steve howe tour 2022

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Yes Announces ‘Close to the Edge’ Fall 2022 US Tour

Yes will celebrate the 50th anniversary of  Close to the Edge with a fall 2022 U.S. tour, marking their first stateside outing since 2019.

The prog-rock legends will kick off the trek on Oct. 7 in Glenside, Pa., and wrap on Nov. 19 in Westbury, N.Y. Tickets go on sale on Sept. 2. You can see the full list of tour dates below.

The shows are part of Yes' ongoing The Album Series Tour 2022, which began in the U.K. in June. The tour is dedicated to late Yes drummer Alan White , who died in May. Before the tour kicks off, the band will hold the "Alan White — Celebrating His Life and Music" tribute concert on Oct. 2 at Seattle's Paramount Theatre.

"It is with great sadness that I join with the other members of Yes to acknowledge the passing of our dearest friend and drummer, Alan White," guitarist Steve Howe said in a June 2022 statement. "He gave so many of his best years to the band and was a true believer and determined professional til the very end. Being a kind and loving human being just came naturally to him, with his mellow, non-confrontational personality and abundant generosity, which made him so popular with his friends and everyone he met.”

Yes 'Close to the Edge' Fall 2022 U.S. Tour Oct. 7 - Glenside, PA @ Keswick Theatre Oct. 8 - Glenside, PA @ Keswick Theatre Oct. 9 - New Brunswick, NJ @ State Theatre Oct. 11 - Nashville, TN @ Ryman Auditorium Oct. 13 - Jacksonville, FL @ Florida Theatre Oct. 14 - Ft. Lauderdale, FL @ The Parker Playhouse Oct. 16 - Melbourne, FL @ King Center Oct. 17 - Clearwater, FL @ Ruth Eckerd Hall Oct. 19 - New Orleans, LA @ Saenger Theatre Oct. 20 - Houston, TX @ Arena Theatre Oct. 21 - San Antonio, TX @ The Aztec Theatre Oct. 23 - Tucson, AZ @ Rialto Theatre Oct. 24 - El Cajon, CA @ The Magnolia Oct. 25 - Riverside, CA @ Fox Performing Arts Center Oct. 27 - Wheatland, CA @ Hard Rock Live Oct. 29 - Seattle, WA @ Paramount Theatre Nov. 4 - Chesterfield, MO @ The Factory Nov. 5 - Nashville, IN @ Brown County Music Center Nov. 6 - Cincinnati, OH @ Taft Theatre Nov. 9 - Madison, WI @ Orpheum Theater Nov. 10 - Wabash, IN @ Wabash Theater Nov. 11 - Gary, IN @ Hard Rock Casino Nov. 13 - Washington, DC @ Warner Theater Nov. 14 - Stamford, CT @ The Palace Nov. 15 - Torrington, CT @ Warner Theatre Nov. 17 - Englewood, NJ @ Bergen Performing Arts Center Nov. 18 - Bethlehem, PA @ Wind Creek Events Center Nov. 19 - Westbury, NY @ NYCB Theatre

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YES' STEVE HOWE AND GEOFF DOWNES TALK ABOUT 'CLOSE TO THE EDGE TOUR'

YES’ Launch YouTube Interview with Steve Howe & Geoff Downes about 50th Anniversary Close to the Edge Tour

Following the sad news of the passing of drummer Alan White, YES will go ahead with their forthcoming The Album Series Tour 2022 in June celebrating the 50th anniversary of their iconic album Close to the Edge, dedicating the tour to Alan White.

On 25 May 2022 Steve Howe & Geoff Downes spoke to Prog Magazine Editor Jerry Ewing ahead of the Close to the Edge 50th Anniversary Tour. This interview was recorded before Alan White passed away.

The Album Series Tour 2022 will celebrate the 50th Anniversary of YES’ iconic album Close to the Edge and will feature the album, performed in full, along with other classic tracks from YES’ extensive catalogue.

The Close to the Edge show will comprise full production and high-definition video wall directed by Andy Clark and featuring the artwork of Roger Dean who will also be joining the tour with an exhibition of YES related art.

The tour line-up will feature Steve Howe (guitars and backing vocals), Geoff Downes (keyboards), Jon Davison (lead vocals), Billy Sherwood (bass guitar and backing vocals) with Jay Schellen (drums and percussion).

Formed in 1968 by Jon Anderson and the late, and much-missed, Chris Squire, YES have been one of the most innovative, influential and best-loved bands in rock music history. Their 1970s albums The Yes Album, Fragile, Close to the Edge, Yessongs (a triple live album set), Tales From Topographic Oceans, Relayer and Going For The One were ground-breaking in musical style and content. Their music also became synonymous with artist Roger Dean whose distinctive YES logo design and artwork adorned the lavish gatefold presentation sleeves of many YES albums.

