Maor Appelbaum is doing all the work, great engineer !! I love Maor[']s attention to detail and desire to hold all the dynamics presented in the mix." And in the early hours of 27 May, Sherwood posted: "New YES record is mastered, we are done !!! Mission accomplished, everyone happy happy happy !!!"

(Squire had said in the Vintage Rock interview, conducted around the beginning of Apr 2014: "[Baker] goes in to start mixing next Monday [i.e., while the band were touring Canada] [...] we're going to be leaving it to him [...] Of course, he'll then send us samples and we'll make our comments [...] I think that's kind of a good way of going about things. We'll see what he comes up with." Howe said: "Recording is a big part of it, obviously [...] but in the mix and in the general sound [...] is definitely hugely affecting [...] It could destroy the record if it's mixed badly, which it won't be. [...] Obviously we have great confidence in Roy to have the pleasure of mixing it without us all breaking [breathing?] down his neck, but then he's got to get our approvals as well.")

In the interview with Vintage Rock from around the beginning of Apr 2014, Davison said this about the making of the album:
Ever since I joined the band there was talk that there would be a new album coming down the line, so I immediately started getting my ideas together. I’ve done a lot of songwriting with Glass Hammer, so I was prepared to really take this album on fully. [...] Early on, I met with Chris a few times and we started collaborating. And we met another time later and solidified a couple of our ideas, which have made it to the album. I went up to Washington to work with Alan, and that song’s also on the album. I flew up to the UK to work with Steve individually and then later Geoff individually. We had a lot of extra ideas too, that haven’t made it to the record, not because they’re any poorer in quality, but it’s just because we reached the time limit. We had enough music to work with. [...] it was just really exciting working individually with each member, and then we came together collectively, which also was really rewarding to see the bare bones ideas of demos really come to a complete realization as each musician plays the parts and interprets the parts, expands on the ideas. [...] the music becomes about the band as a whole.
In an Apr 2014 interview, Squire described the album: "It's pretty well song-based in many ways, but it also has the kind of Yes style of expanding songs into musical pieces [...] it's definitely got the Yes stamp of arrangement on the album, there's no doubt about that." He continued, "[Davison] worked with the other four of us on a couple of tracks each, and we've come together at the end of the album with some very strong music." In one Apr 2014 interview, Howe had said, "we have tracks over ten minutes!", although none on the final album are that long. In an Aug 2014 interview, Davison also described the album:
You have to just go where the creativity takes you[.] At this stage in the game they [the others in Yes] want to ease back into some almost relaxing music[.] I don’t mean to sound like everyone’s dull by any means because that’s not it at all. [...]

it’s just a phase in their lives where it’s kind of an easy-listening record. It just kind of warms over you if you let it. It’s a lighter shade of Yes

And then about the creation of the album:
I was just so passionate about doing an album, again because they’ve inspired me for so many years. I just brought a lot to the table[.]

There wasn’t a lot of time [to record] [...] we had to really buckle down and get some product organized. I just had so much [...] they felt like they were happy to take it on board. At least take what they felt had potential and fine-tune it.

And I think I made it easy for them in a lot of ways[.] They were very inspired as a result. They just fed off my excitement and enthusiasm.

In the Jul 2014 interview with MusicRadar, when the interviewer said they would not call the album 'prog rock' (save for "Subway Walls"), Howe replied:
[...] I guess so. But [...] when somebody at Mercedes-Benz goes to work, they don’t ask themselves if they’re an Audi or a Volkswagen. They know they’re a Mercedes-Benz. When Yes goes to work, we don’t ask ourselves if we’re another band. We’re Yes. But that’s a pretty broad stroke.

[...] when you look at Open Yours Eyes or other albums [...] we deviate from being just another straight-ahead, thoroughbred prog band. [...] remember that we took nothing but criticism [...] for being a prog band [...] you can’t blame us for sometimes wanting to edge away from it. But we don’t do that because we want to; we do that because of the material we’ve got.

It was the same with Fly From Here: [...] we didn’t say, ‘Oh, we’re not gonna make this record ‘cause it’s not prog.’ Or ‘We’re not gonna make this record ‘cause it’s too prog.’ Therefore, we would have upset everybody who thinks we’re indulgent, technical show-offs. We were never that. [...] through the ‘70s, all we were was an honest band that did what we did. And that’s all Heaven & Earth is.

We can’t change our mold. On this record, we’ve just got those songs. Some of them were a little bit dangerously close to being accessible, but some of them might not be dangerously close to being accessible. We don’t have a mold. I mean, I love the Keys To Ascension and I love the ‘70s, but we’re not always there. We just have to accept that, and so does our audience.

In some ways, some people in our band might be trying to appease people and give them something accessible. [...] I can say that we are more accessible – as writers, that’s what comes to us. I don’t disagree [...] about Subway Walls. It’s a profoundly good arrangement; we really developed a lot of ideas. I think it shows what weight Jon Davison has brought to us. He collaborated on the music with [Geo]ff as much as I did with him on Believe Again.

It’s a real mixed bag of writing, and it isn’t all the same, thank goodness. Some of it does lean a bit to close to ‘la la la-la-la,’ but that’s what we are

Back to the Vintage Rock interview and the interviewer asked Howe, "you left Asia last year [2013] but are still busier than ever. How do you do it?" His reply sheds light on one song on the album: "there's a song on the album called "It Was All We Knew," which isn't exactly about work, but basically I'm at home in my comfort zone, being in Yes and having a schedule that's somewhat demanding, but keeps me off the streets."

In another Apr 2014 interview, Howe gave his take: "[The album] has a freshness and different stance from many records we've done before. Hopefully, that freshness will be enjoyed." Talking about Davison's contributions, Howe continued:
He’s come through with some great material.


His writing has been building up for a few years, and he's been looking for an outlet. The singer is expected to do that. Benoit [David] wasn't a writer, really. That's why Trevor Horn was involved in writing “Fly From Here.”

Now we’re much more independent. We don’t have a producer to write songs, so therefore we have to come up with them ourselves, and Jon is really excellent.

In another Apr 2014 interview, Howe was asked about the sound of the album:
it sounds pretty different for us. [...] we are presenting a new writer [with Davison] alongside what Chris and Geoff and I are writing. It[...] has a lot of freshness, and I think that’s quite a healthy thing. The cross-writing is quite interesting, as Jon has written with most of us. There’s quite a collaborative sense that Jon brought into play [...] And his voice — we’ve gotten to see the effect of that element because of Roy Thomas Baker as we checked the mixes and got the whole feel. I’ve become quite happy with the album, and think it will be somewhat more of a surprise than Fly From Here.
In an Apr 2014 interview with Prog Sphere, Howe described taking "a long time to collaborate [...] and I wanted that to be a longer process." He then talked about Heaven & Earth being "not strictly speaking a concept record but the basic idea of heaven and earth came about from some different title ideas which we presented to Roger Dean, who mistakenly one day called it Heaven And Earth". He expanded on the story in a Nov 2014 interview for YesFANZ:
it was actually Roger and I who came up the mistaken title of Heaven and Earth – a great title, it’s perfect for it – but it was actually came out of two other titles, one that had Heaven in it and one that had Earth in it.  And Roger was going to me ‘I saw your titles and a couple … and Chris put forward one and we put forward a couple, and I dreamed up a couple, so  …….. it’s good.  And I said ‘yeah, Heaven and Earth’ and I said ‘no, no, it wasn’t Heaven and Earth but that’s really good Roger’ and he went ‘yes, it is, isn’t it.  It’s kind of ying and yang’.  And we said ok this is it and we went down that path and went to the band and said, you know, just be mistake I told them what happened to Roger and I and they kind of went “what?” and I said ‘yep, just think about it.  Heaven and Earth, you know.[’]
Howe went on to describe the genesis of the new logo:
I said to him ‘are you thinking about the logo’ and he said ‘well, you know, blah, blah, blah’.  I said ‘Roger you have got to get out of that, you’ve got to change it [...] how about a sort of stripy one. [...] I can’t see a stripy one anywhere in our past [...] Some sort of zebra [...] think about the 2004 stage when it looked like a cow’, you know, anything that makes it stand out – ‘black and white [...]’.  So there you are.  I did have a hand in the logo only because I pushed him to think outside that box which was the colour treatments and the thing.
In Jun 2014, in the Prog Magazine podcast, Squire had a simpler explanation: "Heaven and Earth was actually the title of Roger Dean's painting. […] Roger said, 'I've got this painting. It's called Heaven and Earth. How about using that as your album title?' We went, 'Why not?'" In the Prog Sphere interview, Howe explained how the titles represents a duality: "how Earth is a physical place, it's about measurement and distance [...] all the things that science loves to document and accurately record, and then Heaven is something that's more free-willing [wheeling?]. You could call it religion if you wanted to but for a lot of people it isn't religion, it's a spirituality with our religion [...] it's all about imagination and the unknown. I think these two things are great parallels, like Yin and Yang, right and wrong, good and bad – it's a whole mix of those extremes [...] on one side you have heaven which is pure fantasy, on the other side you have earth which is pure physical." Dean's cover, also reportedly called "Frozen", continues the floating island theme from across much of his work (cf. Fragile and Yessongs), and which is part of his ongoing plans for a feature film. In a Jun 2014 interview, Davison described first sending Dean "a few samples of the lyrical direction to kind of give him an idea of where we were going. [...] that helps fund his creative outlook."

Howe also talked about Davison's contributions in the ProgSphere interview: "He brought an enormous amount. [...] he's not shy to step forward with his own songs. They are weighty and they are very original and they fit perfectly into the Yes story". In a May 2014 interview, Howe said: "We spent a lot of time preparing the material. We had to develop a chemistry that had nothing to do with the '70s." He continued, "This is not a nostalgia trip. [...] There is a great deal of collaboration here, and I believe something organic has developed." Adding, "This new work feels different and I can't quite pin it down." Squire, in the Jun Prog article, said, "It's not that the sound of the band has radically altered at all [with Davison and his contributions], but Jon has given us a new sense of excitement. Having him on board has made us all feel so much more committed to the new music."

White's SYN interview continued:
Brian Neeson: Reports from other interviews suggest that there was a wealth of new Material “enough for 2 albums” ..?

White: There wasn’t quite enough for two Albums. We decided we would work with what we had and take it to this point. There is some extra stuff but it would take it a lot of work to make it to a Yes album.

White later added: "It's all fresh music. Everything on the album was conceived within the last year or so." And: "No epics on this album but there are some longer pieces with intricate parts to them, but there are some shorter tracks too which are right to the point." Brian asked about a title and White replied, "We are on the brink of having a title right now. We are working with Roger Dean on exactly what that is." In the 23 Feb interview, White spoke of a release date in "April sometime". Asked what the album sounds like, he replied:
It’s hard to explain! Jon Davison has [...] written material for the new album that has really wonderful melodies. There’s a certain amount of great musicianship and just generally, what you’d expect from Yes, a lot of great harmonies, great guitars, good high performance music.
In the SYN interview, White also talked about Davison's contribution, saying, "He's been working on the lyrics and the melodies on the new album. He's a really good songwriter. He presents that to the band, and of course we all work on those, change them and turn them into what they are. [...] He is very serious about his vocals and he gets the job done." In an interview published 21 Mar 2014, Squire said, "[Davison] has contributed very strongly to that [the new album] in terms of writing, both musically and lyrically [...] Jon Davison has brought in an interesting quality of songwriting and lyric writing. He has pretty much written all the lyrics for this album." The article also said the album is being mixed and has no title yet—although one soon followed. In a late Mar 2014 interview, Downes talked about various aspects to the album:
It’s been very inspirational working with [Baker] [...] The old school approach on certain things makes you realize how great those early albums were in construction and recording techniques. The [new] album is an interesting mix of hi-tech and vintage


There was quite a long period to the end of last year [2013] where ideas were tossed around between various members, so there has been a general collaborative feel to the making of the album. We had a good idea of what we were going to record prior to going in to the studio, and worked closely with Roy on the choice of material.


[Davison] has really stepped up to the plate, and we’ve seen what a talent he truly is, not just as a vocalist, but also in an all round musical sense.

White said in the electronic press kit: "It seemed like an opportune time to get into recording a new album. I think everybody in the band had quite a bit of material that we need to get out of our systems". Downes continued, "It's not dissimilar to the way we approached the last album [...] we like to get the sound together first, so we spent quite a bit of time rehearsing the backing tracks, experimenting with ideas, and that kind of thing. The actual recording process itself is just a case of refining it... y'know, trying to turn it into something special". Davison said, "Ever since I joined this band, I've been preparing for this album. I got going on demos right away. Really inspired [...] to hear the band take home what I've offered, interpret it differently and add their own thing to it, their own flavours. And it's just expanded these songs." Howe added: "Every album is different. [...] it feels different, a different time, a different sensibility. Maybe a different mood too, which I think comes through in the music [...] we've got Jon Davison now [...] he's also a writer, a musician, a very fine musician [...] so, um, that meant that Geoff Downes and I and Chris and Alan could kind of just come here and start on the first track."

The EPK continues with White saying, "We spend a lot of time on detail, getting parts right." Howe: "As a guitarist, I've learnt that you've got to know what you're doing most of the time, you've got to have shape and form to some of the parts. Sometimes, like on [...] "In the Game", I'm really just [...] taking a nice opportunity to just add a nice fresh texture to the track that isn't involved so much in the structure [...] Along the way with all this music, there are places where I'll improvise." Davison: "I think we're touching on some different styles maybe that Yes hasn't looked at for a while. There's definitely going to be some rocking moments, but there's also almost kind of a Motown pastiche at times. And a little folk, a lot of acoustic guitars happening, but also this immense sound. It sounds really fresh and it should. Every album should move forward and have that sense of freshness about it. So it is definitely different and moving in a new direction." Downes: "Yes have always had a [...] very, very methodical way of working in the studio".

In the Jul 2014 Prog, Davison said he wrote "most of" the lyrics, but also that "Steve writes a lot and Chris wrote some things." Talking about the album generally, he said, "I [...] remember everyone being enthused and not comparing it to any other time. I never really sense that they do that. If anybody did that, it would be me: "Oh, let's do something like this song or let's touch on something from Fragile." Whereas they're always moving forward." In a Jun 2014 interview, Davison said his band mates record new material because they love creating new music. He was also asked whether his lyrics were "from past, previously unrecorded, material" and he answered, "They were all fresh lyrics." He describes his lyrics as "are introspective, even if they don't appear to be autobiographical or stated in the first person. It's certainly reflective of what is important to me and where I want to be in my life; things to reach for, such as being more loving and be better to people. And also, trying to see the continuity through all existence, that we are all connected and that there is a greater plan at play." He goes on to say, "I'll generally have the music first, and I'll generally try to create a vocal melody as an instrument, meaning it's just pure melodies first. [...] then I kind of narrow it down, so it can be applied as a vocal part [...] then you have to kind of narrow it down even further so there's a lyrical flow [...] the rhythmical flow of how words are pronounced plays an important part in shaping the rhythmic pattern of melody." Asked in a Jul 2014 interview what Davison brings to the band, Howe answered: "We do need another guy outside the guitarist and the bass player who write fluently, and maybe can stream out lyrics more than either of us do. I write lyrics [...] I wrote "It Was All We Knew." But Jon's the singer, and we want the singer to therefore have a role — a big role, if not the biggest role — in writing music." The interviewer then compared Davison's "spiritual demeanor and upbeat outlook" to Jon Anderson; Howe replied:
He certainly does. And the kind of hidden obviousness of the lyrics becomes expanded when somebody else plunks some other lyrics which are kind of just a little bit more out there. We like that. It is a characteristic that we endorse and recommend, because our music isn’t about . . . I was going to say hate, but that sounds a bit too extreme. But our music’s not about troubles, it’s about belief.
Howe talked about the album in an Apr 2014 interview, saying:
I was the guy holding everybody back. Because they thought they could do it sooner [...] and I said “No, we just haven’t gotten the material.” So October/November we had to rethink about the material and who had songs. So in fact it could have been a real botched job to have done it any sooner.

