Yes audacity – 677

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Produced by Joseph Cottrell, Wayne Hall, Ken Fuller and Jeffrey Crecelius

This week, Mark and I returned to our occasional series on Yes concepts. This time we considered Yes audacity – those times when the band has done something few others would have attempted. We both came up with 3 examples and it proved to be a very enjoyable conversation, albeit with quite a bit of shameless self-promotion from me.

In the world of progressive rock, perhaps the most audacious genre of all, what do you think we came up with – and what would you have chosen? Let us know in the comments below.

What are the best examples of Yes’ audacity from the past 50+ years?
Innovation or excess?
Would you have chosen the same examples as us?

See if you agree with us and let us know by leaving a comment below.

Let us know if you agree with us!

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Producers:

Joseph Cottrell
Wayne Hall
Ken Fuller
Jeffrey Crecelius

Patrons:

Aaron Steelman	Lind
Al Dell’Angelo	Lobate Scarp
Barry Gorsky	Mark Baggs
Bill Whittaker	Mark James Lang
Bob Martilotta	Mark Slater
Brian Harris	Martin Kjellberg
Brian Sullivan	Michael Handerhan
Chris Bandini	Michael O’Connor
Craig Estenes	Miguel Falcão
Dave Owen	Paul Hailes
David	Paul Tomei
David Heyden	Rachel Hadaway
David Pannell	Robert Nasir
David Watkinson	Robert Vandiver
Declan Logue	Ronnie Neeley
Dem	Scott Colombo
Doug Curran	Simon Barrow
Fergus Cubbage	Stephen Lambe
Fred Barringer	Steve Dill
Gary Betts	Steve Luzietti
Geoff Bailie	Steve Perry
Geoffrey Mason	Steve Rode
Guy DeRome	Steve Scott
Henrik Antonsson	Steven Roehr
Hogne Bø Pettersen	Terence Sadler
Todd Dudley
John Cowan	John Thomson
John Holden	John Viola
Jamie McQuinn	Tim Stannard

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9 replies on “Yes audacity – 677”

Fun episode (I especially liked mention of the Magnification tour – I happened to witness their U.S. opening in San Diego and it was great). Here are a few more suggestions:

Close to Edge (audacious at the time, no?)
Sound Chaser
Jon Anderson’s eternally spacey lyrics
The Drama album (such a major change in direction)
All those personnel changes over the years!

I’ve often thought that Jon Anderson making Olias was by far the most audacious of the five solo albums; the most fully realised in concept – and execution, since he determined to play all the instruments as well.

Topographic Oceans is the obvious one, and touring it more so, but I think Close to the Edge was their first hallmark of complete self-confidence. An album with just three songs on it, and one of them an entire side?!

Agreed on Jon’s audacity to compose all the music and play all the instruments. Three cheers for Olias!

I totally agree with you about Olias. For me it was the most inspiring of those solo projects. I remember how its release date being pushed back several times and how frustrating it was then the joy of listening to it.
I had a friend who worked at a record shop in Newcastle who gave me the publicity materials, which sadly I no longer have. The mobile was beautiful.

Topographic Oceans is the obvious one, and touring it more so, but I think Close to the Edge, as Peter mentions, was their first hallmark of complete self-confidence. An album with just three songs on it, and one of them an entire side?!

Good listen as always.
Did want to mention that the Robert Plant/Jimmy Page world tour of 1995 included a full band, Hurdy Gurdy player, an Egyptian orchestra (around 12 players) and a different orchestra (ala Magnification) every city including Japan , Europe (where I saw them in England ) and Australia where I also saw them so that is up there (I’m sure there are other examples) – noting the next tour was just a band so assume it was a nightmare!.
The first in the round (more Def Leppard) I can think of is The Beatles Washington 64 show https://www.youtube.com/watch?v=TarF1_OIqMg&list=RDTarF1_OIqMg&start_radio=1 which is funny to watch Ringo having to move/rotate his own drums after every couple of songs.
When Mark had his last example of Rick Waksman’s ‘famous ‘ story I thought he was talking to the audacious of Rick eating a curry during a show that he was bored at 🙂
My first audacious Yes related would be the Union tour ? – how many other shows would have 2 drummers, 2 Guitars, 2 keyboards – maybe modern King Crimson.

Thanks for another great topic and discussion, Kevin and Mark. I wonder if “audacity” is an essential distinction of progressive music.

I never understood a particular criticism of Tales: “Overreaching! Who do they think they are!?” I love their bold daring with Tales. When Yes members in the past were questioned about certain musical decisions, the response was often, “we thought, why NOT?” (That’s the spirit!) For me, the weakest Yes albums are those where they have been too “safe,” not daring enough. Please, more R-I-S-K!

Founding members Chris and Jon personified audacity in their willingness to try just about anything musically; it must have been part of their original pact. Chris’ musical audacity extended to highly unusual choices of notes (contested sometimes even by his own band members) and the many other creative, influential aspects of his playing. (And what about opening the very first album with a blasting, high register bass solo in “Beyond and Before” — such an audacious announcement of arrival!) And Jon, highly ambitious and restless, envisioned what could be and pushed others to do the same. For such people who are risk-takers the result is not always perfect or even successful; but when things do work they are amazing. (As Theodore Roosevelt famously said: ” . . . if he fails, at least he fails while daring greatly, so that his place shall never be with those cold and timid souls who knew neither victory nor defeat.” )

Looking forward to the next album; here’s hoping it will truly be audacious.