With sales of over 50 million records, the Grammy-award winning YES were inducted into The Rock And Roll Hall Of Fame in 2017 where they performed Roundabout from the album Fragile and the FM radio-friendly Owner Of A Lonely Heart from the 1985 album 90125. In 2021 YES released their 22nd Studio album, The Quest, produced by Steve Howe, which went to No.1 in the UK rock chart and entered the Official UK Album Chart at No. 20.

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"When I'm not interested or unavailable, I believe that Yes should carry on": Steve Howe on the future of Yes and his new version of Tales From Topographic Oceans

Steve Howe on the future of Yes, the band's next leader, and why an Avatar show isn't out of the question

Steve Howe , guitarist and Yes ’s de facto leader of the moment, is currently on the road with the enduring progressive rockers. The tour is billed as The Classic Tales Of Yes, and finds the group performing music from last year’s album Mirror To The Sky and, of course, a whole host of Yes’s catalogue standards, including some “rarely played” selections.

Before his death, Alan White, Yes’s drummer for more than fifty years, gave his blessing to his successor Jay Schellen. How do you think Jay is bedding into the line-up? 

Those are difficult shoes to fill, but Jay has been in the background with us for a while. On tour, Alan would come out and do the encores, or maybe even the last song, as his capability minimised. Jay was there in the groove and ready to step up. Every musician has goals to reach. Jay has set a few of those for himself and also as part of Yes, but he’s working in [to the role] really well. 

Were you satisfied with the general response to the most recent Yes album, Mirror To The Sky , which was released in May 2023? 

Yeah. The band is enjoying moving forwards again. There have been some big gaps between albums, and there were reasons for that, but doing Mirror To The Sky so soon after The Ques t [2021] gave us a real platform for development. I was very happy with songs like Luminosity and Circles Of Time . 

In that same spirit of industry, how is work proceeding on what would be Yes’s twenty-fourth studio album? 

There are elements [of material] going forward, but we’re in no hurry. Rushing things doesn’t work for any of the team. We’ll go there when we’re ready.

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One of the most fascinating things about Yes is the band’s regular changes of leadership. As producer and driving force, you are very much the man in the driving seat at present. How does that responsibility sit with you?  

I had no goal of being the leader of Yes. I always joke that when I joined the band there were already two people arguing about it. But yeah at the moment the band does listen to me, though I’m head of a democracy. It’s a two-way street, and it works. 

All the best organisations have succession plans. Do you have somebody in mind who might take control of Yes when your turn ends?  

I don’t quite follow your question? 

Who has it in their locker to become the next leader? As the band’s second longest-serving member, could Geoffrey Downes step up? 

That’s far too presumptuous. As I’ve said, it’s not a leadership game. It’s about the person that has ideas and that can project them towards the band, that’s the spirit we’re talking about. Right now it’s me, but I can’t predict who the next guy will be. 

Do you envisage a time when you will no longer be able to continue as a member of Yes, or even have the desire to do so? 

I haven’t got a crystal ball, I don’t even know how I will feel tomorrow, but at the moment I’m happy going along with it. The band has some style, and it moves at a comfortable pace. But of course I still have external goals, particularly about playing solo guitar, which is why I released my album Motif Volume 2 last year.

Are you proud of the fact that, along with bands like the Stones, Yes are rewriting the rules of rock music? At the outset, a group could hope to last maybe five or ten years at the most. 

Absolutely. In the sixties I remember Paul McCartney saying that they [ The Beatles ] would be retiring soon. And I never thought that I would be in Yes again after I left [in 1981] and Asia came along. It does make me proud that we are still one of those bands that still goes out there and rocks. The Stones still do it, and so do we. I’m not into praising myself, but when I joined Yes [in 1970] there must have been some ingredient that enabled me to harmonise with Jon [Anderson] and Chris [Squire]. 

Here’s a Pseuds’ Corner question: is it important that Yes continues to exist in one form or another?

Yeah, I think that it is. When I’m not interested or unavailable, or for whatever reason, I believe that Yes should carry on. That’s down to the skill of the people that remain. 

Like Kiss, when no original members remain could Yes continue as a hologram band? 

People seem to really like the ABBA avatar show, and if that’s true I can’t see what’s wrong with it. I believe that if you don’t keep up with technology then you fall behind. 

Who picks the set-list for Yes tours?  