[...] there’s no substitute for the work you’ve got to put in writing songs. That’s something that we do when we’re home or something we do when [...] we’re in an environment where we can write. We did some collaboration so that we could share some of those ideas with each other


we didn’t know if Jon [Davison] was going to do as much collaboration as he did, but he came quite heavily armed with a lot of music anyway as I did, so there was a kind of pool happening with different songs and “where’s this going to go” and “where’s that going to go.” Jon proved his worth and he got the energy up to [...] see me in the U.K. and see Geoff [...] He made himself mobile to see what would happen if he was a common spirit between the music.

Obviously, he didn’t write all of the album, but he had a lot of source material [...] we just basically put our heads together in different numbers. Then when January came around, that was the first time that we really did a short rehearsal. [...] we didn’t really need to do much of that, but we had to get in the studio and start looking at each song [...] So there is a variety of different songwriting collaborations and also songs from Jon and myself that aren’t collaborated on.

He had more to say in an Aug 2014 interview:
I had plenty of songs. I could have written, like Jon could’ve [...] the whole album. But, we didn’t want to; that wouldn’t be Yes, and so we had plenty to collaborate on and plenty for my next project [laughs]. [...] it’s what people go for [...] in the songs. The guys heard “It Was All We Knew”, Jon liked it, and we did “It Was All We Knew”. I didn’t know whether it was going to make it through the sometimes dubious course of being talked about, being recorded, and then being overdubbed and then being mixed. There were places along there, with all the songs, there were risky moments.

But that’s the way albums are constructed. I mean, I have not changed. I just do the same thing. It just so happened that “It Was All We Knew” was a song that stayed like it was originally, more or less. [...] I wrote most of “Step Beyond” and Jon collaborated with me. And in reverse, Jon wrote most of “Believe Again” and I collaborated with him. [...] maybe we’ll do that a lot more together in the future.

[...] we make albums. I held back a lot ‘cause I said we need a lot of material. [...] we only had enough for an album by the time we were ready, but most of it had been semi-approved and very, very little had been throwbacks from prior from here.  So in a way we tried not to do that - just do things that were throwbacks prior from here that we didn’t do then - because we thought that the material needed to be fresh. And, for the most part, that’s what we did. So that material was not only comparatively fresh, it was recorded starting January and then it was released [...] July-August. [...] it could be the freshest Yes album ever as far as it being created and then released.

Whether that’s a good thing I can’t say. In a way it isn’t totally a good thing because we could’ve spent a bit more time on it. We were up against the wall. We had a tour coming and we just tried our hardest. [...] we could have spent another week on mixing and refining it. But, there again, we didn’t; and we couldn’t. [...] That happens.

In an article in the Jul 2014 Prog, Squire said, "I won't say from which area, but there was some dissent about whether we should make an album at all because nobody makes any money out of them any more [...] Fly from Here [...] ended up costing us[.] So we were definitely a bit more cautious this time." He goes on, "It was important to do an album with Jon [Davison.] He's been with us a couple of years and he's a creative person in his own right". In an Aug 2014 interview, Squire said:
I was really looking forward to us being able to do an album of new material with [Davison], so we could solidify his presence in the band. I recognized that he was a great lead vocalist when he first sang for us. But once I got to know him, and we wrote some songs together, I realized he was pretty talented in that area as well. So I suggested [...] the new album be done in the way where I’d write a few songs with him, and Steve, Alan, and Geoff would, too. And that was the principal that we [...] went with.
In the Apr 2014 interview, Howe also talked about the choice of producer, saying, "you have a list and you take things off of it and then you end up realizing that a certain name is right. [...] we had other people and we talked to other people. We kicked the ball around the yard a fair bit, but we kept coming back to Roy [...] and his enthusiasm was very solid. We got good implications from his attitude that we needed somebody and he was interested in Yes." He also described how the album name arose from him and Roger Dean talking, and that it represents "the dualistic quality of the known and the unknown and the more you look at the known the more you see that there's even more unknown than you knew before." In the 2014 Vintage Rock interview, Howe talked more about Baker: "he understands in a different way, more probably, what Yes is like, what Yes is about, than what maybe Trevor Horn does because they likely see Yes quite differently. And I think that will be one of the marked differences in these two records [Heaven & Earth vs. Fly from Here]." In the same article, Squire put it like this: "Roy is very musical, but I think the emphasis or his background definitely came from the engineering and sound sculpture point of view, as opposed to other producers who are more overall conceptualists. Trevor Horn is a little more like that, a conceptual producer. Roy I think definitely started off in the engineer's seat, and has a wide knowledge of sound."

Davison said in a Jun 2014 interview: "I was very much encouraged by the others not to try to reference anything in the past, because then you compare and end up restricting yourself creatively. We've been aiming to only move forward and break new ground. Even in their heyday the band were making mindblowingly distinct albums, and we're aiming for that now. There's a real freshness to it; it moves in a new direction and accurately reflects this five-member line-up, just as it should."

Downes described how the album came together in a Feb 2014 interview: "We had some collaborations toward the end of the last June. There was actually a lot of that, prior to us coming together. The songs that we liked, the ones that will be included in the album, floated to the top, as it were." Asked about his writing input in the late Mar 2014 interview, Davison described getting to know the band "really well" and their "composing styles and patterns and tastes". He then continued:
I was all really quite comfortable with it, especially because we started one-on-one. I started in Phoenix with Chris. We solidified a few ideas together. And then I went up to Seattle and worked with Alan. And then flew to the UK and went up to the countryside with Steve and that was great. I was there for about a week. We got a lot done as well. Then I went to Wales to work with Geoff one-on-one.


We all did a lot of writing on our own, especially myself. [...] I had lots of material. [...] when we came together [...] we would sort of try to, er, combine the ideas, expand the ideas [...] for example, Steve might have an idea and I would, "Hey, let's try this with it," and we would just kind of start blending things together, expanding concepts, 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, just again due to lack of time.


I think it touches on all aspects of Yes, seventies, eighties. But mainly it's a really fresh sounding album. [...] Personally, I feel like it's light years from Fly from Here. [...] a fresh, new direction.

Early Apr 2014, Downes tweeted about the "big prog piece", confirming events: "Yes that's true. It's 15 minutes long with 6 or 7 different sections. Shame we didn't record it for this album". In the Jul 2014 Prog, Howe, Squire and White all confessed to no knowledge of the piece, but Downes has more: "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". In the interview Jun 2014 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 [...] [We] said, 'No, we can't do more than this right now, let's just work on these.' [...] I'm sure they'll re-surface in the future." In a Jul 2014 interview, Howe was asked whether the band avoided epics on the new album. He replied:
There were times when people started constructions that were really kind of growing, and somewhat meandering, and including another song. And the group’s reaction to that was kind of like, well, hang on, this is gone too far — I’ve lost the plot here. We didn’t have the right balance to do that this time, and therefore the songs stood out more individually without a great deal of expansion. But that wouldn’t mean that we shouldn’t or couldn’t or don’t want to do that in the future.
In another Jul 2014 interview, on the same subject, Squire said: "we definitely wanted to try and pin down the actual songs".

In the May 2014 interview, Downes described Davison as "a writer and a multi-instrumentalist" with "a good [...] musical knowledge". He also described how the band "prepared a lot of stuff before we went into the studio. We started, I think, round about September/October last year [2013], we were kind of visiting each other. I went to Chris; and we did some stuff with Chris and Alan in Phoenix [...] That's one of the tracks on the album." He talked of a series of "individual collaborations" rather than any group compositions. Asked to describe the new album, he said, "There's some light moments, there's some heavy moments. [...] The overriding thing is Jon's vocals throughout [...] which are very, very apparent."

In an Aug 2014 interview, Squire talked about the timescales for making and recording the album:
“We usually take our time when we get a new member in the band [...] We didn’t know how prolific of a songwriter that Jon [Davison] was. When we learned, he really put a lot of himself into the project.”

Squire says normally making an album would take more than five months, but for “Heaven & Earth,” the band completed it in three.

“Every album has been different,” he says. “I believe this was one of the fastest we have made. It was due to us being ready for everything. We got everything lined up and it all worked out.”


“We had these writing sessions that were amazing,” he says. “It was all very relaxed for the entire band.”

An article in the Jul 2014 Prog has this chronology: "Squire explains that Davison came to his house in Phoenix, Arizona towards the end of 2012 to work on new material. After completing a couple of songs, Davison flew to Seattle to write with White, and then to England for collaborations with Howe and, in Wales, Downes." Squire explains: "we were maximising Jon as the fresh element, allowing him to interact with each of us. Then we came together at rehearsals and started playing on the tracks we'd each been working on with him." Davison said, "Chris and I started right away, in 2012. I was over at his home and we were composing together from early on. [...] songs developed over the course of a year and a half." An article in the Jul/Aug issue (#162) of German magazine Eclipsed has this:
Als er vor gut zwei Jahren bei Yes anheuerte, war Davison klar, „dass wir eine Platte aufnehmen werden. Vor allem Chris und ich trieben die Sache voran. Wir arbeiteten eifrig an Liedern. Der Rest der Gruppe kam erst später hinzu.“ Squire muss lachen, als wir ihn mit Davisons Einschätzung der Aufnahmesituation konfrontieren: „Na ja, so das würde ich so nicht unterschreiben. Der gute Jon überschätzt unser beider Stellenwert bei Yes ein wenig. Tatsache ist, dass wir alle ein neues Album mit neuem Material voranbringen wollten. Zwar eine Platte, bei der Jon als Sänger im Vordergrund steht. Aber definitiv eine Platte, die im Patchwork aus allen fünf Mitgliedern der Gruppe entstehen sollte.“
That is, Davison was clear he wanted to make a new album as soon as he joined the band, and he describes himself and Squire as driving the process, with the rest of the band coming later, although Squire offers another view. Davison added: "Ich kam mit jeder Menge lnspiration und Enthusiasmus zu dieser Gruppe [...] lch will Yes mit 'Heaven & Earth' meinen Stempel aufdrücken. Mit der Produktion soll klar werden, dass ich die Sache weitgehend vorangebracht habe." In a Jun 2014 interview, Davison said:
we were working on it for more than a year on an individual level, mainly.  But, Chris and I got together earlier on, even in 2012, I think, and were already starting to write. [...] these were just little spurts, because we stayed so busy [...] touring. [...] Whenever we had an opportunity, I think we were all working, individually, since we all live apart. [...] eventually, we got together on a one-on-one basis regularly. I went to Europe and I worked with Geoff, and I worked with Steve. I worked with Alan up in Washington last year [2013] a bit.  This is the way it was until about January of this year [2014], and then we came together as a group. And, as a whole band, we then constructed the songs; the demos, we brought to life.  You know, everyone learned the parts, or reinvented the parts. Everyone collaborated uniformly.
And in another Jun 2014 interview, he said:
The first thing that happened was that I went out to Chris Squire’s house and set up my portable pro-tools rig so that we could write together. From there, things continued on a one-on-one basis. In late December of 2013, I flew to Steve Howe’s farm house [...] we worked together for about a week collaborating extensively. I then did the same thing with Geoff Downes [...]

In January 2014, the band convened in Los Angeles prior to the recording of the album. That was when the music really came to life as everyone was now involved and we were collaborating on the music as a band. [...]

That was an amazing experience… to hear the material I had been painstakingly working on for more than a year in my home studio finally come to life! [...] A week later, we were already in the studio laying down the basic tracks and moving forward with the album.

In a Jul 2014 interview, Davison said:
Chris Squire and I got together [in Phoenix] and worked on ‘The Game’ and ‘In a World of Our Own’ back in 2012[.] Then I went and saw Steve [...] and we worked on new material. Then it was Wales to write with Geoff. And I went to Seattle to work with Alan.

It was all one-on-one initially and then we got together before doing the album to solidify and arrange the music as a band. That’s when everything came to life.

He then talked about writing "To Ascend": "I did a lot of writing for that song while living in a camper van with my wife[.] We have this little conversion van and we were trekking through northern California, Oregon and Washington – just staying in the middle of nowhere out in the forest." And in an Aug 2014 interview, Davison said:
I had a big creative burst. I was so excited to join the band [...] Right when I joined [...] we were already talking about an album. And I was demoing, and in any spare time I could get [...] so this album is the result of a long time preparation and anticipation.

Really as a band, it was just at the final stages that we collaborated and arranged the music. But in terms of bare-bones ideas, demos, I was doing a lot of personal prep work for more than a year, and then in December [2013] was when we really started buckling down, and we would work one on one, we’d do sessions; I worked with Steve and [...] Down[e]s [...] and then I went out to Arizona with Chris, and I was up in Washington with Alan, so there was a one-on-one period too. There were definitely different phases, or tiers, if you will, toward the final plateau of recording.

He added how he plays acoustic guitar on two tracks "because I write a lot on the acoustic. That doesn't mean I always play acoustic on the songs I wrote, even though I maybe started with an acoustic. It's always been a tradition in Yes; Jon Anderson's main instrument is the acoustic guitar, but sometimes it goes beyond the acoustic and it's translated to a keyboard part. Or Steve would take over the part and flesh it out, and make it really grand". In a Nov 2014 YesFANZ interview, Davison said:
I had done a lot of extensive demo-ing on all of the songs.  A lot of it was trimmed out and that was fine because that left room for others to say “well, I’ve got a part, let’s try and incorporate that”.  So the songs became collaborative efforts which I was more than willing to yield to because that is the most important thing. [...] it just so happened with 'Light of the Ages' though that everyone was on board with all my ideas and the arrangement as it was.  I think though that I did have some extended parts for that as well that Steve helped me edit and trim down but all in all those were my themes [...] The subject matter is very poignant for me [...] being a meditator and how spirituality plays a very vital role in my life [...] that song is probably the closest to home in that respect.  But I think that is definitely reflective in all the lyric [...] looking at the deeper meaning of life.  That there is more to it tha[n] just [...] the grind of basic existence.  [...] what is the meaning and how are we all connected and how we can we manifest more love in our lives.  It was very basic concepts that the Beatles sung about [...] 40+ years ago.
Later in the interview, Davison says of Heaven & Earth:
I think we were all encouraged by the album.  It 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 or, you know, twos at a time if you will which was very productive and that was a wonderful experience – I am very pleased with the album – but what we would like to focus on for the next one is collectively coming together [...] Basically just jamming it out and recording it and piecing it together [...] I think that would give it a whole new roundness and really expand [...] what we could do.  By comparison, Heaven and Earth in some respects is a safe album, a very safe album, because of the time constraints we just had to nail it down and get really specific very quickly
A Jul 2014 interview with Howe had this exchange:
Interviewer: How were you able to make “Heaven & Earth” so quickly, given that you’ve spent so much time on the road these past few years?

