The 1991 Yes album ‘Union’ is one that very much splits opinion. Rick Wakeman famously nicknamed it ‘Onion’ as it made him cry whenever he heard it, and even from a fan perspective, it never really connected with a strong audience. Those who liked the poppier route Yes had taken in the 80s found musical kinship in the more commercial tracks – like the lead single ‘Lift Me Up’ and Billy Sherwood’s excellent ‘The More We Live – Let Go’ – but didn’t really like the proggier aspects, while the proggy fans welcomed the return of Steve Howe and a few more adventurous bits but still had no time for the pop aspects still present. It was a case of “too many cooks” – the album took in too much variation and enlisted five different producers – and in an attempt to please everyone, almost ended up pleasing no-one.
Billy Sherwood is no stranger to an all star compilation. Over the years, he’s helped mastermind tributes to all manner of artists, often with mixed results. His 2019 project ‘A Prog Rock Christmas’ can seem as scattershot as many of those previous all star affairs, but by bringing together various prog legends to put their own stamp on a few familiar yuletide ditties, there are a several things to enjoy along the way, ranging from the traditional to the bespoke.
Billy Sherwood’s 2015 album ‘Citizen’ looked at the world through the eyes of various historical characters, both real and fictional. He drafted in a few friends to make his vision a reality: Yes men Jon Davison and Geoff Downes lent their vocal and keyboard skills; other keyboards were added by sometime Yes members Rick Wakeman and Patrick Moraz, John Wesley, Steves Hackett and Morse each brought their distinctly different guitar chops to the recording sessions but, perhaps best of all, Colin Moulding (one time of XTC) came out of retirement for a guest vocal appearance. In many ways, ‘Citizen’ felt like an all star epic.
Fifty years is a long time for anything. It seems an especially long time for a band to exist…and particularly one that always set out to push boundaries and create music that wouldn’t necessarily appeal to the pop music buying masses. …And yet, here we are: prog rock legends Yes celebrated their half century in 2018. Granted, they’ve had an ever evolving, less than stable line up – no fewer than nineteen members have passed through the official ranks of Yes since their inception in 1968, and at the end of 2018, none of the band members are the true founders – but there is still a Yes. Detractors be damned.
Masterminded by Dave Kerzner, ‘Yesterday And Today’ is an all-star tribute that celebrates all line-ups and all eras of a great band, featuring a few very familiar faces, some of whom have been brave enough to tackle a couple of deeper cuts from the Yes catalogue.
Taking an early influence from Paul McCartney, bassist Chris Squire truly pushed boundaries in the late sixties and early 70s and took the four stringed instrument into new territory. Using the rhythmic instrument as a lead, Squire gave the bass a distinctive voice and with progressive rock band Yes, he subsequently became a huge influence upon bassists around the world.
Prior to his death in 2015, Squire gave his blessing for Yes to continue without him. In many ways, any form of Yes without Squire seemed like an odd proposition since his writing and arranging skills were always pivotal to everything, but the official Yes (featuring long-time members Stece Howe and Alan White, alongside vocalist Jon Davison) have toured harder and more extensively than ever, keen to keep Squire’s memory and legacy alive. With Yes releasing their own tribute in October 2018 via Cherry Red Records (including new recordings by Yes men Jon Davison and Billy Sherwood), it’s only right that the band’s founding father should have his own tribute too, and while on the surface, this US release ‘A Life In Yes’ (issued via Cleopatra/Purple Pyramid) doesn’t appear quite as glossy as its UK counterpart, it is every bit as interesting. A few recordings even make it an essential listen.