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    Yestales: An Unauthorized Biography of Rock's Most Cosmic Band, in Limerick Form
    Yestales: An Unauthorized Biography of Rock's Most Cosmic Band, in Limerick Form
    Yestales: An Unauthorized Biography of Rock's Most Cosmic Band, in Limerick Form
    Ebook176 pages1 hour

    Yestales: An Unauthorized Biography of Rock's Most Cosmic Band, in Limerick Form

    By Scott Robinson

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    There has been no more influential or enduring force in the history of progressive rock music than Yes. From their hit songs "Roundabout" and "Owner of a Lonely Heart" to classic albums like Fragile, Close to the Edge and 90125, Yes has innovated its way inexorably into rock history. And the drama of the band's 30-year history surpasses even that of the music. Rock music critic Scott Robinson turns the history of this most revered band on its ear by telling it in the most irreverent of forms - the limerick.
    LanguageEnglish
    PublisheriUniverse
    Release dateApr 18, 2002
    ISBN9781469710099
    Yestales: An Unauthorized Biography of Rock's Most Cosmic Band, in Limerick Form
    Author

    Scott Robinson

    Scott Robinson is a former associate professor of music at Eastern University and has written for Sojourners, the Philadelphia Inquirer, and Forward Day by Day. He is the author of The Dark Hills (2015).

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      Book preview

      Yestales - Scott Robinson

      Contents

      Preface

      Acknowledgements

      Chronology

      Band Members

      Yes Discography

      BEGINNINGs

      The Seventies

      The Eighties

      The Nineties

      Onward

      About the Author

      Bibliography

      END NOTES

      To my cousin Kirk, who urged me to check out the Yes of the Seventies;

      And my brother Maxx, with whom I shared the Yes of the Eighties;

      And my son Steve, who came aboard in the Nineties;

      And my son Trevor, who goes with us into a new millenium

      Preface

      While this book’s title might lead you to expect that you are holding a biography of Yes in your hands, it should be stressed from the outset that this book is a biography only in the loosest possible sense. Better biographies of the band exist, as do several excellent histories of progressive rock (see bibliography).

      What you are in fact holding is intended to serve as a companion volume to those real biographies. The effort here is not so much to inform you as to entertain you, and perhaps bring some new color and a slightly skewed perspective to what you already know about progressive rock’s premiere band. In fact, though an on-going chronological narrative has been provided to supply background for each entry, it should be said that this book will be far more entertaining after you have acquainted yourself with the deep history of Yes from more exhaustive sources.

      One aspect of this very subjective history recalls a first reading of Rick Wakeman’s autobiography, Say Yes! In that volume, Wakeman’s telling of his and Yes’s story is so subjective and out-of-balance that he dispenses with the recording of Close to the Edge and Bill Bruford’s departure in a single paragraph, while going on for over a page about the rustic studio decor that was present during the recording of Tales From Topographic Oceans! At first glance, it is easy to take exception to this. In this volume, however, the author will commit the same sin: the narrative herein, and the choice of limerick topics, will be very subjective. As this work unfolds, you will find it is driven as much by the informal stories of the players than the adventures of the band as a whole.

      Thus, you will find this book filled with all sorts of quirky references, such as Chris Squire’s threat to throw Alan White out of a window if he didn’t join the band, and Wakeman dining on curries on stage in mid-song. There are personal tidbits, including Trevor Horn’s gloom at being so badly treated by British Yes fans for the crime of not being Jon Anderson, and the price Bill Bruford was forced to pay to defect to King Crimson. All these things are Yes legend, with multiple sources, but given weight in this book for the collective portrait they present.

      Some of what you will read is strictly the author’s opinion. Guitarist Peter Banks, for instance, left the band after disagreement over the use of an orchestra on Time and a Word. Steve Howe replacing Peter Banks was for the better; on that point, history has spoken. However, in hindsight it is easily argued that Banks was right-the orchestra was a wrong-headed move!

      Agree or disagree on points such as these; the idea is that you enjoy yourself. The story of Yes is interesting, fun, surprising and thought-provoking. The intent of this book is to bring these features of the tale out in high relief.

      A Word about Limerick Form

      The reader who is familiar with strict limerick form is also well-read enough to know that this form is seldom rigidly maintained. It is not sacred here, nor in any book of limericks that you are ever likely to read. A serious effort is made on principle to use valid rhymes in most cases, and exceptions are only made when the spirit of the limerick was better served by doing so. Similarly, meter is occasionally fudged, but more for the sake of convenience than anything else.

      Those unfamiliar with the form will receive no primer here. It is suggested that this reader study the form by simply reading the limericks enclosed, and such readers are enthusiastically encouraged seek out the modern masters of the form, Isaac Asimov and John Ciardi. However loudly you may groan over the extreme examples in this volume, trust this: Asimov and Ciardi will have you groaning louder still.

      And One Final Word

      For those who know the story of Yes well, the text has been arranged so that limericks stand alone, with narrative only on separate pages. You may, if you wish, simply bypass the narrative

      and turn from limerick to limerick. In fact, it may well be that for the well-informed Yes fan, the little details and references will jump right of the verse as instantly familiar, and that this may be by far the most enjoyable way of reading the book.

      Acknowledgements

      The author wishes to acknowledge the excellent Yes biographies referenced in this book, Chris Welch’s Close to the Edge: The Story of Yes (1999) and David Watkinson’s Yes: Perpetual Change (2001), and enthusiastically recommends both to the reader’s attention.

      Chronology

      Jon Anderson and Chris Squire are introduced; vocalist Jon joins bassist Chris in Mabel Greer’s Toyshop with guitarist Peter Banks

      Drummer Bill Bruford is recruited via a newspaper ad Tony Kaye joins the band as keyboardist Banks suggests name change to Yes Roy Flynn becomes Yes’s first manager

      Yes tours extensively, gaining fan support as well as favor with British music journalists

      Yes releases its first album, Yes

      Time and a Word is released

      Peter Banks leaves the band; Steve Howe joins

      The Yes Album is released

      Brian Lane replaces Roy Flynn as manager

      Tony Kaye leaves the band; Rick Wakeman joins

      Roger Dean debuts as Yes cover artist

      Fragile is released

      Roundabout is a hit on FM radio

      Close to the Edge is released

      Bill Bruford leaves the band; Alan White joins

      1973

      Yessongs is released

      Tales From Topographic Oceans is released

      1974  

      Rick Wakeman leaves the band; Pat Moraz joins Relayer is released

      The members of the band begin recording solo albums

      1976

      Work begins on a follow-up album to Relayer in Switzerland; Pat Moraz leaves the band

      1977

      Rick Wakeman joins Going

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