Howe: It was quite easy, really. Over that time, different songs got written — not necessarily on tour, but fragments might have been — and then other things collaborated on, and then Jon [Davison] did circulation around everybody to see what they had and what he could help with, what he could do with something of somebody’s else’s. Within two months we were able to walk in with demos on every song, and then say, let’s record this.

In the interview Jun 2014 with Jon Kirkman, Squire said: "Jon [Davison] and I first got together and started working on a couple of songs [...] earlier in the year [i.e., earlier than summer, so early 2013] [...] we re-got back together in November [2013] to sort of like polish them up and put them in better shape. But I realised, the first time I worked with him, that he is obviously very talented in the writing area and that, y'know, the next Yes album [...] would be best served by him interacting with the other guys who were already in the band. And so I said, 'Let's finish off these couple of songs that we're doing, and then you go and work with Steve and Geoff and Alan on a couple of songs each,' and that's basically the plan we came up with and we stuck to it." Kirkman then asked about the importance of the pre-production sessions. Squire replied: "We put together a sort of a demo reel [...] [of] the songs that we were working on and then we all got them to listen to, and then we all started to add our own bits at home. And then we got together in Los Angeles [...] and went into a rehearsal room first to [...] make the final decisions about which tracks we were going to go for and to take the arrangements a little further down the line. So we did that for [...] maybe 10 days. And then we went straight into the studio [...] we knew at that point that we didn't have a lot of time." Talking through the album, Squire described "Step Beyond" as a "fairly simple track for Yes, but actually it's very, very catchy. It's a bit of a pop song, but it's got [...] Yesisms about it." He continued to describe "Light of the Ages" and "Subway Walls" as "both very proggy tracks. And we wanted to represent that we still have that side of us going because [...] some of the other tracks are quite poppy."

In a Sep 2014 interview, Howe said, "Jon Davison, being a new guy, put his hand up and kind of said, 'Well, I'd be happy to circulate,' [...] 'cause we all live in different parts of the world, Jon visited everybody and found out what he could do with them a little, and then compared notes." He also notes that Davison "wrote massive bass lines for this album". In a Mar 2015 interview, Howe was talking about a new Steve Howe Trio album and then reflected on work with Yes: "we have almost finished [...] a new Steve Howe Trio album. But we're not in a hurry. We're not trying to work ourselves to death. We're just going to take our time….which is the opposite of what Yes did this year, which was to write an album, record it, and release it. [Laughs.] They were in some sort of hurry, and I don't know why."

In early Jan 2014, Downes recorded an interview also with Jon Kirkman. He talked about extensive pre-production to reduce studio time: "We used the last couple of months last year [2013] to try to make sure we got as much done as possible. [...] We kind of collaborated on a, y'know, one-to-one basis over a period of a couple of months [...] we sort of broke a lot of the ground at that time that we knew what was going to be on the album." Downes then talked about the album being "all brand new material" written by the 5 current members; "There's nothing re-hashed or anything like that." In another interview that month, he also then said, "We did a lot of pre-production in the last couple of months of last year [2013], so we're kind of, I think, a bit better prepared than a band would normally be by just going in the studio [...] We've all got a basic idea of how it's gonna turn out." In an Oct 2013 interview, Squire mapped out plans:
Right now we’re just getting ready, we're writing and getting ready to make a new album, which we're gonna start in January [...] we hope to have that ready for release some time around next summer [...] The difference between Jon Davison and Benoit David is that Jon is a pretty good writer and has been doing that for quite a while. So his input into the band collaboration, along together with everyone else, is going to put another slant on Yes, I hope, and we'll come up with something fresh.
In the Dec 2013 issue of Prog, Squire said:
We're currently writing songs [...] The aim is to go into the studio at the start of 2014, and have recording finished by March.
The album was produced by Roy Thomas Baker, who is best known for producing multiple Queen releases (including "Bohemian Rhapsody") and has also produced Nazareth, Hawkwind, The Cars, Journey, Alice Cooper, Mötley Crüe, Chris de Burgh, Guns N' Roses and The Smashing Pumpkins. He also worked with Gentle Giant, The Moody Blues, Egg, Frank Zappa, Ginger Baker, T. Rex, Ten Years After and Foreigner. He previously worked with Yes, producing the band's aborted Paris sessions in late 1979, and later produced Jon Anderson's 3 Ships. In an interview for the Feb 2014 issue of Prog, asked about Baker's previous involvement with Yes, Downes said, "for Steve Howe and Chris Squire, it's a case of unfinished business [...] they were keen to get Roy back on board." He is then asked whether any material from the Paris sessions is being used on the new album: "None [...] we've written the new material from scratch. [...] it's starting from a clean slate. No baggage left over." Asked in Brian Neeson's SYN interview about Baker, White said, "Roy is a smart guy and he knows where we should be going. He is getting on fine with the guys. He says his piece and he is very much part of what is going on." Neeson then asked about getting White's sound right on the album; White replied, "We spent quite a while getting the drum sound right. Roy is quite meticulous about which microphones get the right sound. We were using about $50,000 worth of microphones on the drums alone." In one of his Apr 2014 interviews, Howe said Baker "added his approach very subtley [sic] and very gradually into the recordings; he got things the way he wanted. He had nothing to do with our previous relationship at all which we all had virtually forgotten about anyway". In another, Howe described how the band was looking for someone with as much experience as them. He also related how Baker was suggested to the band, but they initially rejected the idea. (To quote the interview, in Czech: "Hledali jsme někoho, kdo má stejně jako my hodně zkušeností. Někdo ho zmínil, ale nejdřív jsme to zavrhli. Potom jsme však měli pocit, že bychom to měli zkusit.") Squire, in a Jun radio interview, described how other producers they were considering wanted to hear demos of the new album before the band felt they were ready, whereas Baker was willing to commit without doing so, and that is one of the reasons they chose him. In the Jun 2014 Kirkman interview, Squire discussed the choice of Baker, explaining how the band's manager, Paul Silveira, used to work for Baker ("about twenty years ago"). He went on: "We put out a couple of feelers to a couple of people [...] We didn't really want to work with Trevor Horn again even though [...] Trevor's, y'know, a really good mate of mine [...] We thought, 'No, let's work with somebody else.' [...] Roy was very favourable to the idea. [...] He was also very trusting in that we would come to the studio [...] with some ideas that he would like. So he wasn't one of those, 'Well, I'll have to hear the material before I can make up my mind'. [...] We liked Roy's attitude towards working with us."

In another Feb 2014 interview, Downes described how Baker is known for his focus on vocals and then said, "I think some of the material we've gotten lends itself to that kind of treatment. [...] Yes, as much as being an instrumental band [...] there is a lot of very intricate vocals — and a lot of that comes from Chris. I think this one is going to have those elements." And in a Jan 2014 interview, asked, "Who's the main writer now," Downes replied, "It's about equal. Everyone's contributing, it's good to have Jon Davison contributing as well." He was next asked whether the band are going for "a big, huge prog album or something more short and melodic," and replied, "It's going to be a combination of the two [...] There's going to be a lot of variety [...] the people are going to enjoy the shifts and changes that happen in the music."

Winston Arntz interviewed Davison in late Nov 2013 for Lords of Metal ezine. Davison described activity then ("The band is all writing frantically right now") and reiterated studio plans for Jan-Mar 2014. Arntz asked about how Davison is approaching the album:
I think it is my time now to step forward and reveal who I am. I have tried to do that in the context of the tour and that was balancing; performing the great Works of the band yet rendering and adjusting myself. [...] On the new material I can play around more and explore my own expressions, my uniqueness. The new music is very Yes-like but shows a lot more of my individuality.
Davison described the material: "It will be more 70s sounding but we are touching on all that is Yes. [...] we have a wide variety of music. Actually we have more music than we can work with, so we have to consolidate what we have."

An interview published Nov 2013 with White had this:
White: I’m gonna get together with Chris and just kind of toss some ideas around and maybe get the foundations of some new album work. [...]

Interviewer: That’s great to hear you’re taking that step forward with the new album.

White: [...] we’ll be passing ideas around of the foundation musically – that kinda thing, with the view of building this stuff into concrete ideas for a new album, hopefully early in the next year [2014] some time.


Jon[ Davison]’s a great guy, a real pleasure to work with. He’s really talented, has a wonderful voice [...] He has great ideas, and he’s a very talented songwriter.

Interviewer: When I talked to Chris Squire [...] he said one of the things he really liked about Jon is that he has a lot of musical ideas. Is he toying with the idea of bringing some of his own material into the songwriting process for the next album?

White: Absolutely! He’s got many, many great ideas up to this point that we’re taking in, and everybody’s excited about what he comes up with.

It had appeared that the band were planning studio work in late 2013, for an earlier album release in spring 2014, but that timetable shifted. They were working on new music through much of 2012 and have continued to do so through 2013, with a number of demos under consideration. For example, Squire and Davison were working together in late Aug/early Sep. In a May 2013 Brazilian TV appearance by Squire and White, Squire said, "We are looking at making a new album towards the end of this year [2013]. [...] We're going to compose some original music; we've already started with that process [...] maybe by the spring of 2014, there will be release of new musics. [...] maybe by March, April, something like that." In a Jul 2013 Q&A for YesWorld, Squire said, "the next thing we're looking at doing is a new studio album [...] then we'll go out on the road and promote that. So that's what's up next for YES – is recording." And in another interview later that month, he said, "We're doing this touring [see below] right now and then towards the end of the year [2013] we'll be looking to make some new, original music for a new studio album. That's going to be the next project and that's going to take us into 2014." A fan who met Downes and White in Apr 2013 reported they said the plan was for a spring 2014 release with 5 tour legs in support following, starting with a 2014 summer tour of the US. They also described the album as a "new Drama".

The band considered working with Trevor Horn again: Howe, in the Apr 2014 interview, explained: "we considered Trevor and there was talk about Trevor and there was on and off about Trevor and then there was no Trevor. [Laughs] But that was the way that we wanted it [...] We have a lot of respect for Trevor, so it's not that we didn't want to, but it was just practical and sensibility reasonings for doing it with somebody else".

One rumour has that the band were working on new material as early as the end of Mar 2012, during tour rehearsals in Los Angeles (CA), when the band first got together with Davison. After the Apr 2012 tour, Squire stayed on for a holiday in Hawaii and is said to have written a song called "Paradise" with Davison, and Squire and Davison are known to have met up after the Apr tour and were writing together. Reports from the summer 2012 tour said Squire, Davison and White had written a total of 5 songs. Further reports in Sep 2012 described the band working on material during the summer tour and continuing to exchange ideas by e-mail since. These describe 8 songs as under development: the 5 from Squire/Davison/White that the whole band developed further during the tour; a group composition developed during the summer tour; a piece from Howe; and another piece from Squire (presumably what became "The Game"). An unconfirmed, Oct 2012 rumour named one Squire/Davison/White song as "Zenith", while a 2013 rumour referred to "Breaking Down on Easy Street". It is difficult to match these reports to what was released. Some of those songs seem not to have been used; others may have been used with new names.

Next album?
The band had been working towards their next album. Squire, Davison and possibly White met in Squire's studio in Mar 2015 to go through ideas for the album. Squire has since passed away and the new line-up have no immediate plans to record a new album, but there are some indications that they are considering doing so at a later time (after 2016?). White said in the Jul 2015 Billboard article that "I think it's too early days yet to really venture into thinking [about new recordings.] We just want to get the band on an even keel first, I think, before we even think about writing new stuff." In an Aug 2015 interview, Downes was asked about doing another album and replied:
I think it’s a possibility. I think much of this is kind of an early situation that we have not yet managed to look at. We’ll take address of the situation once we’ve got through the tour and the cruise and see how not just the fans['] response is but how we feel internally about the situation. But I think we’ve got a very, very strong core, obviously long term fundamental members of the band, and Jon Davison who is a fabulous singer and fabulous talent that we’ve got on board, so I think there’s life in the old dog yet
In an Aug 2015 interview, Howe was asked about plans for a new album. He replied:
I really can't comment on that. We're not wholly sure. [...] we're not interested in doing it very soon. The last record was quite difficult and we have to learn from that. It could be years in the pipeline. It certainly would be a huge mistake to make some quick record and put it out [...] because we've got something really tricky to live up to, it's called things like "Close To The Edge" [...] I would say [...] we better not do the wrong thing. Therefore, to do nothing is a lot safer ground, to move along slowly, until we know a bit more.
In another Aug interview, Sherwood revealed that, around May 2015, before learning of Squire's ill health, he met Squire, who asked him, in the words of the article, "to take an active role in a planned Yes studio album". Sherwood said: "These were the things we were speaking about - making a great new album and trying to revive Yes on a level that would mean something to the world in a big, big way." It appears Sherwood was to have produced. Another Aug 2015 interview with Sherwood has more on those plans and the future:
That’s the beauty of Yes, [i]t doesn’t relent [...] A lot of the heavier conversations I was having with Chris toward the end were about his desire for this thing to go forward. He kept reiterating that to me and I kept telling him, ‘Yeah, I understand that but we[']re going forward with you in it. I’ll produce it. But you’re going to be the guy playing on it.[’] He kept telling me, ‘No matter what happens, Yes needs to continue moving forward and make great music. So promise me that that’s something you want to do.’ And I have to keep making music. It’s just what I do. [...] I’m a fan of the band and I want to see it thrive and that means new music.
In an Oct 2015 interview, Sherwood said:
I honestly have no idea what Yes plans to do for the future. I know I’m all about wanting to move things forward with new music [...] That said, I’m merely a traveler on this journey and so we shall see where the future takes us, once we get there. I’m never at a shortage for creativity and the desire to push things forward — and, of course, Yes moves as its own pace.
(The Jul 2015 issue of Prog (but no other sources) said that the band's Apr-Jun 2016 European tour "coincides with the release of a new album", although it does not specify whether this means a new studio album or something else; I presume this was an error or, at best, not a reference to a studio album.)

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

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

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

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

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

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

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

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


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

Panegyric re-release series (with remixes by Steven Wilson)
Panegyric, the label behind DGM's King Crimson 40th Anniversary Editions, have re-released a series of Yes albums. After Close to the Edge, The Yes Album and Relayer, Fragile was then released 6 Nov 2015 (delayed 1 week from the previously planned 30 Oct). The releases include bonus material and new stereo and 5.1 Surround mixes by Steven Wilson (Porcupine Tree, No-Man, ex-Blackfield, worked with Steve Hackett, Ian Anderson, Marillion, Theo Travis), who has done similar projects before for King Crimson, ELP, Jethro Tull, Caravan and XTC. Neil Wilkes, who worked with Wilson on the King Crimson remixes and other projects, returns as well. The new mixes use the original multitrack masters. The original stereo mixes are also included. Sleeves notes are by Sid Smith, with others contributing to the releases including Daniel Earnshaw and Anil Prasad. The albums can be ordered direct from Panegyric via the label's official stall at Burning Shed. The band and Roger Dean are also involved and fully approve the releases.

Wilson stated on Facebook around Nov 2015 that Fragile is the "final release scheduled in the classic Yes album remixes series at present." However, around the same time, Howe said on the Cruise to the Edge that Wilson had completed mixes for Tales from Topographic Oceans (and indeed that he had tweaked the final mixes with Wilson) and that that it would be released soon. Asked about further archival releases, Howe said there was plenty more in the vaults. Various earlier rumours had also suggested Time and a Word and Going for the One were possible, or that Wilson had been contracted to do everything from Time and a Word through to Relayer. In an Aug 2015 forum post, Wilson said:

I did start on Tales a couple of years back, but honesty it's not really up to me when and if more are released, and right now I don't have any more tapes anyway. 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, and as I said a lot of work was done on Tales before the focus shifted to the "hit" albums, so I hope at least that one will eventually get a green light.