I don’t like to tell you how. I write a basic list, but it’s democratic. Everybody has to agree on the songs and the running order. This time there are some interesting ideas. We’ve reinvented Tales From Topographic Oceans [1973’s controversial, conceptual double album] into a twenty-minute visitation of its key moments. That’s my pride and joy at the moment.

Yes are currently touring the UK. For dates and tickets, visit the official Yes website.  

Dave Ling was a co-founder of Classic Rock magazine. His words have appeared in a variety of music publications, including RAW, Kerrang!, Metal Hammer, Prog, Rock Candy, Fireworks and Sounds. Dave’s life was shaped in 1974 through the purchase of a copy of Sweet’s album ‘Sweet Fanny Adams’, along with early gig experiences from Status Quo, Rush, Iron Maiden, AC/DC, Yes and Queen. As a lifelong season ticket holder of Crystal Palace FC, he is completely incapable of uttering the word ‘Br***ton’.

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Concert Review: Yes – Close To The Edge 50th Anniversary Tour, Dublin – June 28th, 2022

Review of the Yes – Close To The Edge 50th Anniversary Tour, Dublin – June 28th, 2022

Yes – Dublin – June 28th 2022 Close To The Edge 50th Anniversary Tour by Geoff Bailie

A lot of things have happened since I bought the ticket for this show originally scheduled for 2020… a global pandemic, obviously, a new Yes album and, sadly, the death of long standing member and drummer, Alan White. In addition, the band decided that for their return to live performance, they would celebrate 50 years of the Close To The Edge album, rather than tackle the previously announced Relayer (and I’ll admit it now, that disappointed me). In spite of all this and, not forgetting the ongoing unknown factor that this virus can halt touring overnight, Yes came on stage in Dublin tonight, following a video tribute to Alan White which was a nice acknowledgment of the drummer’s career and family.

“The Firebird Suite” naturally got things underway and the opening track, a 2022 rearrangement of Tormato’s “On The Silent Wings of Freedom,” was a rousing and confident start – not played since the 1979 tour, it’s a powerful track, immediately showing that the band you see on stage can confidently tackle certainly any 1970s Yes Music.

This is the 6th time I’ve seen Yes live, my first being on The Ladder tour, and yet the setlist contained 5 songs I’d never heard the band play live before. In addition to OTSWOF, Drama’s “Does It Really Happen” was included which gave Billy Sherwood the opportunity to demonstrate his bass guitar skills. Confidently playing this complex piece, his self-confessed Squire influenced style has developed greatly, allowing him to own the bass parts rather than just replicate his hero.

For a band with a massive back catalogue, playing two tracks from their most recent album, The Quest, could be a bit risky. But the tracks including the album opener “The Ice Bridge” were performed and received with the same enthusiasm and gusto as the classics. The “up” tempos and live feel particularly benefitted “Dare To Know” and instilled energy that the studio cut lacked.

The other “new to me” track was “No Opportunity Necessary, No Experience Needed” from the band’s second album. A creative cover version of a Richie Havens song, something the early band was particularly good at. It was preceded with a tribute to guitarist Peter Banks from Steve Howe. As with the very new tracks, you could come up with a valid reason why the band shouldn’t play this and go with something more familiar, but this version rocked with Sherwood and Jon Davison’s vocals being on point. Who could argue with “Heart of the Sunrise” as the Set 1 closer? I’ve read some critique in previous reviews of how Geoff Downes’ interpretation of some of the parts in this song strays from Rick Wakeman’s originals. Personally I’ve no issue with that – each band member brings their own steer to the back catalogue, and has done since the first line up changes. But tonight Geoff Downes’ performance combined accuracy and energy, as drummer Jay Schellen lifted the tempos to an extent from how some of these classic pieces had been played in the past. Geoff’s 11 years in the band line up since rejoining are well and truly hard earned and he does a great job.

I mentioned at the start I was really disappointed to learn the band wouldn’t be playing the Relayer album this tour and instead would celebrate 50 years of Close to the Edge. Pretty much every Yes show I’ve ever seen has contained at least 2 of the 3 songs on CTTE, and I’ve seen the album played in full on the 2014 tour featuring Squire and White. So I was skeptical as to what this could add to my Yes experience. Well, I’m glad to say that the performance exceeded all of my expectations. Of course, vocalist Jon Davison carried the weight of performing the lead vocals laid down by a 27 year old Jon Anderson – but every song was executed with great emotion and all the high notes were hit! The band followed suit with drummer Jay Schellen’s style reflecting a hybrid of the studio original played by Bill Bruford, and the live renditions owned by Alan White since he joined the band. All of the familiar parts were there but you can see how Schellen enjoyed playing off the band members, particularly Sherwood, with swing and panache.

