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Steve Howe is synonymous with the intricate and innovative sound of Yes. As the band’s guitarist since 1970, Howe has not just been a member, but a defining voice, weaving complex textures and melodies that have become hallmarks of progressive rock. His exceptional talent isn’t merely a fan’s observation; it’s an industry acknowledgment. In fact, Guitar Player magazine, recognizing his consistent dominance, famously banned Steve Howe from winning their Best Overall Guitarist award, a testament to his unparalleled skill and to allow other deserving musicians to be recognized. He had clinched the title every year from 1976 to 1981, an unbroken streak of virtuosity.
Beyond accolades, Steve Howe’s approach to the guitar is what truly sets him apart. Initially perceived as reserved, Howe transforms into an effusive and passionate speaker when music becomes the topic. His deep engagement with his craft is palpable, reflecting a lifetime dedicated to exploring the sonic possibilities of the guitar. This passion is especially evident as Yes embarks on tours featuring complete albums, challenging themselves and their audience with musically dense works from their expansive catalog.
Currently, Yes is revisiting two particularly intense albums from their history: Tales From Topographic Oceans and Drama. This undertaking is not for the faint of heart, as both albums represent periods of significant musical ambition and, as Howe himself acknowledges, some internal band volatility. In a candid conversation, Howe delves into the complexities of performing this music live, the role of new bassist Billy Sherwood in filling the shoes of the late Chris Squire, and offers a glimpse into the band’s past, humorously recalling how Yes, despite their intricate music, were once perceived as almost classical, when in reality they were, in his words, “just a bunch of stoned hippies.”
The decision to feature entire albums in concert, a tradition for Yes, continues with this tour. When asked about the choice of Drama and selections from Tales From Topographic Oceans, Howe explains that it’s an evolutionary process, a result of internal discussions and a desire to present something unique to their fans. Having previously toured with albums like Fragile, The Yes Album, Close to the Edge, and Going for the One, the band sought to offer a fresh experience, particularly for their European audiences who had already witnessed some of these classic album performances.
The pairing of Fragile and Drama initially emerged as a compelling combination. While Fragile had been performed in its entirety in America, Drama remained unplayed in that format. The concept of performing two complete albums evolved into a desire for a “three-album situation,” reminiscent of past tours featuring Going for the One, The Yes Album, and Close to the Edge. However, the sheer volume of music led to a practical reconsideration.
Howe proposed focusing on Drama alongside selected portions of Tales From Topographic Oceans, specifically sides one and four. This approach, he argued, would create a “bookend” effect for Tales, offering a substantial yet manageable program. Performing all of Tales in addition to Drama would have been a monumental undertaking, equating to four sides of vinyl to master and present live. The final decision was a balance of artistic ambition and logistical reality – choosing what they could deliver with excellence while still satisfying their creative urges and fan expectations.
Adding an element of surprise, Howe hints at an unannounced piece to be inserted between Drama and the Tales selections, promising an extra layer of intrigue for concertgoers. Side one of Tales, “The Revealing Science of God,” is described as a “big grand piece” with recurring themes, serving as the album’s powerful introduction. Side four, “Ritual,” provides a sense of recapitulation and reinvention, culminating in a significant drum feature. Howe emphasizes the dynamic range within these pieces, showcasing Yes’s signature blend of quiet introspection and explosive rock energy. While acknowledging the immensity of sides two and three of Tales, he doesn’t rule out a future performance of the complete album, but for the current tour, the selected sides offer a potent and exciting program.
Both Tales From Topographic Oceans and Drama are undeniably daring and represented shifts in Yes’s musical direction. Howe acknowledges the underlying connection between these albums, recognizing the unique musical territories they explored. Rehearsing Drama in its entirety provided a fresh perspective on the musicianship of that era, highlighting the individual skills within the band. Tales, being Yes’s sole concept album, holds a unique position in their extensive discography, marking a pivotal moment that led to albums like Relayer, which Howe describes as having a “King Crimson” influence, diverging from the Close to the Edge format and embracing a more angular and hard-hitting sound.
The combination of Tales and Drama in concert, Howe believes, works surprisingly well. Drama is performed first, followed by a couple of other songs before delving into Tales, creating a dynamic and engaging concert experience. Having played Tales in the early 2000s, Howe and the band are eager to revisit and bring these complex works to life once again.
Reflecting on the intricate writing process of Tales, Howe recalls the conceptual foundation rooted in Hindu texts, a lyrical direction championed by Jon Anderson. Howe’s personal approach to learning and relearning these complex pieces involves a detailed charting method. He creates blueprints of the songs, noting timings, chord progressions, and arrangements. These charts evolve into highly detailed guides, including chord inversions and nuances, allowing him to navigate the intricate musical landscapes. This meticulous preparation is essential for accurately воспроизведение the original guitar parts.
For Howe, understanding the chordal structures is paramount, serving as a foundation for the melodic and lead guitar lines. While some aspects become ingrained through repetition, the challenge lies in mastering the complete arrangement, encompassing both technical execution and sonic recreation. This process is a blend of joy, labor, and the physical demands of playing complex guitar parts, all driven by the challenge of faithfully reproducing the sounds associated with those iconic recordings.