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

Fragile, like all the releases, comes in a Blu-ray and a DVD-A version. As previously, these will include Wilson's 5.1 mix, Wilson's stereo mix and the original mix, while the Blu-ray will also have instrumental versions of the new mixes and a needle-drop of an original UK vinyl. Bonus material this time consists of 6 additional tracks, all previously unreleased:

  1. "Roundabout" [8:09] (rehearsal take, early mix)
  2. "We Have Heaven" [2:21] (full version, Wilson mix)
  3. "South Side of the Sky" [5:13] (early version, Wilson mix)
  4. "All Fighters Past" [2:32] (Wilson mix), previously unknown song, but missing beginning; described as "a previously unheard segment of a piece now called "All Fighters Past" which incorporates ideas that would later form parts of "The Revealing Science of God" [...] & "Siberian Khatru" [...] performed in the style of Roundabout!"
  5. "Mood for Another Day" [3:04] (alternate take of "Mood for a Day"), includes an end section that would later develop into "To be Over"
  6. "We Have Heaven" [2:00] (acapella, Wilson mix)
The Blu-ray includes the 2003 early mix of "Roundabout", a "headphones mix for vox overdubs" of "Roundabout" and another early take of "South Side of the Sky", plus needle-drops of two US single edits for "Roundabout" and "Long Distance Runaround". It also has the previous DVD-A 5.1 mix of the album. The release uses Dean's original artwork, expanded & restored with material from his archive. Note that the Blu-ray version currently does not run properly on the PlayStation 3 and some standalone Sony players: this is firmware issue at Sony's end and Sony will be releasing a firmware update soon. Burning Shed have given details of a workaround for playing the disc on the PS3.

Relayer comes in a Blu-ray and a DVD-A version. Again, these include Wilson's 5.1 mix, Wilson's stereo mix and the original mix, while the Blu-ray also have instrumental versions of the new mixes and a needle-drop of an original UK vinyl. There is various bonus material. Packaging includes rare photos and archive material, plus artwork expanded, restored and approved by Roger Dean. CD tracks:

  1. "The Gates of Delirium" (Wilson's stereo remix; 22:55)
  2. "Sound Chaser" (Wilson's stereo remix; 9:25)
  3. "To be Over" (Wilson's stereo remix; 9:08)
  4. "Soon (single edit)" (4:18)
  5. "Sound Chaser (single edit)" (3:13)
DVD-A tracks: 2014 stereo remixes (in LPCM Stereo 24/96), 2014 5.1 Surround mixes (in 24/96 MLP Lossless/dts 96/24), original stereo mixes (flat Transfer from the original masters in LPCM Stereo 24/96) and an 'alternate album' (in LPCM Stereo 24/48):
  1. "The Gates of Delirium" (studio run through), not previously released
  2. "Sound Chaser" (studio run through), not previously released
  3. "To be Over" (studio run through), not previously released
Buy Blu-ray version from Amazon (UK):

Buy Blu-ray version from Amazon (US):

The Blu-ray additionally includes the single edits of "Soon" and "Sound Chaser" and a studio run through of "The Gates of Delirium" (the same as as on the Rhino release). The Blu-ray also adds a 1976 live version of "Sound Chaser" (from The Word is Live) and a demo version of "Sound Chaser". It also has the full album as an archived master (in LPCM Stereo 24/96; but I don't know what an "archived master" is!), 2014 stereo instrumental mixes (in LPCM Stereo 24/96), and two needle-drops (LPCM Stereo 24/96). The first is the full album from a UK vinyl; the second is from the US banded promo album:
  1. "The Gates of Delirium (Part I)"
  2. "The Gates of Delirium (Part II)"
  3. "The Gates of Delirium (Part III)"
  4. "Sound Chaser (Part I)"
  5. "Sound Chaser (Part II)"
In a late 2014 interview, Moraz was asked about his involvement in the remix and answered, "I was in the knowledge of it and they asked me my opinion about the remastered version before that. I even corresponded with the guys over there in England. [...] They even asked me to send them a couple examples of "Sound Chaser.""

The Yes Album (Blu-ray version; DVD-A version) is out. The CD contains the new stereo album mix by Wilson, a studio version of "Clap" (same as on the 2003 Rhino release) and a previously unreleased extended version of "A Venture". The DVD-A contain a 5.1 Surround mix and both the new Wilson mix and the original mix (using the original stereo master tape in a flat transfer) in High Resolution Stereo. In addition, it also has (in regular CD audio) an alternate version of the album as follows:
  1. "Yours is No Disgrace", live, London 1971
  2. "Clap", studio version
  3. "Starship Trooper: Life Seeker", single edit
  4. "I've Seen All Good People", live, London 1971
  5. "A Venture", extended mix (4:46 versus the original 3:18, with a longer ending)
  6. "Perpetual Change", live, New Haven 1971

The Blu-ray has the same as the DVD-A, plus an instrumental version of the new album mix in DTS-HD Master Audio stereo and an exclusive needle-drop of an original UK vinyl A1/B1 pressing transferred in 24bit/96khz audio. It also has additional extras as follows:

  1. "Your Move", single version, stereo
  2. "Clap", single version, mono
  3. "America", live, London 1971
  4. "It's Love", live, London 1971
  5. "Your Move", single version, mono   

The 1971 London live tracks are the same as were released on The Word is Live, but the New Haven recording of "Perpetual Change" has not been previously released. The release comes with a booklet containing new sleeve notes by Sid Smith, plus rare photos and archive material. The Blu-ray version was at least as high as #135 in Music (and #43 in Rock) on Amazon UK (23 Apr), with the DVD-A version at #387 in Music. The Blu-ray was also #1 in Blu-Ray Audio (15 May). Available only as imports on Amazon US, the Blu-ray version there has been at least as high as #252 in Music (23 Apr) and, perhaps on the back of Heaven & Earth being listed, #12 in Movers & Shakers (biggest gainers in sales rank in last 24 hours) on 14 May.

The Yes Album came second in the best reissue category of Prog magazine's Critics' Choice for 2014. Relayer was fourth.

Close to the Edge (Blu-ray version; DVD-A version) is similar in its contents. The CD contains the new stereo album mix by Wilson, a new mix of "America" and an early mix/assembly of "Close to the Edge" (18:42). The DVD-A contain a 5.1 Surround mix and both the new Wilson mix and the original mix of the album plus "America". In addition, it also has (in regular CD audio) an alternate version of the album as follows:

And single versions:

The Blu-ray has the same as the DVD-A, plus instrumental versions of all new mixes and a needle-drop of an original UK vinyl. The album can be ordered direct from Panegyric via the label's official stall at Burning Shed (Blu-ray version; DVD-A version). The Blu-ray version was at least as high as #526 in Music (and #5 in Psychedelic Rock) on Amazon UK.

Releases have, so far, only been announced one at a time, with what subsequent albums will be included unknown. I previously erroneously reported first that Going for the One would be next, then that Tales from Topographic Oceans would be next, and I believe there has been work towards both, but instead Relayer was announced. A report in Jan 2014 had that Wilson had begun work on Tales from Topographic Oceans. One source reported that Wilson has been contracted to do Time and a Word through to Relayer, but also then said that Wilson has "nothing against" doing Going for the One as well. Howe's Apr 2014 interview implies that Fragile won't be next, but will be done at some time. Asked whether it is "open-ended that as many of the catalog masters you have in hand" will be included in the series, Howe answered, "I don't think we should say yea or nay yet, because there could be logistical things or even a question of taste." On this latter point, the interviewer teases out that Howe is referring to Tormato. Howe goes on, "It's not that it's dreadful; it's just that we didn't quite get it right. I don't know if a remix would make it right, but I really can't say because I don't think it could, because if you're going to be true to the original, then you have to base it on the original." 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". Wilson said in an Aug 2013 interview that:

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

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

The cruise included an all-star tribute to Chris Squire by Mike Portnoy (Transatlantic, Flying Colors, Neal Morse Band, ex-Dream Theater) and Friends. The core band was Portnoy with the Neal Morse Band, i.e. Morse (Transatlantic, Flying Colors, ex-Spock's Beard; keys, guitars), Randy George (Ajalon, works with Morse and Portnoy; bass), Bill Hubauer (Neal Morse Band; keys) and Eric Gillette (Neal Morse Band; guitar). Set: intro tape: "Amazing Grace", "Every Little Thing" (Morse and Gillette sharing vocals), "No Opportunity Necessary, No Experience Needed" (with vocalist Casey McPherson (Alpha Rev, Flying Colors)), "Hold Out Your Hand/You by My Side" (with vocalist Steve Hogarth and bassist Pete Trewavas (both Marillion)), "Silently Falling" (with Hogarth, bassist Jonas Reingold (The Flower Kings, Kaipa, worked with Transatlantic) and keyboardist Ryo Okumoto (Spock's Beard, worked with Squire) providing an organ solo) , "Cinema"/"Make It Easy" (with vocalist Ted Leonard (Spock's Beard, Enchant)), "City of Love" (with bassist Dave Meros (Spock's Beard) and vocalist Ross Jennings (Haken))/"The Fish Medley" (including the openings of "On the Silent Wings of Freedom" and "Heart of the Sunrise"; with 4 bassists, including Trewavas, Meros and Reingold)/"Changes" (with Leonard and Jennings)/"Does It Really Happen?" (reprise; with everyone on stage). Portnoy explained the unusual set list online, saying:

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

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

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

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

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

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

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

A 2016 cruise with Yes headlining is under consideration, with reports suggesting it will go ahead.

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

Also performing were Patrick Moraz, Stick Men (with Tony Levin; Eddie Jobson guested in one set), Steve Hackett's Genesis Revisited, UK, Marillion (due to a routine medical procedure, Ian Mosley will not be on the cruise, with Leon Parr standing in on drums), Tangerine Dream, The Strawbs (electric version), Three Friends (Gentle Giant spin-off band; Davison was in the audience), PFM, Soft Machine Legacy (also with a stand-in drummer), Queensryche, Renaissance, LifeSigns (with John Young (ex-Asia), Nick Beggs (Steven Wilson, ex-Steve Howe) and Martin Beedle), Saga, Sound of Contact (Hackett guested on one song), IOEarth, The Pineapple Thief, Presto Ballet, Pamela Moore, Electric Asturias, Scale The Summit (also at Yestival), Moon Safari (also with a stand-in drummer as their regular member was expecting a baby), The Prog Orchestra, Heavy Mellow and Cheap Thrill. Moraz played two solo sets on piano and keys with backing tapes. First set: intro, "Sound Chaser/improvisation/Lost Way/Temples of Joy/improvisation", "Freedom Alive", "Mumbai Mumbai Mantra/Cachaca", "Away to Freedom/Modular Symphony (1st Movement)". The second set featured material from i and a performance of "Soon" with Annie Haslam singing. In Hackett's second set, John Wetton (vocals) guested on "Firth of Fifth", Simon Collins (Sound of Contact, Phil Collins' son) guested on "Apocalypse in 9/8" and Wetton (lead vocals, rhythm guitar) and Chris Squire (bass) guested on "All Along the Watchtower". Passengers performed various pieces of music as well, including a cover of "The Gates of Delirium", with the audience including Squire, Moraz, Downes and Davison.

Kirkman returned as host and Roger Dean was again exhibiting. Dean also did a Q&A in which he painted live before the audience, a career first. (Dean was also on this year's Moody Blues Cruise just before.) Writer Armando Gallo was also on board again. White explained in this exchange in the Nov 2013 interview:

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

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

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

Mar 2013 saw the inaugural Cruise to the Edge (Facebook). Other acts included Glass Hammer, UK (with Eddie Jobson, John Wetton, Terry Bozzio and Alex Machacek), Steve Hackett's Genesis Revisited, Carl Palmer Trio, Nektar and IOEarth. Most bands did both regular performances and 'Storyteller Performances' (Q&A sessions, sometimes including musical performance). Roger Dean was also on the cruise, exhibiting work, while Jon Kirkman hosted Q&A sessions and did a talk about his Yes book too.

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

On tour
The band play on the Cruise to the Edge in Nov 2015, preceded by three Florida dates 11-13 Nov. In a Sep 2015 interview, Howe said they would play a 2 hour set on the cruise. In another Sep 2015 interview, asked about the cruise set list, he said:

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

The 11 Nov set was: pre-recorded "Onward" tribute, intro: "Firebird Suite" extract, "Siberian Khatru", "Believe Again", "Going for the One", extended version of "White Car", "Tempus Fugit", "America", "Nine Voices", "Time and a Word", "Clap", "Don't Kill the Whale", "Soon", "I've Seen All Good People", "Owner of a Lonely Heart", "Roundabout", encore: "Starship Trooper". They played the same set for both of their Cruise to the Edge 2015 shows. Richard Davis remains as bass tech.

A western European tour follows 27 Apr-1 Jun 2016, with dates announced covering the UK (10 dates from 27 Apr-10 May), France (13 May Paris), Belgium (14 May Brussels), the Netherlands (15 May Utrecht), Germany (7 dates, 17-25 May), Switzerland (27 May Zurich) and Italy (4 dates from 28 May-2 Jun). The tour will see [SPOILERS—highlight to read] both Fragile and Drama played in their entireties. UK dates will have Moon Safari (worked with The Syn) in support.

Further touring is expected. A Mar/Apr tour of the US before the announced European tour appears to have been under consideration, but the latest reports say this is not happening. A US summer tour later in the year is possible: on the 2015 Cruise to the Edge Q&A, Howe said they did not yet have plans for summer 2016 and said that the band could do a 2-set show in the summer as opposed to touring with another band. Discussion of possible set lists is below. Further touring is under consideration.

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".

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

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

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

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

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

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

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

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

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

In another, White also said:

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

Toto's Lukather in Apr 2015 said: "we will change up set lists night by night as well I think. NOT that same set as last year. NO ballads or any pop stuff... and just the big 3 hits... the rest is new and or deep cuts." While in an Aug interview, he said the set will be "a little more hit bound. We've added a couple of songs that weren't on the new DVD ["Live in Poland"] that were hits and stuff like that. We're trying to suck in the casual audience". Their set was: "Running Out of Time", "I'll Supply the Love", "Hydra", "Never Enough", "Hold the Line", "Georgy Porgy", Paich solo, "Great Expectations" (dedicated to Squire), "Pamela", "Without Your Love", "Little Wing", "On the Run/Goodbye Elenore", "Orphan", "Rosanna", "Africa". Reportedly, they played the same set on the second night too.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

Possible live activity with ex-members
In an article in the Jul/Aug issue (#162) of German magazine Eclipsed, Squire talked of negotiations for shows with Jon Anderson in 2015:
Natürlich können wir nicht behaupten, dass Jon Anderson bald wieder an Bord sein wird[.] Aber ausschließen will das auch niemand. Zwar ziehen wir im Laufe dieses Jahres noch etliche Konzerte mit Davison überall auf der Welt durch. Andererseits laufen schon Verhandlungen, dass wir 2015 ein paar Konzerte mit dem anderen Jon - also Anderson - machen werden. Doch wer weiß schon, was die Zukunft bringt? Vor allem die Zukunft von Yes, die ja stets unberechenbar war.

