1. History : 1.1. Formatio, 1.2. Early Days, 1.3. Entering the '70s.

1. History.

1.1. Formation.

Yes was formed in 1968 by vocalist Jon Anderson and bassist Chris Squire. Anderson had already recorded a single in 1964 as a member of The Warriors, a beat band formed by his brother Tony, and later sang on a couple of 45s for Parlophone Records under the pseudonym Hans Christian. He was also briefly a member of the group The Gun. Squire had been a member of The Syn, a flower-pop outfit that recorded a couple of singles for Deram Records (one, "14-Hour Technicolour Dream", celebrating the "happening" held at Alexandra Palace on April 29/April 30, 1967). After the breakup of The Syn, Squire spent a year developing his bass-playing technique, strongly influenced by The Who's bassist, John Entwistle. Then, in May 1968, he met Anderson in a Soho nightclub, La Chasse, where Anderson was working. The two had a common interest in vocal harmony and began working together soon afterwards.

Squire was in a band called Mabel Greer's Toyshop with Clive Bailey, and Anderson also started singing with the group. Drummer Bill Bruford was recruited from an ad he had placed in Melody Maker, replacing Bob Hagger. A jazz aficionado, Bruford had played just three gigs with Blues revivalists Savoy Brown before leaving. The group also included guitarist Peter Banks.

With Bailey's departure, Banks' return and the addition of organist/pianist Tony Kaye, the band became Yes.^[5] Banks came up with the three letter name, with the rationale that it would stand out on posters. The classically trained Kaye had already been in a series of unsuccessful groups (Johnny Taylor's Star Combo, The Federals, and Jimmy Winston and His Reflections).

1.2. Early Days.

Yes played their first show at East Mersea Youth Camp in England on August 4, 1968. Soon after this, they opened for Cream at their 1968 Farewell Concert from The Royal Albert Hall. Early on, influenced by bands like 1-2-3 (later Clouds),^[6] the group earned a reputation for taking other people's songs and drastically changing them into expanded, progressive compositions. In September, they subbed for an absent Sly and The Family Stone at Blaise's and as a result of that appearance gained a residency at The Marquee club. Soon after, they made their first radio appearance on John Peel's programme and, when Melody Maker columnist Tony Wilson selected them and Led Zeppelin as the two bands "Most Likely To Succeed" (as he states on the liner notes of the band's debut LP), it appeared that their future was assured.

Their eponymous debut album Yes was released on July 25, 1969. The harmony vocals of Anderson and Squire were an immediate trademark of the Yes sound. The band's optimistic, vaguely futuristic outlook on the world was delivered with a combination of melody and virtuosity. Standout tracks were a jazzy take on The Byrds' "I See You" and the album closer, "Survival", which displayed the band's vocal harmonies and deft song-construction. Notably, the album was given a favourable review by Lester Bangs in Rolling Stone magazine, which described the band as promising, the album displaying a "sense of style, taste and subtlety"^[7]

In 1970 the band released their second album, this time accompanied by a 30-piece orchestra. Time and a Word featured mostly original compositions and two cover songs, Richie Havens' "No Opportunity Necessary, No Experience Needed", and "Everydays" by Stephen Stills, originally recorded by Buffalo Springfield. The reworking of Havens' song also included excerpts from the theme song of the movie The Big Country. Although musically exceptional in terms of melody delivery, the orchestra (and keyboardist Tony Kaye) overpowered Banks and much of the vocal work, leaving Time and a Word somewhat uneven. Before the album's release, guitarist Peter Banks was fired and ex-Tomorrow guitarist Steve Howe was hired. Howe was included in the front cover photo of the American release despite not having played on the album.

1.3. Entering the '70s.

Vocalist Jon Anderson performing in concert with Yes in 1977

The 1970s Yes recordings are still considered the classic Yes sound by many fans. These albums feature complex classically influenced arrangements, unusual time signatures, virtuoso musicianship, dramatic, dynamic and metrical changes and oblique, stream-of-consciousness lyrics. Songs often exceeded the standard three-minute pop-song structure with lengthy multi-part suites sometimes lasting 20 minutes or more, making the band a leading 1970s progressive rock combo. Vocal verses alternated with atmospheric instrumental interludes, frenetic ensemble passages and extended guitar, keyboard and bass improvisations. The signature sonic features of this 'classic' period are Jon Anderson's distinctive high-register lead vocals, the group's strong vocal harmonies, Rick Wakeman (and Patrick Moraz) and Steve Howe's respective keyboard and guitar solos, Bill Bruford's and later Alan White's polyrhythmic drumming and Chris Squire's highly melodic and discursive bass playing, enhanced by the sound of his Rickenbacker model RM1999 bass.

Chris Squire was one of the first rock bass players to successfully adapt electronic guitar effects such as tremolo, phasing and the wah-wah pedal to the instrument. The rhythm section of Squire/Bruford and Squire/White was considered by some^[who?] to be one of the best in rock music at this time.

The first two Yes LPs mixed original material with covers of songs by their major influences, including The Beatles, The Byrds, and Simon and Garfunkel. In 1970 Peter Banks departed and was replaced by Steve Howe. The group's emerging style coalesced on their next LP, the critically acclaimed The Yes Album, which for the first time consisted entirely of original compositions by the band. It was also the record that united them with long-serving producer and engineer Eddie Offord, whose studio expertise was a key factor in creating the Yes sound.