Every song from CTTE received a well deserved standing ovation from the close to full house in Vicar Street. Certainly I left the venue, as did many others, feeling they had had a “full fat” Yes experience, rather than a “skimmed milk” tribute band.

“Roundabout” and “Starship Trooper” remained the standard set closers, with lots of moments that featured each band member at their finest, as opposed to seeing a band simply completing their obligatory encores.

Howe, Downes, Davison, Sherwood and Schellen are Yes. Tonight they proved again to me they have earned the right to bear that name. I hope they return to Ireland next year with the Relayer album in tow, and judging from the enthusiasm tonight that would seem like a no brainer

1. On The Silent Wings Of Freedom 2. Yours Is No Disgrace 3. No Opportunity Necessary, No Experience Needed 4. Does It Really Happen 5. The Clap 6. Wondrous Stories 7. The Ice Bridge 8. Dare To Know 9. Heart Of The Sunrise 10. Close To The Edge album in full 11. Roundabout 12. Starship Trooper

Hi I was in the audience of that show,and I agree 100% with your review! It was 2 1/2 hrs of magic Billy sherwood is s worthy inheritor of Chris squires bass position! Jon davison is s fantastic vocalist,and jay schellen has been the right person to take up Alan whites mighty baton As to mr Howe and banks they were on fire It was worth the wait The current lineup are now a yes cover band They are yes

A U.S. tour in near future?

I was at the concert on Tuesday night and to me it was 2 1/2 hours of bliss. After 2 cancellations I finally got to see the latest lineup in action! I am very happy at what I have seen Billy sherwood was on fire,and Chris squire would have very happy at Billy’s performance. As to Jay schelling,he is very worthy of being the new Alan White. Jon Davison is a great vocalist Mr howe and downes excelled Thank you YES for voting over This is my 10th YES show, and the group are no covers band of YES. They are YES Thank you to YES for a magic night

Couldn’t agree more.

I’m sorry. But this version of the band leaves me cold. I have heard YES tribute bands that sound more like YES.

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Steve Howe: “Sometimes I’ll play something and it’s over the top, so I’ll pull it back. There’s a certain kind of order and sensibility I like to bring to my guitar”

The stalwart Yes guitarist discusses the inspiration, tones and sentiment behind The Quest, the prog-rock masters’ first studio album since the passing of founding bassist Chris Squire

In and of itself, Yes’s new album, The Quest , is significant as it ends one of the longest gaps between studio recordings for the progressive-rock legends (the last time they released a studio effort was in 2014, with Heaven & Earth ). 

Guitarist Steve Howe acknowledges the fact that the band’s fans have been clamoring for new music, but he also defends the decision to hold off and not hurry.

“I’m not the guy who will say, ‘Let’s rush and make another record,’ because I’ve had my fingers rapped too many times with the outcome of that,” he says. “I’ve been disappointed with some of the recent albums Yes recorded, starting with [1997’s] Open Your Eyes . 

“I mean, they all had their merits, but I think to make a really good album, you need the proper circumstances and atmosphere. Everybody has to feel really ready. So as far as the long gap, all I can say is, some things are worth waiting for, and I think this album is worth the wait.” 

The Quest is notable in other ways. Not only is it the first Yes album on which founding bassist Chris Squire doesn’t appear (he passed away in 2015), but it’s also the first record to feature a lineup devoid of any original band members. Howe and drummer Alan White are now the two elder statesmen [Editor’s note: Howe replaced Peter Banks in 1970; White replaced Bill Bruford in 1972] in a group that consists of singer Jon Davison, bassist Billy Sherwood and keyboardist Geoff Downes. 

“It’s certainly a different dynamic in the band these days,” Howe says. “In terms of Chris Squire, we obviously felt the loss, and we know the scale of what losing him means. But what we’re trying to do is not wallow in regret. When we tour, we pay tribute to Chris by playing his song Onward and showing pictures of him. The legacy of what he left us is immense.”

When we tour, we pay tribute to Chris by playing his song Onward and showing pictures of him. The legacy of what he left us is immense

The guitarist is effusive in singing the praises of Sherwood, who began an on-and-off association with Yes back in 1989 and continued through various incarnations of the group (including spin-off projects), sometimes serving as additional guitarist and keyboardist before assuming full-time bass duties following Squire’s passing. 