[Translation: Of course we can't say we'll have Jon Anderson back on board anytime soon. But we can't rule it out either. We have a bunch of global concerts with Davison this year [2014]. On the other hand, there are already negotiations for a few gigs with the other Jon, Jon Anderson, that is. But who knows what the future will hold? Above all, the future of Yes, which was always so unpredictable.]

Davison's response is given as:
Mir war der Umstand, dass ich nur Jon Andersons Ersatz bin, stets bewusst. Das wurde mir vom Rest der Gruppe von Beginn an klargemacht. Trotzdem wäre ich sehr traurig, wenn ich meinen Platz bei Yes schon bald wieder räumen müsste. [...] Aber: Für einen Ausnahmemusiker wie Jon Anderson mache ich sofort Platz.

[Translation: I'm perfectly aware of being just a back-up for Jon Anderson. The group made that clear from the very start. Nevertheless, I would be quite sad if I had to leave the band again soon. [...] But for an exceptional musician such as Jon Anderson is I would make room anytime.]

The article then continues:
Momentan sind dies jedoch noch Gedankenspiele. Und dennoch: „Auch wenn es nach außen hin chaotisch wirkt, bei Yes sind die Dinge konsequent durchgecheckt", ist sich Squire sicher. „Das war immer so, daran hat sich nie etwas geändert. Wir sind dieses Jahr noch eine Zeitlang auf Tour, wir hatten das alles von langer Hand geplant, lange bevor Jon bei Yes eingestiegen ist. Aber Davison singt die alten Songs großartig, insofern muss er da jetzt durch. Es scheint ihm auch jede Menge Spaß zu machen. Was danach passiert, werden wir einfach mal sehen. Auf Nicht-Bandmitglieder mag dieses Procedere merkwürdig wirken. Für mich ergibt es einen Sinn. Wir wollen dieses merkwürdige Schiff namens Yes am Schaukeln halten, Es bereitet zu viel Spaß darin zu schippern, als dass wir damit kentern wollten."

[Translation: At the moment, this is just a bit of brainstorming. Yet: "Even though it might seem a bit chaotic from the outside, all things Yes are consistently planned down to the last detail," Squire assures. "It's always been that way and nothing's changed. This year [2014] we'll still be on tour for a while. Everything was planned well in advance, long before Jon [Davison] joined Yes. But Davison sings the old songs in a great way, so he just has to stick with it right now. And he seems to have a lot of fun doing so. What will happen after that remains to be seen. For non-band members this procedure may seem a bit strange. For me, it all makes sense. We'd like to keep this strange ship called Yes rocking. It's much too much fun sailing it to just let it capsize."]

In the Sep 2014 issue of Classic Rock, Squire likewise said, "I spoke to Jon Anderson not long ago[.] We had a nice chat. I think we will do something together again — it's just that he may not be up for full-scale touring." He added, "I don't think Rick[ Wakeman]'s interested[.] He's in his own world, working his way towards a knighthood." However, nothing more along these lines have been heard and the band appear to be planning to continue with Davison into 2016.

There were comments in 2012 around a possible live residency, also involving former band members. It is unclear whether the news in Eclipsed is related to those. An Apr 2014 interview with Squire reported there are "no plans for it [a residency] to go ahead at the moment" and quotes Squire: "It was a good concept but it's like any Broadway show, it's on six or seven nights a week, you have to put bums on seats for that amount of time. You never know with these things, it could work, it might not work."

In the Aug 2012 Reforma interview, Squire commented on this idea and a film project he had discussed with the newspaper in a previous 2007 interview (see here):
Son ideas que hemos estado hablando, que se cocinan a fuego lento, que se desarrollan. [...] No van a pasar ni este ni el siguiente año (del 45 aniversario), pero mantengan los ojos y los oídos abiertos, que algo escucharán de esto

[My translation: These are ideas we've been talking about, which are on the back burner and developing. [...] It is not going to happen this year [2012] or the next (the 45th anniversary), but keep your eyes and ears open, you will hear something about this.]

Asked about the possibility of Anderson returning to Yes in a May 2012 interview, Squire referred to a possible residency on Broadway:

I don’t close the door on that possibility [Anderson returning]… it’s just how that will happen. There’s been talk of YES possibly doing something on Broadway in New York. People have approached me with that idea and there are discussions about that. A possible project like that and you might see Jon re-involved as you would other ex members of YES. Once again there’s nothing concrete about that yet [...] we won’t close the door on other possibilities in the future …we’ll see what happens.

Another May 2012 interview had more on this residency concept:

Squire is open to the idea of a Yes reunion as part of a residency at a Broadway theater in New York. "The idea of 'Yes on Broadway' has come up," he says. "It would reflect the history of Yes. It requires the collaboration not only with Jon Anderson, but also other ex-members, including keyboard players like Patrick Moraz and obviously Rick [Wakeman] would be looked at as well. Of course, it would have to depend on if there's any interest from that side as well. It's something that's brewing, but it's very much on the backburner."

And in a Jul 2012 interview: "We are looking at the possibility of doing a residency somewhere and thinking New York would be a good place to do it. There's always a Vegas alternative, too, but there's no definite plans yet." And in another that month:
Interviewer: I read that there is a possibility of “Yes on Broadway” in 2013 to celebrate the band’s 45th anniversary [...]

Squire: Ya, I don’t know how this rumor really got started. It was something that we were discussing as a band that maybe, at some point, to do a history of Yes sort of show and possibly have all of the previous members come in and do bits here and there. But it’s kind of a backburner thing. It’s not really something that’s going to happen this year [2012] or next. But it’s something that we’ve been talking about for a while, so don’t be surprised if in 2014 something pops up.

To Innerviews for more from Squire:
It’s [...] on the back burner while we mull it over. The idea is to do a history of Yes concept, including past and present members, if it was physically and financially possible. [...] We were looking at Broadway as opposed to Las Vegas or Atlantic City, which is where people try to do residencies. [...] we put this idea out there to see if someone who controls the theaters on Broadway would come to us and suggest something. We’ve had a couple of enquiries, but it hasn’t gone that far. [...] Next year [2013], we’ll be looking at doing a new studio album [...] So, this idea may not surface for awhile.
In an Aug 2012 interview, White may be alluding to the same or a related idea:
As for Anderson coming back, "we haven't put that out of our minds at all," White says. But if it happens, "I've got a feeling it won't be these long, arduous tours, maybe just some one-off gigs in big cities and stuff like that."

And for these special occasions, "I think we probably would have Jon there, too, the other Jon [i.e., Davison]. He's that nice a guy. He'd work with us on it and be part of it."

A Sep 2012 interview asked White whether he would like to play with Anderson again. The reply (seemingly translated into Greek and then back into English):

It would be great to play with Jon again but you know, he’s doing his own thing. Now, we have a new singer in Yes. I see the reason of playing with Jon again in a special concert or in a special occasion. In very special gigs around the world like New York, L.A.. That kind of things.

Line-up discussion & relationships with past members
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 mean, 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."

Anderson, in a Sep 2015 interview, described having "a good chat" with Squire after learning of his ill health, and then emailing back and forth. In an interview in the Jul 2015 issue of Prog, Anderson described e-mailing Squire. He is asked whether it is strange hearing Yes perform with other singers; he replies, after a "long pause":

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

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

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

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

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

However, an Aug 2014 interview with Anderson had this:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In an interview from around May 2013, Anderson said:

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

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

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

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

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

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

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

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

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

And in an Apr 2013 interview, Downes said:

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

The article continues:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Interviewer: Would you ever work with them again?

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

Another Feb 2013 interview had this:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A Feb 2012 interview with Anderson had this:

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

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

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

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

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

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

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

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

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

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

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

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


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

But a Mar 2012 article has this:

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

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

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

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

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

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

In a Nov 2010 Chilean article, Howe said:

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


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


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

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

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


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


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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

A Feb 2011 interview reads:

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

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

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

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


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

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

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

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

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

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

Anderson: Yeah and good luck to them.

And this is Anderson in a Sep 2011 interview:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In a Feb 2008 interview, Dean said:

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

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

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

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

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

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

Fly from Here
Fly from Here was released Jun/Jul 2011 on Frontiers Records in Europe/US and Avalon in Japan. By around the end of November 2011, about 5 months after its release, Fly from Here had sold 72,000 copies worldwide, including 32,000 in the US. A report at the beginning of Feb 2012, so about 7 months after release, said the figure was just short of 100,000. (For comparison, Keys to Ascension had sold about 55,000 copies in the US in its first 13 months. By late Nov 1999, Keys to Ascension had sold about 63,000 copies in the US; Keys to Ascension 2 48,000; Open Your Eyes 40,000; The Ladder, after about 2 months, 42,000; and Talk, 298,000. In the UK, Magnification sold about 10,000 copies after 5 months, climbing to about 14,000 after 1 year. The Ladder sold about 20,000 in the UK.) Downes said in early Mar 2012 that Fly from Here has sold more copies than Magnification.

Official national chart positions
Czech Rep.

Note a song entitled "Corner of the World" and further songs were also being developed after Downes joined, but were not used on the final album. Shortly before recording final overdubs for the album, David was interviewed by Progression magazine, saying, "At the end of the day we recorded so many tracks that we could do almost two albums. So the tracks are there, we just need to see what Trevor puts on the final disc." In mid-May 2011 on the Asia tour, Howe and Downes spoke to fans about the album and said that there were a few songs that were left off the album.
Contemporary live releases
The band recorded their 11 May 2014 Bristol date on their European tour for a DVD, mixed by Billy Sherwood. Squire, Downes and Davison joined Sherwood to finalise the mix in Aug 2014. Maor Appelbaum mastered the DVD in late Aug. Like It Is—Yes at the Bristol Hippodrome (Columbia Music Entertainment) was released 19 Nov 2014 in Japan by Ward Records on 2CD, DVD and Blu-ray, and limited edition DVD + 2CD and Blu-ray + 2CD. Release elsewhere followed (2CD, DVD, DVD + 2CD Deluxe edition, Blu-ray and digital) on Frontiers Records from 8 Dec. The video elements are in stereo (not 5.1). Tracks:
  1. "Going for the One"
  2. "Turn of the Century"
  3. "Parallels"
  4. "Wonderous Stories"
  5. "Awaken"
  6. "Yours is No Disgrace"
  7. "Clap"
  8. "Starship Trooper"
  9. "I've Seen All Good People"
  10. "A Venture"
  11. "Perpetual Change"
  12. "Roundabout" (9:53), Japanese bonus only

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


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



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

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

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

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

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

And in an interview published Mar 2012, Squire said:

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

Archival live releases
Buy 2CD Highlights from Amazon (US):

Buy 3LP Highlights from Amazon (US):

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

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

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

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

Progeny has been nominated in Prog magazine's annual awards in the Storm Thorgerson Grand Design category: you can vote here.

Buy Progeny from Amazon (UK):

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

Other re-releases &c.
The Panegyric re-release series, with remixes by Steven Wilson, are covered above in their own section.

A Special Edition re-release of "Songs from Tsongas—The 35th Anniversary Concert" was out 10 Sep 2014 in Japan (Nippon Colombia) and 22 Sep elsewhere (Eagle Rock). There are a Blu-ray version, a 2DVD version and a 3CD version. Japan also has versions with the Blu-Ray + 3CD, and with 2 DVDs + 3CD. In addition to the original content, the Blu-ray and DVD versions include bonus material (on the second disc for the DVD version) of 70 minutes taken from the band's Lugano, Switzerland festival performance (in Standard Definition 720×480), "Ritual" from the Tsongas show (moved from the main running order and offered as a bonus track on some versions, but in the correct place in the running order on the Japanese Blu-Ray), and an interview with Roger Dean. All the Japanese releases come with an additional 8 tracks from the Lugano show, i.e. the full show. "Songs from Tsongas" tracks:
  1. "Intro/Firebird Suite"
  2. "Going for the One"
  3. "Sweet Dreams"
  4. "Your Move / All Good People"
  5. "Mind Drive Parts 1 & 2"
  6. "South Side of the Sky
  7. "Turn of the Century"
  8. "My Eyes" ("Foot Prints" extract)
  9. "Mind Drive Part 3"
  10. "Yours is No Disgrace"
  11. "The Meeting" (piano solo)
  12. "Long Distance Runaround"
  13. "Wonderous Stories"
  14. "Time is Time"
  15. "Roundabout"
  16. "Show Me"
  17. "Owner of a Lonely Heart"
  18. "Second Initial" (guitar solo)
  19. "Rhythm of Love"
  20. "And You and I"
  21. "Every Little Thing"
  22. "Starship Trooper"
Lugano track listing:
  1. "Intro/Firebird Suite"
  2. "Going for the One"
  3. "Sweet Dreams"
  4. "Your Move / All Good People"
  5. "Long Distance Runaround"
  6. "The Fish"
  7. "Owner of a Lonely Heart"
  8. "And You and I"
  9. "Starship Trooper"
  10. "Roundabout"
Lugano track listing in Japan:
  1. "Intro/Firebird Suite"
  2. "Going for the One"
  3. "Sweet Dreams"
  4. "I've Seen All Good People"
  5. "Mind Drive (Part 1)" (what is usually called Parts 1 & 2)
  6. "South Side of the Sky
  7. "Foot Prints" (extract)
  8. "Mind Drive (Part 2)" (what is usually called Part 3)
  9. "Yours is No Disgrace"
  10. "Second Initial"
  11. "Jane Seymour" (Wakeman solo)
  12. "Long Distance Runaround"
  13. "The Fish"
  14. "Owner of a Lonely Heart"
  15. "Rhythm of Love"
  16. "And You and I"
  17. "Starship Trooper"
  18. "Roundabout"

Esoteric have re-released a remastered and expanded version of ABWH (ECLEC22465). This comes with restored artwork and booklet, including a new essay by Sid Smith. Bonus disc:
1. "Order of the Universe (Long Edit)" (6:03), from 12" single
2. "Brother of Mine (Long Edit)" (6:33), from 12" single
3. "Vultures in the City" (5:54), b-side to "Brother of Mine"
4. "Quartet (I'm Alive) (CD Single Edit)" (3:19), from CD single
5. "Order of the Universe (Short Edit)" (4:52), from single
6. "Brother of Mine (Single Edit)" (3:25), from 7" single
This is different to the 2011 Gonzo re-release. In a Jul 2014 post to ProgressiveEars.com, the Esoteric account explained what had happened and the choice of bonus material:
With regards to AWBH , it was always owned by Sony, no one in the band had the right to licence to Gonzo we have been told , hence Sony wanted it licensed legitimately, it is complicated though what you can add, the owning label have to give permission to add bonus tracks that they don't own etc and we have a very short window to release on other label licences that don't allow for lengthy negotiations
The Yes Album, Close to the Edge, Going for the One and Yessongs are now available as HD downloads from HDtracks (in the US;  in most countries). These are described as "flat" transfers from the master tapes. Several Yes songs are also available through the Jammit app, which allows you to isolate multi-tracks. Audio Fidelity have released a limited edition, 'gold' Hybrid SACD release of Close to the Edge (AFZ147). Going for the One (AFZ 157) followed in Jun 2013. Both were mastered by Steve Hoffman, who said on his online forum that he used the master tape for Going for the One rather than the EQ'd LP cutting master used, he said, for previous CD releases.
Buy from Amazon (UK):

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There is a new 180g vinyl re-release of an edited version of YesSymphonic: LP1: "Overture", "Close to the Edge", "Orchestral Intro", "Long Distance Runaround", "Don't Go", "Starship Trooper"; LP2: "And You and I", "I've Seen All Good People", "Owner of a Lonely Heart", "Roundabout". Let Them Eat Vinyl have also released a limited edition, triple coloured (red, white and blue) vinyl edition of Union Live.

