Confessions of a YES Fan
Ed Sciaky

The following appeared in a major Philadelphia daily newspaper on Tuesday, June 19, 1979. That night the group YES was appearing at the Spectrum. Then WIOQ disc jockey Ed Sciaky has been a fan of the Yes band since the Englishmen's first album in 1969, and a personal friend of the lads since their American debut tour in 1971. On the occasion of Yes's return to town for three Spectrum shows, the paper asked Ed for some personal insights into the myth and magic of Yes.

BY THIS TIME, I was a confirmed Yes fanatic, and jumped at the chance to meet them as they arrived at the Philadelphia airport for their first area performance - opening for Jethro Tull at Wildwood Convention Hall, July 7, 1971. I mistakenly asked the first band of long- haired English musicians coming off the plane if they were Yes, and a disgruntled, flute-carrying Ian Anderson grunted, " No, we're Tull, Yes is to the rear."

I searched on for the " right" Anderson, the creative impetus of Yes, Jon Anderson. Shocked and delighted to find someone in America who was passionately into their music, Jon, Steve and original drummer Bill Bruford gladly accepted my invitation for an immediate radio interview. This was the beginning of my long and close relationship with the group, which has led me to spend my vacation weeks on tour with them, and many a night tooling down highways in pursuit of their performances. Yes, I am a Yes fanatic!

It was with the third album that the real concept of Yes solidified. The tradition of re- arranging other people's songs, and the band's early, pop- oriented compositions (pioneered by singer/writer Anderson and Yes co- founder, bassist Chris Squire) evolved into the first album the band considered totally fulfilling.

The songwriting, arranging and playing merged into a compelling musical signature fusing elements of classical composition, folk airs, jazz improvisation and vocal virtuosity, laced with a mystical lyric content.

THEIR FIRST TIME in Philadelphia, Yes opened for Emerson, Lake and Palmer at the Spectrum with their new keyboard player, Rick Wakeman, who added just the majesty and versatility the group needed to break big. I'll always remember staying up half the night after that gig, as Jon proudly guided me through an advance playing of their fourth and biggest album "Fragile," which included their rock and roll classic, " Roundabout."

I was stunned by the ever-growing complexity and vision of Yes music, which would lead them into the side-long fifth album title composition, " Close to the Edge." Later, the crucial " Tales From Topographic Oceans" double album, consisting of four, side-long suites, would at once endear them to the hardcore Yes freaks, but confound critics and force the departure of Rick Wakeman, who hated playing the complete work every night on tour. (Rick left in '75, to pursue solo works, and the group carried on with keyboardist Patrick Moraz. In '77, Rick made a welcome return, and influenced the band toward a more concise approach on the " Going for the One" set, and the platinum " Tormato" LP.)

A MYSTIQUE HAS developed about Yes's members. It's true Jon Anderson in particular has been influenced in his writing by cosmic or religious literature, and the band has a reputation for a strict, health food regimen on the road. (Some have claimed that diet-induced starvation weakened Rick's enthusiasm for the " Topographic Oceans" tour.)

On the road, the band will occasionally engage in a brutal water-pistol fight instigated by mild-mannered Steve Howe, with possible milk or fruit throwing. On rare occasions, Rick will indulge his favorite habits of changing numbers on hotel room doors, mischief with superglue, and other, quite unmentionable acts. But as opposed to other bands, it's the Yes roadies (the hard-working road crew) - characters like Claude and Nu Nu - who provide the traditional rock and roll degradation for their own satisfaction and the band's amusement.

While the band takes the creation of Yes music quite seriously, they believe it should be as much fun for the listener as it is moving and gratifying. On the last two tours, with in-the- round staging, the group has taken special pleasure in their newly intensified closeness - both to each other and to the audience. Sans the concert cliches of smoke and lasers, Yes reveals to its audience a demystified view of the musicianship - the creative essence of their uniquely rewarding body of work.