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“Billy’s really done an amazing job,” Howe says. “As most people know, he was one of the biggest Chris Squire fans in the world. The two of them worked together in Yes and in other things for a long time, so if anybody was equipped to step into this role, it’s definitely Billy. Losing Chris left us in a difficult position, but Billy stepped up to the game. I can’t say enough about him.” 

Clocking in at just over 60 minutes, The Quest is a sprawling work that recalls the sound of classic Yes – there’s heaping doses of Hammond organ and spiraling vocals – done up in a starkly modern and sometimes edgy way. It’s grand without seeming pompous, reverential without being dreary. 

Even when the band employs a full orchestra on the sumptuous ballad Minus the Man or the progressive-rock thriller Dare to Know , there’s not a whiff of pretension – it’s theatrical, not showy. 

Throughout the album, but especially on the widescreen epic The Ice Bridge and the surprisingly soulful Leave Well Alone , Howe is a dominant presence, spinning webs of cleanly articulated riffs and solos that touch on jazz, blues, rockabilly and even twang. 

On one of the record’s delightful highlights, Mystery Tour , an unabashed tribute to the Fab Four, he manages to capture George Harrison’s distinctive soloing style – there’s a sweet warble to the sound – with his own fleet-fingered approach.

In yet another first, Howe took on the role as sole producer, which he says isn’t really a big deal (“I’ve always been part of the production team”), only this album presented him with an unexpected challenge as it was recorded during the time of COVID. Because of travel and safety restrictions, various band members were sometimes together in studios in America and the U.K., but other times recording was done remotely. 

None of which fazed Howe at all. “As a producer, my biggest role, beyond certain decisions that I had to make, was in setting a proper atmosphere, and that only comes through one’s communication skills,” he says. “If I can steer people’s performances in a good way and answer their questions, that’s half the job right there. 

“As for file-sharing, that’s been around for over 10 years, so there was no strangeness to that aspect at all. It’s been perfected to a degree that there’s no loss of audio. If you can communicate to somebody what you’re looking for, you can work with them wherever they are, and in a way they can have even more freedom. It’s not a bad way to work.”

In previous interviews, you’ve talked about your influences as a guitarist, but you have to know that you’ve had an impact on so many players over the years. Do you ever hear from some of them?

“Oh, absolutely. It’s delightful to hear from people who are inspired by me, because really, they’re inspired by what I picked up from my heroes. It’s like we’re carrying on messages. I always appreciate the compliments and recognition. 

“I can tell you that Chris Squire was very unhappy that we didn’t get into the Rock and Roll Hall of Fame during his lifetime. He’d be pleased that we got it, but obviously he’d be sad that he didn’t get it, because he didn’t feel that Yes got the proper kind of acknowledgement from the business. He thought the industry turned its back on us a bit.” 

The band’s performance at the Rock Hall induction was one of those things where past and present members took part. What was that like for you?

“It was strange, to say the least. It was like there were two sets of dialogue – one being that it would be nice if we all could have gone on and made music together. But the other thing was, there were issues, and some people had bigger ones than others. 

“The lineup that had been given the green light by the Hall of Fame was just a moment in time. I knew there would be challenges, but you have to rise to them. I had to perform, and that’s what I did. Roundabout worked out not being too bad, really. 

“I don’t own Owner of a Lonely Heart . We don’t play it – it’s the '80s band’s song. So for that performance, I learned Chris’ bass parts note for note, and I enjoyed, you know, ‘doing Chris’. I respected what he did, and that’s it. All in all, not a performance I would put in my top 10.”

You’re at the point in your career where each year is bound to bring up an anniversary. And as we approach 2022, we mark the 50-year mark of Close to the Edge , which routinely tops lists as the “greatest prog album of all time”. Where do you rank it?

“Oh, I place it right at the top, actually. When we started that album, there was such a feeling of ignition within the band. After Fragile , we knew that people were listening and were like, ‘What are they going to do now?’ We rose to the occasion. The song Close to the Edge was the moment in time when everybody’s contributions fired off in the highest possible way. [Producer] Eddy Offord, too. 

“The other tracks were, too – they were identically identifiable and well arranged. The arrangement skills of Yes were coming through with Close to the Edge . I remember listening back to it in the studio and saying, ‘That’s pretty all right.’ 

Some of the reviews for the album at the time were pretty remarkable. NME actually said, ‘Yes aren’t just close to the edge, they’ve gone right over it.’ 

“That’s right. We were definitely feeling more confident, and that started with The Yes Album and into Fragile . We could do bigger tracks with longer intros, do more noodling, stopping and restarting. Everything was going ‘out there’ and we had some tricky arrangements.  I mean, we were basically a rock band that fluffed it out a lot. 