The 2011 2CD Yes compilation, Wonderous Stories: The Best of Yes (Music Club Deluxe) has been re-issued with new packaging in 2014, including new art by Roger Dean. Dean has explained: "[the album] was originally released in 2011 with a cover I didn't know about or approve. Both Demon who released it and Rhino were very helpful in putting right the situation, and the two cd set has been re-released with a cover specially made based on an updated view of the 'Fragile' world. This was a closer match to the colours and shapes in the first Yessong painting "Escape"." The compilation covers the Atlantic years. Yes's The Studio Albums, 1969-1987, their 2013 box set, was nominated for Reissue of the Year by Classic Rock's Roll of Honour 2014.

The Greatest Hits (Warner Music Japan) is a compilation released in Japan Nov 2014; tracks: "Roundabout", "Owner of a Lonely Heart", "Love will Find a Way", "Big Generator", "Rhythm of Love", "It Can Happen", "Leave It", "Your Move", "America", "Long Distance Runaround", "Soon", "Going for the One", "Don't Kill the Whale", "Into the Lens (I am a Camera)", "Heart of the Sunrise", "Wonderous Stories".

Released Nov 2014, The Many Faces Of Yes (Music Brokers) is a 3CD compilation of previously released Yes and Yes-related material. The band appear not to have been involved in its release. CD 1 consists of BBC sessions by Yes as released previously on Something's Coming and several other titles. CD 3 has material from various Cleopatra Records tribute albums, notably for Pink Floyd. CD 2 is a mix of material, including tracks by Flash, Yes covers by Rick Wakeman and Asia songs. Out in the US is The Early Years (Blue Line), a compilation of studio tracks. The cover has the album as including "Mood for a Day", "Starship Trooper" and "Owner of a Lonely Heart".

The Prog Box, released 2014, is a 4CD set from Cleopatra Records including one previously released live Yes performance, but mainly focusing on the label's own catalogue and thus including numerous tracks involving Billy Sherwood and various other Yes men. Tracks:

Disc 1
  1. "Magnu (Steven Wilson Mix)", by Hawkwind
  2. "Riding You", by Chrome
  3. "Time Crypt", by Nik Turner
  4. "Every Little Thing" (Top Gear Session, 1/12/1969) by Yes
  5. "Buried Beneath, from The Prog Collective (see under Sherwood), with Sherwood
  6. "Time Machine", from Time Machine by Nektar (see under Sherwood), with Sherwood
  7. "The Weight of the World (Billy Sherwood Mix)", by Queensrÿche feat. Geoff Tate (see under Sherwood); the song is from the 2013 album Frequency Unknown, but I think this mix is previously unreleased
  8. "Just Another Day (Instrumental)", from Epilogue (deluxe edition) by The Prog Collective (see under Sherwood), with Sherwood and Tony Kaye
  9. "Cut the Ties", from CIRCA: 2007 by CIRCA:, with Sherwood, Kaye and Alan White
  10. "Ponder the Mystery", from Ponder the Mystery by William Shatner (see under Sherwood), with Sherwood
Disc 2
  1. "Ultima Thule Part 1 (7" Version), by Tangerine Dream
  2. "On the Highway", by Amon Duul II
  3. "Show Me the Way", by Nektar
  4. "At the Edge of the Middle", from The Fusion Syndicate (see under Sherwood), with Sherwood and Rick Wakeman
  5. "Watching You", by Brainticket
  6. "The Technical Divide", from The Prog Collective (see under Sherwood), with Sherwood and Chris Squire
  7. "Following the Signs", from The Prog Collective where it was called "Follow the Signs", with Sherwood and Kaye
  8. "Random Acts of Science", from The Fusion Syndicate, with Sherwood and Wakeman
  9. "The Flying Dutchman", from When We Changed You by XNA (see under Sherwood), with Sherwood
  10. "Are We to Believe", from Epilogue by The Prog Collective (see under Sherwood), with Sherwood and Wakeman
Disc: 3
  1. "It Happened Today", by Curved Air
  2. "Memory Tracks", by Roye Albrighton
  3. "Sign from Space", by Joel Vandroogenbroeck
  4. "Fallen Angel STS-51-L", by Nik Turner
  5. "So am I", from Ponder the Mystery by William Shatner, with Sherwood
  6. "Stone Cold Fusion", from The Fusion Syndicate where it was called "Stone Cold Infusion", with Sherwood
  7. "What Can be Done", from Epilogue by The Prog Collective, with Sherwood
  8. "Damn Shame", by Huw Lloyd-Langton
  9. "In Our Time", from Epilogue by The Prog Collective, with Sherwood and Geoff Downes
  10. "Particle Accelerations", from The Fusion Syndicate, with Sherwood
Disc: 4
  1. "Places of Light", by Brainticket
  2. "Tomorrow Becomes Today", from Epilogue by The Prog Collective, with Sherwood and Peter Banks
  3. "Check Point Karma", from The Prog Collective, with Sherwood and Wakeman
  4. "In the Spirit of...", from The Fusion Syndicate, with Sherwood
  5. "Remember the Future", by Nektar
  6. "Molecular Breakdown", from The Fusion Syndicate, with Sherwood
  7. "High Computer Tension", by Joel Vandroogenbroeck
  8. "Shining Diamonds", from Epilogue by The Prog Collective, with Sherwood and Squire
  9. "Epilogue (Instrumental)", from Epilogue (deluxe edition) by The Prog Collective, with Sherwood
  10. "Adding Fuel to the Fire", from Epilogue by The Prog Collective, with Sherwood

Covers of Yes songs & other news
Mark Kozelek's cover of "Onward" (from his 2013 album Like Rats) appears multiple times in "Youth" (or "La Giovinezza"), a new movie starring Michael Caine and written and directed by Paolo Sorrentino, due 4 Dec on limited release in the US and 15 Jan 2016 in the UK. Kozelek also appears as himself in the film.

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

Recollections: A Tribute to British Prog from Asia Featuring John Payne includes a cover of "It Can Happen": see the Asia page for more details.

Brenda Carol & ClaireVoyance continue to perform a number of Yes and related pieces live. In Jun 2013, they performed as part of the Toronto Jazz Festival a set including "No Opportunity.../The Prophet", Squire's "Lucky 7", "Everydays/I See You", and King Crimson's "Prince Rupert Awakes". Classical pianist Stephen Prutsman performs his version of "Sound Chaser" in his recitals, and may now be working with Jon Anderson (see under Anderson). Esoteric signing Tin Spirits have played "Roundabout" live. Korekyojinn, led by Tatsuya Yoshida (Facebook; Ruins), perform a packed Yes medley live. Dylan Howe did a cover of "Perpetual Change" with July Valls (guitar, bass, keys), viewable on YouTube, and they did another of "Awaken": see under Dylan.

Voices for Yes
Voices for Yes (Facebook; Twitter) is a major fan-led campaign to get Yes inducted in the Rock & Roll Hall of Fame. It has been re-started with Yes again nominated in 2015. You can sign the petition here. The campaign is headed by two political operators: John Brabender (who worked on Rick Santorum's 2012 US Presidential campaign) and Tad Devine (who worked on John Kerry's 2004 and Al Gore's 2000 Presidential campaigns). Also involved are Steve Capus (former president of NBC News), Sara Taylor (former White House Political Director under George W. Bush) and our own Steven Sullivan (Forgotten Yesterdays). In 2014, the campaign received support from the current band, Jon Anderson, Trevor Rabin, Geddy Lee (Rush), Gov. Mike Huckabee, Savannah Guthrie (NBC News co-anchor), Dylan Howe and Virgil Howe. Yes responded to the campaign here.

Yes were nominated for entry to the Hall of Fame in 2014. They were on the long list along side Deep Purple, Peter Gabriel (first nomination; already inducted as part of Genesis in 2009), Nirvana (first nomination), Kiss, The Replacements (first nomination), Hall and Oates (first nomination), The Paul Butterfield Blues Band, Chic, LL Cool J, N.W.A, Link Wray (first nomination), The Meters, Linda Ronstadt (first nomination), Cat Stevens (first nomination) and The Zombies (first nomination). The public were able to vote in a poll to select a top 5 that then makes up a part of the formal ballot. (Precisely how is unclear, however from 2014, three of the top five in the public vote are guaranteed to be inducted.) Yes came fourth with 151,238 votes (10.88%), behind Deep Purple (11.93%), Nirvana (15.69%) and Kiss (17.22%); Hall and Oates were fifth with 8.1%, with Gabriel just behind in sixth. Voices for Yes released a video supporting the vote. Anderson responded to the news on Facebook with: "wonderful new, all you great Fans deserve to see YES in the Hall of Fame, YES music is very special, very unique, and I'm a fan of what we did as a band, no matter what happens, we still created some of the most wonderful music ever [...]" In a Dec 2013 interview, Squire said he had spoken to Anderson about the nomination: "he's excited about the nomination and of course he'll be there. We'll see, we'll probably try to do an expanded Yes thing there, if we're inducted." He also said, "And I think Pat [Moraz] sho[u]ld be inducted into the Hall of Fame as well, if we're inducted."

However, Yes were not chosen for induction in 2014. Downes tweeted in Jan 2014 that, "Fact: Yes missed out on the R&R Hall of Fame by a mere 24 votes out of 700." The inductees were Kiss (1st in the public vote), Nirvana (2nd), Hall & Oates (5th), Peter Gabriel (6th), Linda Ronstadt (7th) and Cat Stevens (8th).

But Yes have now been nominated again for 2016 entry: you can vote for the band here. Their rival nominees are The Cars (first nomination), Cheap Trick (first nomination), Chicago (first nomination), Deep Purple, Chaka Khan (first nomination), Chic, Janet Jackson (first nomination), the JB's (first nomination), Los Lobos (first nomination), N.W.A., Steve Miller, Nine Inch Nails, The Smiths and The Spinners (first nomination). As of 31 Oct, the band are in second place in the public ballot, behind Chicago.

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

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

Released 1 Jan 2015 was Dave Rubin's "Yes - Guitar Signature Licks: A Step-by-Step Breakdown of the Guitar Styles and Techniques of Steve Howe and Trevor Rabin", published by Hal Leonard. Covering "Clap", "Close to the Edge", "Going for the One", "I've Seen All Good People", "Long Distance Runaround", "Love will Find a Way", "Mood for a Day", "Owner of a Lonely Heart", "Roundabout", "Siberian Khatru", "Starship Trooper" and "Yours is No Disgrace", the book includes notes and tab, with demo tracks available to stream or download.

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

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

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

Garry Freeman (author of "The Bootleg Guide" and the forthcoming "Emerson, Lake and Palmer—A Live Guide 1970-1978") is 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. If you can help with recordings of shows or technical information (what equipment the band used, what was the set list etc.), please e-mail Garry. The Gottlieb brothers are working on a book on Yes collectibles and Bill Martin (author of "Music of Yes—Structure and Vision in Progressive Rock") has been rumoured to be working on a new Yes book.

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

Yes and Wakeman were featured in the third and final episode of BBC4's Sound of Song documentary series, "Mix It Up and Start Again", with Wakeman being interviewed for the programme. Wakeman also presented BBC4's Tales from the Tour Bus: Rock 'n' Roll on the Road.

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

Management etc.

Yes are managed by Paul Silveira. Precisely who owns the Yes name, or what that question even means, is unclear. Yes as a corporate entity (Yes, LLC) has been owned by Howe, Squire and White (Downes may also be a co-owner now). Anderson and R. Wakeman were equal co-owners 2002-4, but subsequently sold their shares back. Consider also this Jul 2009 interview with Squire:

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

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

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

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

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

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

Projects involving multiple Yes men
There are a large number of projects involving more than one Yesman (see summary table on main page). Some are listed below, while others are listed on their own pages or under key individuals. In particular, Cleopatra Records have released and are releasing a large number of projects with multiple guests: some of these are headed by Sherwood (including various tribute albums, with guests including Squire, Wakeman, Kaye, Howe, Downes and Moraz) and are covered under him, while others are listed below. CIRCA: and related projects with Sherwood and Kaye are covered on their own page here.

On 23 Jan 2015 at The Hilton, as part of the 2015 NAMM show, a band consisting of Alan White, Geoff Downes, Jon Davison and White bassist Steve Boyce performed, including "I've Seen All Good People" and "Roundabout".

Mabel Greer's Toy Shop Official site; Facebook; YouTube; Twitter; Pinterest
Mabel Greer's Toy Shop was founded in 1966 by Clive Bayley and Bob Hagger. They were joined in 1967 by Chris Squire and Peter Banks from The Syn, and then by Jon Anderson in early 1968. With Bayley and Hagger's departure, the band evolved into the first Yes line-up. Spurred on by Banks' passing, Bayley and Hagger (ex-So Rare) met up and decided to reunite the band. There were sessions Aug 2013-May 2014 in Paris with Hugo Barré (JP Raillot Quartet, works with Alex Keren; bass) and Clive's daughter, Annouchka Bayley (vocals). A website was launched; then Billy Sherwood announced in Jul 2014 that he and Tony Kaye were working with the band. Sherwood said 8 Aug 2014 on Facebook: "At present I'm pre-mixing the elements already recorded by Bob and Clive, once I get all the tracks in sonic order I'm heading into doing overdubs, Keys and bass. Tony Kaye is scheduled to play some hammond on here as well". Across that month he did first bass and then keyboard overdubs, with Kaye believed to have recorded Hammond parts in late Aug. Mixing took place early Sep 2014.

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

Buy from Amazon (UK):

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

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

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

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

Although not involved, former member Chris Squire endorsed the project.

Jon Anderson and Rick Wakeman's collaboration is on pause for the moment. Asked if they have plans in an Apr 2014 interview, Anderson said, "Not at the moment. He's very committed to doing [...] "Journey to the Center of the Earth," [...] So we decided that we'd get on with our work for the next couple of years, and maybe next year [2015] we'll bump into each other again and find time to write some new music, because we enjoy writing, we enjoy touring together." In a Sep 2013 interview, Anderson was also asked about the collaboration and gave this somewhat contradictory answer:
Not at the moment. I spoke with Rick a couple weeks ago, and he’s getting ready for a tour next year [2014] [...] Journey to the Centre of the Earth, a big tour. But he actually said to me he had some new music he wanted to have ready in a couple weeks, and I said, “Please,” because we might as well continue writing together, because we respect and love each other very much.
A Nov 2013 interview had more: "We're working on a project, doing a couple of songs in the moment. He's doing a lot of orchestral work next year [2014] [...] We won't tour the next year [2014] together, but the year after [2015], I'm sure. We are always in touch." In a May 2012 interview, Anderson said, "Rick's working on some new music now. I'm not sure when he's going to finish the music but he's actually working on some new music for a new album". In his Jun 2011 GORR, Wakeman mentions that he and Anderson "have been exchanging music to work on for [...] the pair of us" (as well as material for the project with both of them and Rabin; see below). Asked in a Jun 2011 interview, Anderson said:

I think we’ll do another, or two, because we’re connected, we’re good friends.

To a similar question in a Nov 2011 interview, Anderson said:

We are started writing in the new year [2012], we have a lot of new ideas to work on, and we enjoy each others music...so a new album should be coming...

