Yes

During the progressive music boom of the early '70s, Yes were rivalled only by Emerson, Lake & Palmer and Genesis for their brand of classical-laced rock which was initially refreshing and innovative. They evolved into a huge stadium attraction and enjoyed phenomenal success until the new-wave came in 1977 and swept them aside. Yes were formed in 1968 by vocalist Jon Anderson (b. 25 October 1944, Accrington, Lancashire, England) and bassist Chris Squire (b. 4 March 1948, London, England). Both had been experienced with '60s’ beat groups, notably the Warriors and the Syn, respectively. They were completed by Bill Bruford (b. 17 May 1948, London, England; drums), Pete Banks (b. 7 July 1947, Barnet, Hertfordshire, England) and Tony Kaye (b. 11 January 1946, Leicester, England). One of their early gigs was opening for Cream at their historic farewell concert at London's Royal Albert Hall, but it was pioneering disc jockey John Peel who gave them nationwide exposure, performing live on his BBC radio programme ‘Top Gear’. Their inventive version of Buffalo Springfield's Everydays and the Beatles’ Every Little Thing combined with their own admirable debut Sweetness, made them club favourites. Banks was replaced in 1970 by guitar virtuoso Steve Howe (b. 8 April 1947, London, England; ex-Tomorrow) who added further complexity to their highly creative instrumental passages. Neither their debut YES nor TIME AND A WORD made much of an impression beyond their growing following.
It was with THE YES ALBUM that the band created major interest and sales. Kaye then departed and was replaced by the highly accomplished keyboard wizard, Rick Wakeman (b. 18 May 1949, London, England; ex-Strawbs). Wakeman's improvisational skill, like Howe's, took the band into realms of classical influence, and their solos became longer, although often they sounded self-indulgent. FRAGILE was a major success and the band found considerable support from the UK music press, especially Melody Maker. FRAGILE was a landmark in that it began a series of Roger Dean's Tolkien-inspired fantasy covers, integrated with his custom-calligraphed Yes colophon. The album spawned a surprise US hit single Roundabout which almost made the Top 10 in 1972. Shortly afterwards Bruford departed and was replaced by ex-Plastic Ono Band drummer Alan White. Later that year Yes released what now stands up as their finest work, CLOSE TO THE EDGE. Much of the four suites are instrumental, and allow the musicianship to dominate Anderson's often pretentiously abstract lyrics. Now a major band, they confidently issued a triple live album YESSONGS, followed by a double, the overlong and indulgent TALES FROM TOPOGRAPHIC OCEANS. Both were huge successes, with the latter reaching number 1 in the UK.
Artistically, the band now started to decline, Wakeman left to pursue a triumphant solo career. His replacement was ex-Refugee Patrick Moraz, who maintained the classical influence that Wakeman had instigated. Following RELAYER the band fragmented to undertake solo projects, although none emulated Wakeman, who was having greater success than Yes at this time. When the band reconvened, Wakeman rejoined in place of Moraz, and continued a dual career. GOING FOR THE ONE was a less ‘cosmic’ album and moved the band back into the realms of rock music. Another hit single, Wonderous Stories, made the UK Top 10 in 1977, at the height of the punk era. Yes were the type of band that was anathema to the new wave, and while their vast following bought TORMATO, their credibility plummeted. Internal problems were also rife, resulting in the second departure of Wakeman, immediately followed by Anderson. Astonishingly their replacements were Trevor Horn and Geoff Downes, who, as Buggles had topped the UK charts the previous year with Video Killed The Radio Star. This bizarre marriage lasted a year before Yes finally said ‘no’ and broke-up in 1981. All members enjoyed successful solo careers and it came as a surprise in 1983 to find a reformed Yes topping the UK singles chart with the excellent Trevor Horn-produced Owner Of A Lonely Heart. The subsequent 90125 showed a rejuvenated band with short contemporary dance/rock songs that fitted with '80s’ fashion. No new Yes output came until four years later with BIG GENERATOR, and in 1989 ANDERSON BRUFORD WAKEMAN HOWE was released during a lengthy legal dispute. Yes could not use the name, so instead they resorted to the Affirmative; Anderson, Howe etc. plays an EVENING OF YES MUSIC (cleverly using the famous logo). With the ownership problem solved, Yes announced a major tour in 1991, and were once again in the US Top 10 with UNION. Over the years Yes have received more than their share of criticism for their sometimes naive attempts at serious music. They did however, represent, better than most, the way progressive music had moved in the early '70s and their intentions should be seen as entirely honourable and their contribution considerable.