“Bill [Bruford] was the guy who said, ‘I’ll never play 4/4,’ and we didn’t expect him to. That’s what everybody was doing – finding their own voices. Bill was very adventurous, as evidenced by his decision to go and join King Crimson after Close to the Edge . He followed his heart. I’m not quoting him, but I think he thought Yes had gotten as commercial as he wanted us to be. It was so catastrophic when Bill said he was leaving. It sort of made no sense, but to him it did. I respected his view.”

How exactly did Alan White come into the picture?

“We were all hanging out with him in the studio before Bill left. Alan was a mate of Eddy’s, and we got to know him. We had a few “hang-out” guys. So when Bill told us the shocking news that he was leaving, there was silence, but then we all thought, ‘Well, Alan is a drummer, a really good drummer, in fact. We’ll go with him, right?’ We were in a jam, and Bill’s decision put pressure on us to replace him quickly. 

“We got Alan in and played with him. He had to learn the whole set in four days or something. We had two rehearsals, and he bluffed his way through it. [Laughs] But if you’re a good musician, that’s what you’ve been taught to do. Nobody had really heard Close to the Edge yet, so there wasn’t anything to compare him to. Alan knew he didn’t play like Bill, but he rose to the occasion. There was a change in the band, but I guess it’s like when I came in and there was that change.” 

You and Alan are now the longest-standing members of Yes. Is it fair to assume the two of you pretty much call the shots?

“Yeah, we have a strength of opinion based on our experience, and we can bring light to the dark tunnel sometimes by saying we’ve been through all these things before. I’m sure Alan and I have voices that are going to be listened to. But this is a team. This does rely immensely on teamwork, and pretty much things have to run through people, and they have to agree irrespective of their period in the band.” 

There was that period in which Jon Anderson, Trevor Rabin and Rick Wakeman toured together. You and Alan didn’t take part in that. Was that a contentious time?

“Probably. That was just a futile thing they did. When they came out with the idea for it, I actually sent three emails to each of them saying, ‘Good luck,’ like, ‘It’s not going anywhere.’ But that was just true sentiment. I said to them, ‘Great. You’ve put a band together. Go with it. Good luck.’ I never heard back from them, but basically that was fine. They had their run. There has to be some competition in life, and they appeared to be what might be called competition. 

“Basically, in their second year they decided to tack Yes on the front, and some promoters used the Yes logo, which they weren’t allowed to do. There was a bit of a pickle, but fortunately people woke up and said, ‘OK, we won’t do that.’ 

“It was a bit of a difficult time, because it was confusing, not only for the audience, but also for promoters. ‘Is this Yes, or is it Yes with ARW?’ It was a bit of a mess for a long time.”

Being in your position, is it like an extended family at reunions sometimes? 

“You have to make peace with one another, and at times it’s difficult. It’s not difficult in certain situations. Some situations are really good, provided one keeps the same perspective and viewpoint that are most helpful to everybody going forward. Basically, you try not to jam things up. 

“Whenever you leave a band, you might stay in touch with somebody, or you might not. The latter says something, in a way: ‘Look, I’ve done that, and we can’t really connect so much anymore.’ It happens.

“Sometimes you stay in touch with people that you don’t work with anymore. I never stopped being friendly with Bill, but we’re not working together. That’s ideal. It’s quite mature to accept something. If you can’t accept a situation, you keep rattling the cage and all you’re going to do is make yourself unhappy – and other people.”

Let’s get into some of the new songs. Dare to Know features such beautifully languid guitar melody lines at the top, and the volume swells you do are gorgeous.  

“Thank you. Yeah, it was one in which I got more ambitious as I went. There’s several different frameworks to the tune, and of course, the orchestra comes in near the middle. The volume swells… it’s a Les Paul Junior and a pedal. I’m doing this drone without any harmonies. It’s a thick sound that I enjoy playing with. 

“There’s the long intro. I’m mad about intros and endings. I’m the guy who always says, ‘Love the song, but it can’t start like this, and it can’t end like that.’ So it’s a song where I said, ‘Look, it just can’t possibly start like this. Love it, but it’s got to start like this.’ So I keep trying to stimulate other people to come up with more things.” 

Yes is a rock band. We should try to use all facets of different mediums of rock to tell our story

Leave Well Alone has such a soulful rhythm – it’s almost R&B. Not what people normally associate with Yes. 

“Well, I’m glad you hear that. Like I said, Yes is a rock band. We should try to use all facets of different mediums of rock to tell our story.”  