And then a Mar 2012 article had this from Anderson:

We’re actually writing some new music next month. He sent a couple of things last week. We’re still creating, we’re still talking about touring later in the year or the beginning of next year [2013], so we’re in touch.

The Living Tree In Concert Part One (Gonzo) was taken from the band's 2010 UK tour. There had been talk of a 'Part Two' to be taken from the pair's 2011 US tour, but this never appeared. In the May 2012 interview, Anderson said:

we actually did Awaken on the last tour, so I’d love to find a good recording of that. I think we recorded about five shows, six shows, so I’ll be able to sift through and find Part Two later this year [2012].

Although discussing this in an Oct 2011 joint interview, Wakeman said (seemingly as an alternative to 'Part Two'):

Jon and I haven't really discussed this, as the live album from the UK tour has only just been released. Personally, the next thing I'd like to see from Jon and myself is a DVD; one that is put together from a special one-off show in a special venue. [...] I'm sure Jon and I will chat about it on the tour.

In a Feb 2011 interview, Wakeman had said about the tour:

We also recorded that tour live and that did come out extremely well [...] We wanted to film it but we felt it wasn’t ready to film. Visually it wasn’t ready to film. Musically, we’re happy with the duo show, but we’ll wait because if we’re going to do a DVD it’s got to be something a bit special, so we’re talking about that.

In a Sep 2011 interview, Wakeman said: "I never saw Jon Anderson and I working together as a replacement for the now "dead" dreams I had with the band Yes. What Jon and I do is totally stand alone." A joint Oct 2011 interview had this exchange:

Interviewer: you’re being billed as the “'Heart and Soul' of Prog giants YES.” How do you respond to this assessment? Does it imply that your contributions were more important than the other members’?

Anderson: No, not really. I think they say that to show how important we were to the band’s creative process.

Interviewer: What do the other members of Yes think about your collaboration? Has there been any response from anyone?

Anderson: I don't know what they think; we are not in touch anymore. That's life.

Jon Anderson & Trevor Rabin
Anderson and Trevor Rabin have been sporadically collaborating over the last several years. They were reportedly writing together in 2006. Anderson has mooted both the possibility of joining Rabin on some film work and of touring the YesWest catalogue. In a May 2008 article, he talked of him and Rabin "maybe touring some of that '80s-period music, because it was very special. [...] I wouldn't do it, like, Yes. I'd do it like me and Trevor aspiring to be the two of us making music and see what we come up with." The article describes Anderson as being "amenable to some sort of reunion of the Yes[West] lineup", although it is unclear whether Anderson indicated the involvement of any of Squire, White or Kaye. However, it appears this co-writing activity is now being directed to a project with Rick Wakeman as well: see below.

A Mar 2014 interview with Anderson said he had received an e-mail from Rabin on 11 Mar "because they were connecting with ideas and working on film scores."

Jon Anderson, Rick Wakeman & Trevor Rabin
Anderson, Wakeman and Rabin have been working on a project together, but the collaboration is proceeding slowly. Some preliminary material has been written, initially by Anderson/Rabin in early 2011 and before, but also through online interaction since. The latest on the project came in the Jan 2014 issue of Prog. There, Wakeman discussed how the project came about and then said, "the band was officially born last year", presumably referring to 2012. Quite what he meant by "born" is unclear given he first announced the project in early 2010; he may be referring to how all three met up in London in early 2012 to exchange ideas. In the Prog article, Rabin explained, "It's been a slow process [...] because of our respective workloads. But we are always trying to move this forward." He added, "We all have a passion for this [...] I can't put a time frame on it. But none of us are getting any younger." Wakeman also explained that, given his solo touring schedule in 2014, that any release will be in 2015 "at the earliest". Describing progress to date, Wakeman said, "The first stage that we've agreed on is the swapping of music, themes and songs. That way we can begin to work on each other's suggestions." And Rabin said, "All we've done is pass on indvidual musical skeletons [...] there's nothing even close to being ready to play for anyone." In a Feb 2014 interview, Anderson said Rabin had sent him some music just before Xmas 2013, explaining, "So we're just jamming around with ideas." While in a Facebook comment that month, Rabin said, "Still hoping that time allows for an album with Rick and Jon. We certainly want it." A 14 Mar 2014 interview with Anderson said he had received an e-mail from Rabin on 11 Mar "because they were connecting with ideas and working on film scores." It also said Anderson had been in contact with Wakeman that month.

In an interview with Anderson from around May 2013, asked about the collaboration, he said:

Well, I made the mistake of mentioning it once, and obviously a lot of people want to know what’s happening, and it was just one period of time about a year and half ago or so when I was seeing Trevor quite a lot and we’d been writing a couple of songs and we talked about maybe working with Rick. It’s funny because you spend time talking ideas and then six months later you’ve stopped talking about them, and then Rick’s busy and Trevor’s doing another movie and I’m on tour. It was very hard to bring it together, and at the moment we’re sort of in limbo.

This Apr 2013 interview with Anderson had saying: "there's now some talk of Rick and I doing an album with Trevor Rabin. Rick's doing some music so I'll send that off with some vocals on it to Trevor and he may put some guitar on it if he's not too busy composing another film score." And then in another May 2013 interview, he said that he, Rabin and Wakeman would like to tour playing Talk with another couple of musicians. In an interview in the Spring 2013 issue of Progression magazine, Rabin said:

We've let it slide for a long time because I've been busy. Jon and I have never been closer, Rick and I were never anything but close. We really want to try to do something. [...] So I'm not sure when or how, but the intent is stronger now that it has been. We've been talking conceptually, but not really trading musical ideas.

He also said that he would like to use Taylor Hawkins (Foo Fighters, worked with Jon Davison, Chris Squire, Alanis Morissette, Coheed and Cambria) on drums, who is "really into" the idea.

The initial idea for the project was in early 2010. In 2011, it emerged that plans had shifted to the main activity being in 2012. By early 2012, Anderson was being cautious in his descriptions. A Mar 2012 interview had this:

We talked about it, we wrote a couple of things together, Trevor got sidetracked, we talked about this year [2012].  We haven’t really finalized a time. It’ll happen when it happens. That’s my new mantra: ‘It will happen when it happens.’

The article then continues:

is there any chance of Anderson, Wakeman and Rabin hitting the road and playing Yes songs?  “No, I don’t think so.”

However, a Sep 2012 interview from the same source had this update from Anderson:
“Rick’s recording as we speak,” Anderson says. “He said he’d send me some music this month or next month. And then I would send it to Trevor.  We’d actually written a couple of songs, me and Trevor, and me and Rick have written a couple.”  Last time, Anderson said he couldn’t imagine an Anderson/Wakeman/Rabin tour, but he may have warmed up to the idea. If they do tour, fans shouldn’t expect a Yes “greatest hits” show.

“If we make music that we really like, and we put it out there, we’ve got a good fan base who wants to see us do new music… I don’t think we’d want to go out just doing old music, I don’t see the point.  I’d rather go out there and do some new music, of course, you’d do old stuff that people want to hear. But you don’t rely on that as your show.  You want to take some new music out there and have an adventure.”

A Nov 2012 interview then had this:

Anderson: It will happen when it happens.  I'm never that sure when it will happen, but I just know it will happen.  I'm in touch with Rick and Trevor all the time.  They're busy doing things [...] I'm busy doing things, but we've talked about some ideas we've come up with and music that we've come up with and it's really a question of timing. Maybe next year [2013] is going to be the year.

Interviewer: [...] who will be on drums and bass?

Anderson: Got no idea at all.  We talked about getting an ensemble on stage with three of us, rather, you know, than five or six or seven other musicians. [...]

Interviewer: Do you think it will be something you do in a virtual studio or do you think that you'll try to do some studio time together [...]

Anderson: [...] we'll probably do virtual.

Another Mar 2012 interview with Anderson had been more negative:

Over the past year, Yes fans have been looking forward to a proposed project from [...] Anderson [...] Rabin and [...] Wakeman. Unfortunately, as Anderson tells Ultimate Classic Rock, the grouping has been put on hold.

“We did some songs last year, and Trevor had some things going on in his life that he had to sort out, you know, family things and he gets very, very tied up in his music for movies, so we just found it hard to collectively get together. And Rick’s got so many things that he’s doing in England. He has TV shows and radio shows. So eventually, it will happen. You keep the door open and hope that it will happen.”

An interview with Anderson conducted by Winston Arntz in Nov 2011 had already suggested no imminent developments:

With Trevor it’s all about timing being everything you know. You never know, Trevor always said he wanted to do but right now he’s going through some changes in his work, seeing what he wants to do. I am very open to when it happens it happens, always ready to try things like that.

[...] I think Trevor is waiting to jump into that adventure but he’s not quite ready yet in his heart. We wait and see and when we will work together I think it will be real spontaneous music. That’s what we talked about, making it spontaneous. A bit different than we used to do…

A May 2012 interview with Anderson had: "It Happens When It Happens, is my mantra! [...] we're always in touch. [...] we'll see what happens."

Interview comments from Rabin also express some uncertainty over timing. In this May 2012 interview, Rabin is asked whether there is anything he cares to discuss about the collaboration and replies: "Nothing I care to discuss as of yet. Rick is supposed to be sending me something pretty soon for us to work on, so we'll see what comes of it." In another May 2012 interview, he said:

We’ve been wanting to do something for a couple of  years now but we’ve not been able to get together. Either I was on tour [this appears to be in reference to Rabin accompanying his son's band, Grouplove, on tour], or Rick and Jon were on tour. I met with Rick about eight months ago in London. Rick and I get along so well [...] As musicians, we get on really well, and the same goes with Jon. The three of us are really intending on doing something but time has not been our friend.

In my interview with Rabin from Jul 2012, he said:

While Jon, Rick and I are excited about the prospect of doing something together nothing is organized yet and there’s no telling when or how something will be done. We really want to. Time is the enemy at the moment.

An article in Prog magazine, issue 26, stated that, "While nothing is confirmed, Rabin hopes recording will happen in 2012." This issue was published May 2012, although it appears to be based on an interview around Mar. Rabin is quoted as saying: "I haven't spent time with Rick since we had dinner in London at the end of last year. And I last saw Jon ever earlier, when he stayed with me. The problem is that all three of us have so much going on in our lives that it's been impossible to find the time to take it forward. The one thing I can tell you is that we all want to make this happen." He describes plans for the album: "What we want to end up with is an album that showcases what we're all about as individuals, but to make certain that it has an overall sound which represents this new band." He also mentions the possible involvement of Bill Bruford, which h previously ruled out by Bruford (see below): "I know Bill Bruford's name has been mentioned, and I'd be happy to have him involved. But right now, we've approached nobody else at all. And, to be realistic, until we have our schedule mapped out, then there is no point in bringing anyone else in." In yet another May 2012 interview, Rabin said, "Jon and I speak all the time. [...] Rick Wakeman, Jon and I have been talking about doing something for the last 3 years. [...] schedules are a real problem."

In a mid-Apr 2011 Facebook message, Anderson had said, "all is great with Trev, Rick and Myself, writing ideas , and thinking of next year [2012] already." In an Apr 2011 interview, Anderson said, "At the moment, I am writing with Trevor Rabin and Rick." Asked about the collaboration in a May 2011 radio interview, Anderson said, "we were writing songs just two weeks ago [...] it's gonna be fantastic next year [2012]". In this interview, published Sep 2011, Wakeman describes meeting Rabin in London "recently" to discuss the project. Then there was this in a joint Oct 2011 interview by Anderson and Wakeman:

Wakeman: [I'm] waiting to hear from Trevor at the moment. To be fair, I certainly haven't chased him, as I've been so busy this year [2011] (as indeed Jon has and certainly Trevor as well). I really want this to happen; I believe it could be amazing in so many ways. I will certainly play my part in trying to bring this to fruition.

Anderson: We've talked about creating a project; it's just finding the right time to work together.

The Nov 2011 Classic Rock Presents... Prog (issue 21) has this on the collaboration:

Rabin is also to be involved in a new project with [...] [Wakeman and Anderson.] But things are still in the formative stages right now.

"We are still working it all out. I did spend some time with Jon when he was over in the States doing solo shows not that long ago. I'm sure this'll happen."

The original idea was for the project to be made up of and be called Anderson Bruford Wakeman Rabin, echoing the Anderson Bruford Wakeman Howe project of 1988-90, but Bruford is not to be involved. I had multiple reports that plans for the project came to a halt in Mar 2011, but the project returned to being a going concern. I reported the project's demise here on 31 Mar, but in response to the subsequent online discussion, Wakeman explicitly denied that the project was cancelled and his webmaster advised looking to the RWCC for any official news. A report from close to Jon Anderson also denied the project had come to an end. Wakeman discussed the matter at some length in his April 2011 GORR:

Wayne [RWCC webmaster] has mentioned to me that he received a lot of e-mails to the site displaying their displeasure at the news that the proposed project with Trevor Rabin and Jon Anderson was not going ahead. I must admit I threw my head in my hands when he told me as it is, to the very best of my knowledge and certainly Jon’s as well, total rubbish.

There are some not very nice people out there who like to stir things up, and believe it or not, we know who some of them are. They are the equivalent to people who start computer viruses and I have no time for them. I have always said that if you hear a rumour, log into this site, and if it’s confirmed here, then it’s true. If it isn’t, then treat it as a rumour started by somebody who thinks they know something, but actually don’t!

Just two days ago I received some music from Jon for the Trevor, Jon and Rick project, and it’s tremendous. I’ve also sent some stuff to both the guys as well, so unless there really is something I don’t know, then all is progressing really well.

He continued in his May 2011 GORR:

 I was hoping to be able to confirm quite a few things in this month’s GORR in relation to stuff like [...] the Rick, Jon and Trevor situation as well, but as ever, things seem to take much longer than you think is necessary and subsequently I only have “bits and pieces” to report on the above.


Jon is in pretty constant contact with Trevor Rabin and music has already started flying back and forth. Jon has sent through some great ideas and I will shortly be sending some stuff back across the Atlantic to both Trev and Jon. Trev, I know, is also working on music for the project and we are all really up for it and excited as to what it’s going to produce. As many people know, it’s a combination of YES personnel that’s never been used on recordings, and certainly, if the chemistry that happened on the UNION tour between the three of us can reignite itself, then we are in for a treat making the music and hopefully it’ll be a treat for others to listen to it......and then, with a bit of luck...live performances...and special ones, not hundreds of gigs one after the other which dissipates all meaning of the music.

And in his Jun 2011 GORR:

Jon Anderson and myself have been exchanging music to work on for both songs for the pair of us and of course the upcoming project with Trevor Rabin who has also been sending stuff to Jon and so there’s a bit of a round robin happening which is all very exciting and the quality of the music so far is outstanding and so I have very high hopes for both the album and live appearances.


June is going to be an interesting month for sure. [...] I will be doing some more prep music to send to Jon and Trev for the new project.

In an Innerview with Anil Prasad, published May 2011, Wakeman was asked about the status of the project. He replied:

there is the potential to produce something very exciting, simply for the reason that whilst we all know each other, the three of us have never specifically worked together before. [...]

I wouldn’t say we’ll do loads and loads of touring, because Trevor is extraordinarily busy [...] Jon is busy with his solo work, and I do a lot of television and radio work [...] What I think will be great is if we put together a small number of shows to go with a lot of new music. The shows would be something really special rather than a whole bundle of touring.

