Yes – Yessongs

   In the history of progressive rock one can find out a simple compound: the more intentionally complex composition is, the better position it occupies in ranking of most groundbreaking attainments. Idea of convergence, crossing over the genres and even ambitions to take succession of the main stream of serious music – all attitudes were readable from the very beginning of so called symphonic rock. Progressive band Yes had tradition to open concerts with passages of Igor Stravinsky's ballet Firebird. In the years of its expansion, progressive rock had more common characteristics with modern jazz. Both are genres of music for listening, giving intellectual and esthetic experience. The most significant of mutual features is tendency to improvise. Although it was taken straight from psychedelic rock, it was also the best possible way to organize musical narration in extended compositions.
   Despite the fact “symphonic rock” was the alternative name of the genre, there was no chance for symphonic structures in typical rock bands. Even orchestras led by rock musicians played non-symphonic music, being nothing more than augmentation of typical rock structures and boring school level arrangements. Much more interesting concepts were presented in recordings of the bands playing with typical rock lineups but complicating rhythmic, melodic and harmonic structures. One of such bands were in early seventies supergroups of British progrock King Crimson, Yes and Gentle Giant. Yes was probably most popular but still creative and hard-shell progressive, especially on its early albums, where the band was experimenting with sounds and rhythmic structures. The first presentation of Yes’ live recordings was 3LP album published May 18th, 1973 and called Yessongs.

Yes – Yessongs (1973)

   Published as a set of 3 LP’s Yessongs is an impressive collection of great moments from tours promoting two studio albums Fragile and Close to the Edge. The lack of detailed informations about dates and places can be annoying. Two tracks from the Fragile album were recorded with drummer Bill Bruford February 19th and 23rd 1972 in Academy of Music in New York. Some fragments were taken from recordings made in Ottawa, Ontario (November 1st), Athens, GA (November 14th) and London Rainbow Theatre (December 15th). In program of this triple-album there are some compositions from the two studio albums mentioned before but also some other pieces. As it had been said before, album begins with fragments of Igor Stravinsky’s ballet music Firebird being the traditional opening for Yes concerts. There are also fragments of great solo presentations, Rick Wakeman playing excerpts from his album The Six Wives of Henry VIII and Steve Howe presented an extended guitar solos in Perpetual Change – and this is third composition played with Bruford. In most shows of 1972 the drummer was Alan White who learned the entire repertoire in few days only.
   Program of this compilation is more than a documentary of group’s public performances. Extended concert versions with advanced solos give listener a chance to feel the deeper sense of Yes’ compositions narrative context. Songs and instrumental pieces constitute together a complementary vision of poetic, musical and philosophical ideas. There are some explications of psychedelic rock ideas in it, but in 1972 it had to be more consequent. This is the reason of progrock bands strong cooperation with poets (like King Crimson with Peter Sinfield) and painters (like Yes with Roger Dean).  By the way, this can be considered as the most progressive idea of art rock. Triple fold-out cover features Roger Dean’s paintings of phantasy world’s view in kind of narrative exposure. The artwork is continuation of series started with Fragile cover and connected with consecutive albums. The sequence of Dean’s paintings inspired also Jon Anderson to create narrative phantasy of his own debut Olias of Sunhillow three years later. What is most impressive in these recordings, it’s the precision timing and perfect sound of the band. This was really a phenomenon worth to consider… Even in times, groups playing on professional level were such common events.

Yes – Close to the Edge

   In the history of progressive rock Yes belongs to the group of most remarkable bands. In early 1970’s they achieved success which was connected with characteristic features of Yes music, complicated formal structures basing on harmonic and rhythmic contrast and complex arrangements. And this is the moment of some best albums of the group. Formed in 1968, in the current of fading psychedelic rock, band soon has won the recognition of critics and the audience as intellectual, creative and hard-shell artistic project. Yes was always classified as one of progressive groups, in fact in its early years it was the term related with few most experimenting bands. This is why for a huge number of listeners it was the band defining the style of progressive rock, and then symphonic rock and art rock. Musicians forming the band had this characteristic attitude of artists modest in their attitude to developing of their possibilities but uncompromising in aspirations. And their contribution in the development of these trends is indisputable until today.
   Yes was always playing like everything what make sense in creative music was an intellectual challenge, their compositions were meticulously constructed by the assumption. Especially after 1971, when lineup of the group has significantly changed. The three musicians playing in the band from the beginning, singer Jon Anderson, singer and bassist Chris Squire and drummer Bill Bruford were joined by guitarist Steve Howe and keyboardist Rick Wakeman. This quintet became legendary, recording in 1971 Fragile and one year later Close to the Edge which turned to be the best Yes album ever and one of best realizations of the genre.

Yes – Close to the Edge (1972)

   This Yes’ lineup made something unusual in the history of rock music. The discipline of musical construction and sound expressing all kinds of emotions, rhythmic manipulations and ambient soundscapes, heavy rock riffs, jamming keyboards and guitars, soft and heavy bass lines with high range vocals and poetic lyrics. A poetic content of Close to the Edge has some features revealing the visionary layer of Yes’ creations. It is basing on Hindu mysticism and Hermann Hesse’s book Siddhartha – filling A-Side four-part eponymous suite shows the moments of awakening Hesse’s character “close to the edge” of the bank of the river. The four episodes are also consecutive moments of awakening the consciousness and the spiritual self.
   During the Close to the Edge sessions in second quarter of 1972, the band was in perfect shape. Whole five was heterogeneous. Yes was like pentagonal rock Jon Anderson, Chris Squire, Bill Brufford, Steve Howe and Rick Wakeman, every one of them has his own point of view and artistic ambitions. This can be heard but what is interesting, the so much clear differences between five personalities did not interfered with the integrity of their music. It’s also interesting feature how Yes’ intellectually advanced constructions comprise folk references in smooth ballade type vocal lines and in guitar riffs. Many Yes’ aficionados are declaring their love to this record. For many others this is one of legends of 1970’s progressive rock current. Undoubtedly, it was one of the most important albums of the genre and one of the biggest 1972 events.