The outro is signature Steve Howe, a stunning tapestry of clean guitar lines. Did you demo that? Was that improv? 

“That was complete improv, and it’s pretty much what I played. I had a few takes, but that’s the take I like. Basically, I just started dabbling around with chords. I find different ways of leaning on them and crossing over them. I really enjoy guitar breaks, and that one is quite long. I sort of drifted out with it and made it reach a climax while other things were happening in the arrangement. The drums picked up and went to double time. All those things were very calculated, but they’re also improvised.” 

On Music to My Ears , you and Jon Davison do a vocal duet. People forget what a strong singer you are. 

“Well, thanks. Overall, I haven’t had many compliments about my singing. I do enjoy singing, and when you’re doing it with somebody else, you have to have the right sense of harmony. There are a few tracks on the album with duet vocals. On some occasions, Jon would say, ‘I could just sing what you’re singing, but what about us both doing it?’ That’s quite unique for Yes, but it goes back to Asia, with John Wetton and me singing.” 

Your guitar playing dots the entire track, but it never seems intrusive. Do you ever have to pull back, like, “Okay, that’s too much. Stay in the pocket”? 

“That might happen as I’m finding my feet. Sometimes I’ll play something and it’s over the top, so I’ll pull it back. There’s a certain kind of order and sensibility I like to bring to my guitar. One of the great skills of being any musician is being able to accompany a singer. 

“It’s a big part of rock music. Beyond the moments when you get to do whatever the hell you like, it’s important to find out what you should do to support the singing. There are even times when you don’t need the guitar.” 

A lot of people do Beatles tributes, but a lot of them are kind of cheesy. Mystery Tour is whimsical, but it’s not gooey or tacky.

“Oh, good. Thanks. I wrote about half the lyrics in 1985, and a year or so ago I found them and thought, ‘There’s kind of something here.’ Then I looked at my voice recorder and picked out the last tune I wrote, so that’s what I used. The song doesn’t quite sound like the Beatles, but it is a tribute to their greatness. I think they’re the best band that ever existed. They introduced such a broad spectrum of music in ways that hadn’t been allowed before.”

It’s interesting how in the solo you channel a bit of George Harrison’s sound and spirit, but you dovetail it with your own style.

“At first I wasn’t trying to do that. I’m not one to copy other people, but I thought, “I’m playing a Telecaster ,” and if you remember during the Let It Be period, George was big on Telecasters. The solo’s got a few bends. It’s very casual and relaxed, like the whole song. I like that break a lot.”

Which Telecaster did you use?

“It’s my ’55 Relayer guitar. The pickup combination on that one is great.”

You always use your Gibson ES-175, and you mentioned a Les Paul Junior. What other guitars did you play on the record?

“I used the Les Paul Roland all the time. There’s plenty of reasons why I like this guitar, mainly because it isn’t heavy, so that’s unique. I played it at a trade show and said, ‘I’ve got to have this.’ I had Customs and an old Les Paul that weighed a ton, so this guitar felt quite nice. It became a workhorse, much like the Les Paul Junior. It’s nicely set up and has a Tune-O-Matic tailpiece. I love it.

“There are other guitars besides those. I used a Gibson ES-345, and of course, the ES-175. There’s steel guitar, which is a Fender Stringmaster. I love that. There’s some Stratocaster , and on The Living Island I played a Martin MC-28 acoustic. I played sitar and mandolin, and there’s a Portuguese guitar that got a spotlight. Quite a few guitars – they all seem to come out.”

Does having so many guitars at your fingertips ever feel like you have too many options? 

“Not really, although I will say that I do like fewer choices in some respects. My collection is still too big. Gradually I’m whittling back, because I know there are key guitars that I must have for their sound. Danelectros, Rickenbackers and other things pop in the scene a little bit, but mainly, you can’t go wrong with Gibson and Fender.”

• The Quest is out now via Inside Out / Sony.

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Joe is a freelance journalist who has, over the past few decades, interviewed hundreds of guitarists for Guitar World , Guitar Player , MusicRadar and Classic Rock . He is also a former editor of Guitar World , contributing writer for Guitar Aficionado and VP of A&R for Island Records. He’s an enthusiastic guitarist, but he’s nowhere near the likes of the people he interviews. Surprisingly, his skills are more suited to the drums. If you need a drummer for your Beatles tribute band, look him up.