I would like to think the album will be done by the end of the year [2011], and then we’ll start looking at slotting in shows around the world according to everyone’s schedule next year [2012]. It’s not something ruled by a record label or management [...] We’ll work out what’s best for all of us and the project.

Asked about plans for Bruford's involvement, Wakeman said:

Bill sort of retired. He decided a couple of years ago that enough is enough. [...] He’s a fantastic guy, but once he makes a decision, it’s very, very rare that he changes it. I can’t even think of an occasion when he’s changed his mind [...] I think he may well have been tempted by the idea, so who knows? He may just come onboard, but it’s unlikely.

To Classic Rock Presents... Prog (Jun 2011), Rabin said: "We are starting soon. We have some pretty cool ideas, but we're not rushing it or being pressured by business needs." In a Jun 2011 interview, Anderson said: "I've been in touch with Trevor for the past four or five years. [...] We wrote some songs together last year [2010], and we've written a couple this year [2011]. We're thinking next year [2012] might be a good time to try [to make an album]." In another Jun 2011 interview, Anderson said: "me, Trevor Rabin and Rick are talking [...] we're writing a couple of songs". And an interview conducted Apr 2011 had this:

Anderson: [...] in the 90s we did the Talk album [...] Me, Trevor (Rabin) and Rick (Wakeman) want to re-perform that next year [2012]. We're working on songs, but we're talking about doing songs from Talk and Big Generator and 90125. It takes time, we can't say exactly what it is, but we're talking. We believe. We're all busy. Timing is everything. My new mantra is “It will happen when it happens”.

Interviewer: That's still an active project [...]?

Anderson: Oh yeah, we were working on songs last week. It's slowly moving, it takes time.

Interviewer: You're trading files back and forth?

Anderson: Yeah.

Interviewer: [...] you'll do shows together?

Anderson: Next year [2012].

Interviewer: And new music.

Anderson: Oh yeah. I would never just go on stage and do the old stuff. I would rather do some new stuff with the old stuff and make people aware that music is timeless, and we shouldn't be judged on what we've done, more what we're about to do.

Interviewer: It would be great if you revisit Talk [...]

Anderson: Oh yeah, we were singing … (sings) "it's the last ... time ... telling myself everything." Trevor and I were singing that together on the phone.


Anderson: We'll definitely be doing it [Talk].

Interviewer: Rumor had it you were getting Bill Bruford back on drums.

Anderson: Well, we asked him but he doesn't tour anymore. You never know, he might say, “Hmmm, I need some money”. You never know!

In an Oct 2011 interview, Anderson talked about them playing "Perpetual Change" and "Heart of the Sunrise".

A Jul 2011 interview describes the trio as starting recording soon, with Anderson saying: "We've written three, four songs at the moment. Whether we tour it, I don't know. We'd like to, but we'll see how everybody's schedule is for next year [2012]." While an Aug 2011 interview had this exchange:

Interviewer: you, Rick Wakeman will be working again with [...] Trevor Rabin [...] putting together another band type project. Will that just be a trio or will you be looking to fill in... will you be looking to replicate a 5-piece like Yes and have somebody else on bass and drums in that project?

Anderson: I think it will just be a trio with some musicians backing up the project. We're still working on it.

Interviewer: Well, that was Yes's commercially most successful period of output with "Owner of a Lonely Heart" and songs like "Changes". Will there be an attempt to replicate or reproduce some of that style sounding, y'know, those big radio-type songs? Or will it be whatever the moment moves you guys to produce?

Anderson: I think whatever the moment moves, but I'll let you know.

Some material has been prepared and concrete discussions had about the band. Wakeman in Jan 2011 said that the three of them "are working on putting a band together to both record and perform". A Mar 2011 interview with Anderson had this:

As you probably know I loved the albums we did with Trevor like Talk and Big Generator. [...] We'll get together to write some new music and thereafter we intend to go on tour with these new songs and of course we will also perform some Yes classics. We'll do a try out of a month and then, if it works, we'll also perform some gigs in Europe

On 11 Mar 2011, Mike Tiano said (at the Notes from the Edge Facebook site), "Trevor told me yesterday that conversations with Rick and Jon are happening." Asked about whether the project will move forward, in a Jan 2011 interview, Anderson said:

I don't know. I got an e-mail from Trevor today [...] I was with Trevor last week. [...] We've talked over the last couple of years about maybe getting together and doing some concerts, re-looking at the album Talk, and 90125, Big Generator, and a couple... two or three Yes classics, but centering in on that and maybe... We've written a couple of new songs and... me and Rick have written two songs for the project. But like anything, it's timing. It will happen when it happens, and I'll be there!

The interviewer then asked who else would be involved, mentioning Bill Bruford and Tony Levin, and Anderson replied:

No, Bill's not touring any more. [...] He's decided he doesn't want to do it no more. But you can never discount that. We'll see what happens. [...] Timing... Trevor's got work, Rick's got work, and I'm busy, but eventually the timing will work. It'll either be this summer [2011] or next summer [2012], but we'll do it.

In a Feb 2011 interview, Anderson said of the project:

Rick and I and Trevor (Rabin) might make some music together and tour. It's all in the talking stages but if we did something I might ask Roger [Dean] for something [in terms of cover art]. He did Anderson, Bruford, Wakeman and Howe so I'd probably ask him. When I work with Rick and other people that were in Yes, it feels like Yes music no matter what. You can't get away from that, so there's no harm in dressing it up that way.

In an Apr 2010 interview with the Boston Herald, Anderson said:

“It could happen, but it’s a question of timing,” Anderson said. “I’m touring the UK with Rick this year [2010] and Trevor and I wrote some songs, but now he’s busy doing film scores. It will be a real celebration of Yes if we ever get around to doing it.”

In an Oct 2010 interview, Rabin said he was "still hoping to work again" with Wakeman, and later in the interview:

Interviewer: What about the record that you’re currently working on with your Yes compatriots, Jon Anderson and Rick Wakeman?

Rabin: We haven’t started yet. But Jon, Rick, and I are really itching to do it.

In late Dec 2010, Anderson said:

Going to write songs with Trevor......talked about shows together.......can't promise anything....just ideas just now....

Initial plans in early 2010 were for the project to have included Bill Bruford as well, but he has always insisted he is not involved. News of the project first emerged in the 6 Feb 2010 edition of Wakeman's Planet Rock radio show: a listener sent in a question asking Wakeman about the possibility of he and Rabin "re-uniting to play Yes material again." Wakeman responded:

Just last week, a discussion took place between myself, Trevor and a couple of other ex-members of Yes who will remain nameless [...] about doing just that, about doing an album, and I think the odds are extremely high that it will happen this year [2010]

Reports of private comments by Anderson and Wakeman in 2010 identified Bruford as the fourth ex-member involved. A Jul 2010 report claimed Wakeman had said privately that there is no decision as to the form of the project (e.g. album or live shows), but that the line-up will be him, Anderson, Rabin and Bruford. A May 2010 report has Anderson identifying the same four, but saying that the project is only "talk" at that time. He also said that Bruford loves the idea, but is not sure about touring. The Mar 2010 edition of Classic Rock Presents... Prog reported the same quartet. The article reads: "Bruford has recently announced his intention to retire from music, but Prog understands if the project goes ahead he will be involved." Bruford repeatedly denied his involvement or interest. His webmaster, Sid Smith, responded to a fan with this message (18 Mar 2010): "Your message has been passed to Bill. He retired from public performance 15 months ago and isn't joining any band. Perhaps sales are down at Classic Rock?!" In Apr 2010, Smith posted to Bruford's website:

Recently, certain sections of the internet have been awash with rumours that Bill is about to return to active service in the company of his old muckers, Rick Wakeman and Jon Anderson and Trevor Rabin. The rumour gained a little bit of traction by appearing in print in the latest edition of Classic Rock Presents Prog magazine. [...] I contacted Bill for the inside scoop.

Rolling his eyes and sighing heavily, Bill had this to say. “I'm told there are people getting over-excited about the next reunion I'm not on. Oh ye of little faith!  I haven't been approached by Wakeman, Anderson, Rabin, Howe, Squire or Uncle Tom Cobley for anything more than a pint. For the hard of hearing, I repeat - I've retired from public performance.”

So there you have it from the horse's mouth!

In his 18May blog, Bruford said in reply to questions:

a lot of people talking about Yes, which you may all know that I am not re-joining and have received no such invitation from anyone connected with the band. [...] Can’t we just let rumours be rumours? It just clogs up the place.

The answer to Roger Norway - 3/16/2010 12:02:37 PM [who asked about the reports of Bruford's involvement in the Anderson/Wakeman/Rabin project] is therefore – I have no interest. These rumour things often get started by a ‘slow news’ day over at the magazines and blogs.

Billy Sherwood's Citizen
Billy Sherwood has an album entitled Citizen (Frontiers Records, FR CD 710) due 6 Nov on CD and digitally (digital pre-orders come with the tracks "The Citizen", "Just Galileo and Me" and "No Man's Land"). He described the album in Apr 2015 press as: "the story of a lost soul wandering through time and living through many lives during historic periods of time." Sherwood wrote the album and performs vocals, guitar, keys, bass and drums; performing guests include Chris Squire, Geoff Downes, Jon Davison, Tony Kaye, Rick Wakeman, Patrick Moraz, Steve Hackett (Squackett, ex-GTR, ex-Genesis), Jordan Rudess (Dream Theater), Steve Morse (Deep Purple, The Dixie Dregs, worked with Steve Howe, ex-Kansas), Steve Hillage (System 7, ex-Gong, ex-National Health), Alan Parsons, Colin Moulding (ex-XTC), John Wesley (worked with Porcupine Tree, Sound of Contact, Steve Rothery, Steve Hogarth, Fish, Sean Malone) and Jerry Goodman (ex-Mahavishnu Orchestra, worked with Dream Theater, Gary Husband, Jordan Rudess), all of whom have appeared on Sherwood-led projects before. John Wetton (Asia, ex-King Crimson) was due to be involved too, but it appears has been unable to contribute due to ill health (see more under Asia).

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

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

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

Just finished mixing "CITIZEN" [...] I wrote with a conceptual theme. A lost soul reincarnated into various periods of history, he is the citizen... A conscript legionnaire in the Roman army at the end of the empire. A trench runner in WW1. A friend to Galileo as he discovers the earth is not flat. A distraught Wall Street man stepping out onto the ledge... a casualty of the great depression. Assistant to Darwin as he discovers his Theory. A member of the tribe during the trail of tears. Reborn as Nostr[adamus] [...] For me the most special track on the record is the title track "The Citizen" which sets the stage for the concept behind it all, on this track is the last recording of Chris Squire and he's larger than life on it !! I recorded him not too long ago in a Holiday Inn when I went to visit with him just before he fell ill.
On 17 Jul, he posted about "Putting the finishing touches on the last 2 mixes for "CITIZEN"".

  1. "The Citizen" (6:34), with Squire (bass), Kaye (Hammond, keys), Sherwood (vocals, guitars, drums)
  2. "Man and the Machine" (6:44), with Hackett (guitar solo), Sherwood (vocals, keys, bass, drums)
  3. "Just Galileo and Me" (5:01), with Moulding (vocals), Sherwood (guitars, keys, bass, drums, harmonica, backing vocals)
  4. "No Man's Land" (5:35), with Steve Morse (guitar), Sherwood (vocals, keys, bass, drums)
  5. "The Great Depression" (8:40), with Wakeman (keys, grand piano), Sherwood (vocals, guitars, bass, drums)
  6. "Empire" (5:34), with Parsons (lead & backing vocals), Goodman (violin), Sherwood (guitars, keys, bass, drums, backing vocals)
  7. "Age of the Atom" (6:23), with Downes (keys), Sherwood (vocals, guitars, bass, drums)
  8. "Trail of Tears" (6:28), with Moraz (keys), Sherwood (vocals, guitars, bass, drums)
  9. "Escape Velocity" (6:03), with Rudess (keys), Sherwood (vocals, guitars, bass, drums)
  10. "A Theory All It's [sic] Own" (5:32), with Wesley (guitar), Sherwood (vocals, keys, bass, drums)
  11. "Written in the Centuries" (7:20), with Davison (vocals), Sherwood (guitars, keys, bass, drums, backing vocals)
A promotional video for "No Man's Land", about a World War I trench runner, was shot 29 Jul 2015, with the character played by David Hussey, who has worked with Sherwood in XNA.
Buy MP3 version from Amazon (UK):
Buy MP3 version from Amazon (US):

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

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

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

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

In a Nov 2015 interview, Sherwood said:

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

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

Levin Torn White
Levin Torn White, a trio of Tony Levin (bass, Stick), Alan White (drums, percussion) and David Torn (worked with Bill Bruford, Terry Bozzio, Jeff Beck, David Bowie, John Legend; guitar, textural events), released the 14-track instrumental album Levin - Torn - White (Lazy Bones), produced by Levin and Scott Schorr. Details in Yescography.

Asked about live work, Torn said: "we've been talking about it, but a few periods-of-time already haven't worked-out, so..... dunno." Levin, in the aforementioned interview, said, "We're indeed talking about that… too early to know if it can come together. Alan busy touring with Yes -- I have Fall and Winter commitments with Stick Men sharing a bill with Adrian Belew. So … we'll see." While in White's Nov 2011 interview, he said: "We've talked on email about doing some shows, maybe next year [2012] sometime. I think everybody still has that in the back of their minds. But I told Tony we would have to rehearse at least a month to recreate that stuff!"

White and Schorr discuss the project further with YesFANZ' Brian Draper here. The interview ends with Draper asking about live work:

White: [...] we bandied about on that for a while. Even so with Tony's schedule and my schedule and stuff like that its really hard to pull off. And so as far as that material goes, the answer is you would have to rehearse for about 6 months! (laughs) That's the way I can see it. Now, I reckon we could latch into it but it would be an intimate live version of that and it would be the same thing but a live version but the framework is the same.

Schorr: Alan knows this I would love to do another one with him. But the thing, maybe the second time would be to get the three guys in the room. So we talked about that but he is so slammed with Yes and other stuff that he does. This is kind of almost like a once in a life time opportunity to get something with this.

A Sep 2012 interview asked White about a follow-up album. He replied: "we're talking about it, right now. I'm not sure when and where but we're talking about not doing something similar, but just move on. Probably we'll not do it until early next year [2013]." In a Feb 2014 interview, asked about doing a new album, White said, "They want us to make another album – I'm not sure whether David Torn but Tony and myself want to make another album whether David does or not, I'm not sure but it's in the back of our minds." Meanwhile, there is a sort of follow-up now out in the form of Levin Minnemann Rudess (Lazy Bones), produced by Schorr and Levin: details under Levin.

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

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

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

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

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

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

In Apr 2012, Kerzner explained that there:

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

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

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

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

Dunnery is also singing on some of the Rush songs.

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

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

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

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

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

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

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

It was announced that Sherwood may guest on some Dave Kerzner Band live shows, other commitments allowing.

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

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

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

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

Leon Alvarado
A forthcoming album by Leon Alvarado, due 2015, features guest appearances by both Billy Sherwood and Rick Wakeman. Sherwood played guitar on "The Seeker", a free download-only instrumental track. A second track, now previewed on SoundCloud, features Sherwood (guitars), Wakeman (mini-Moog) and Alvarado (everything else). Alvarado previously released an EP including a piece using an existing drum track by Bill Bruford.

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

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

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YES and projects with several Yesmen
Igor Khoroshev
Oliver Wakeman

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Anderson & Wakeman
Others associated with the band

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