“Ian broke his wrist. We took him to the hospital and he got a cast put on. And we knew the session was coming up…” Up close with the 1974 Les Paul Custom that Ian Bairnson used to play the solo on Kate Bush’s Wuthering Heights – with his arm in a cast

“The Go-Go’s asked if I could play bass. ‘Sure,’ I said. I had never been the bass player in a band, but I figured how hard could it be?” Kathy Valentine switched away from guitar for The Go-Go’s – until her solo skills were called upon again

“I played it to him on an acoustic guitar and he went, ‘That sounds kinda French… let me write some lyrics’”: Gary Moore on how Thin Lizzy’s Phil Lynott helped shaped one of his most iconic guitar tracks

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A Note From Steve ...

Virgil & steve howe – announce release of new album “lunar mist”.

Steve Howe, legendary guitarist with Yes, is pleased to announce the release of ‘Lunar Mist’ – the second collaboration with his late son Virgil Howe who tragically passed away in 2017. Continuing his journey that is fueled by the love and energies he draws from his wife Jan and their family, a passion for the guitar, and of course, the never-ending drive to create and perform music, ‘Lunar Mist’ will be launched on the 23 rd September 2022. Watch the video for the album’s title track here: https://youtu.be/UPyHKTmyUPc

Crafted using Virgil’s unreleased material that had a connection in spirit to their debut collaboration ‘Nexus’, Steve compiled everything together in January 2021 to start work. Stemming from an unreleased bonus track, titled ‘Lunar Mist’, from their debut album, Steve worked at expanding on Virgil’s musical ideas. As Steve explains: “I started by writing chord charts for all the other tunes, before adding guitars and bass guitars to embellish them and bring them to completion. In the most part I kept them as he’d written them but sometimes I expanded them with further ideas and improvisation.”

The result is an album that is unique in both musicians body of work. “Virgil shows some different musical characteristics here that were such a joy to play on. There’s more of his great drumming and a broader inventiveness in his compositions” says Steve.

The album will be available on Limited CD Digipak, 180g Black LP + CD & Digitally, all adorned with a front cover painting by Virgil’s daughter Zuni. Pre-order the album here: https://vshowe.lnk.to/LunarMist

• Lunar Mist 03:52
• More Than You Know 03:05
• Plexus 04:09
• Mariah’s Theme 03:16
• A Month In The Sun 04:39
• As If Between 02:43
• Never Less 02:55
• Lothian’s Way 03:06
• Free Spirit 02:45
• Eternal 03:09
• Dirama 02:38
• Pinnacle 02:02
• Pagoda 02:19
• Martian Mood 03:59

Music has been a constant in Steve Howe’s life. In the sixties, he made a name for himself as guitarist of psychedelic pioneers Tomorrow. Joining Yes in the seventies, he helped propel that band to progressive rock superstardom. The eighties found Steve at the top the charts once again as a founding member of supergroup Asia, and later, GTR. Concurrently, Steve developed a brilliant solo career, performing and honing his skills as a producer, releasing more than twenty albums. Together with wife Jan, he’s raised a family, and steered side projects with son Dylan in The Steve Howe Trio.

Steve Howe’s creative passion has put him on a lifelong journey on pathways, ranging from jazz, blues and classical, to folk, bluegrass and rock. His prolific solo career defies easy categorization, making each new album a venture into genre-bending territory that always bears his inimitable imprimatur. Always pushing forward with studio craft and virtuosity, each of his albums reflects the insights he has gathered along the way.

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2022-04, April 2022 (Howe)

Volume 21, Number 7

Product Description

The Rock in the River

By John Hooley

On a rural property near Hammett, the serious ailment of a father inspires his grown son to make a permanent sacrifice.

A Horse’s Seat

By Julie Fox

The descendant of Hailey pioneers describes her ancestors’ lives and an amazing race to determine the county seat.

Howe — Spotlight City

By Anna Sermon

After a disastrous fire in 2012, a lifelong Howe resident gathered stories of the lives of people throughout the valley.

DEPARTMENTS

Comments: Twin Falls

Bruneau Dunes: Rat Wars, by David Metcalf

Selkirk Mountains: Planting Fish, by Mary Terra-Berns

Caldwell: My Teachers, by Les Tanner

Boise: Our Muse, by Kevin McNeill with David McNeill

Lane: Grandma Bailey, by Aisha Marie

Weiser: The Revitalizers, by Dean Worbois

Idaho At Large: Good Stock, by Steve Carr

Recipes: Bill’s Award-Winning Chili; Smoked Salmon Hash

Calendar: Cruise the World, Moscow

IN THIS ISSUE!

Boise, Bruneau Dunes, Caldwell, Hailey, Howe, Indian Cove, Lane, Meridian, Moscow, Nampa, Riggins, Selkirk Mountains, Weiser

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