Preparing for live performance also involves meticulous sound design. Howe describes his process of working with his pedalboard and amp to replicate the original guitar tones. He aims for efficiency, ideally utilizing just four core sounds to cover the breadth of sonic textures required for side one of Tales. His volume pedal becomes a crucial tool for dynamic texturing, supplemented by additional patches as needed. This careful attention to sonic detail is a testament to Howe’s commitment to authenticity in live performance.
Vocal arrangements are another layer of complexity, particularly for “The Revealing Science of God.” Billy Sherwood’s integration into the band involves not only mastering Chris Squire’s bass parts but also the vocal harmonies. Rehearsals prioritize establishing a solid rhythm section foundation before incorporating vocals, ensuring that Sherwood can seamlessly integrate his singing with the instrumental interplay. For Howe, focusing primarily on guitar performance is fulfilling, though he enjoys contributing vocals where needed, noting an increased confidence in his singing over time.
“Ritual,” another key piece from Tales, presents its own unique demands. Howe describes the demanding nature of its intricate melodic and rhythmic structures. His role involves both melodic playing and complex passages, including parts played on a sitar guitar, requiring a blend of technical precision and vocal coordination. Despite the complexity, Howe’s deep-seated memory of the music, honed through years of performance and familiarity, allows him to navigate these challenges.
While Yes is known for meticulously arranged compositions, Howe acknowledges the role of improvisation in their music. Certain pieces offer “explosive opportunities” for improvisation, contrasting with their largely arranged nature. He describes Yes’s sound as “orchestral rock,” emphasizing the importance of intricate arrangements in their most impactful work. The intensive rehearsal periods, sometimes spanning weeks, are crucial for developing and refining these complex arrangements. In the past, this involved extended periods of collaborative work in a room, a process that, while sometimes argumentative and demanding, fostered a unique creative synergy.
The advent of digital recording technology like ProTools has altered the creative process, offering flexibility and precision but also potentially changing the dynamic of collaborative arrangement. Howe reflects on Chris Squire’s observation that there was a different quality to arrangements developed organically in a room together. The immediacy of in-person collaboration, with the ability to instantly refine and adjust parts, holds a distinct value.
Both Tales and Drama were fundamentally shaped through this intensive in-room arrangement process. While demanding and time-consuming, this approach was essential for realizing the ambitious musical visions of these albums. The collaborative writing on Drama, even before the arrival of Trevor Horn and Geoff Downes, highlights the band’s commitment to collective creativity.
Contrary to expectations, selling the concept of Tales From Topographic Oceans to the record company was surprisingly smooth. Ahmet Ertegun and Atlantic Records held a deep respect for Yes and their artistic endeavors, supporting their creative ambitions even when venturing into experimental territories like a double album with four extended tracks. This era of the music industry was more open to artistic exploration, valuing Yes’s unique musical output.
The internal “selling” of Tales within the band itself was a more engaging process. Ensuring each member felt integral to the project was key. The band dynamic involved a playful yet productive exchange, where creative disagreements were navigated with humor and a shared commitment to the music. Despite the perceived seriousness of their music, Howe emphasizes the band’s down-to-earth nature, describing them as “still stoned out hippies” even amidst creating complex, conceptual works.
The departure of Rick Wakeman and the subsequent arrival of Trevor Horn and Geoff Downes of The Buggles marked a significant shift leading to Drama. Howe addresses the stylistic contrast between Yes and The Buggles, acknowledging the commercial success of “Video Killed the Radio Star” but highlighting the underlying musicality of The Buggles’ work. Tracks like “Vermillion Sands” and “The Age of Plastic” showcased a more progressive sensibility, appealing to Howe’s musical sensibilities. The production quality and Trevor Horn’s lyrical approach resonated with Howe, leading to their collaboration and integration into Yes.
Drama undeniably divided the Yes fanbase, a point Howe readily acknowledges. The absence of Jon Anderson and Rick Wakeman, coupled with the new wave influences brought by Horn and Downes, created a distinct and sometimes polarizing album. While Howe recognizes the fan division, he defends the album’s musical integrity, praising the high quality of arrangements and individual performances, particularly the keyboard parts. Despite strong sales in America and Europe, Drama faced resistance in England, possibly due to the absence of Anderson and the initial skepticism towards Trevor Horn. The band subsequently pursued different projects to navigate this period, acknowledging the mixed reception of Drama.
Looking to the present, Howe expresses strong approval of Billy Sherwood as Chris Squire’s successor. He emphasizes Squire’s own endorsement of Sherwood, recognizing Billy’s long-standing association with Yes and his multifaceted musical talents. Sherwood’s deep understanding of Squire’s parts and vocal harmonies, coupled with his respect for Squire’s legacy, makes him an ideal fit. Howe notes that Sherwood doesn’t attempt to mimic Squire but rather honors his contributions while bringing his own musicality to the role. Fans have also embraced Sherwood, recognizing his genuine commitment and musicality. Sherwood’s history with Yes, including production work and contributions to Keys to Ascension, further solidifies his integral role within the band.
Regarding the future of Yes and the possibility of new music, Howe indicates a cautious and deliberate approach. While individual members, including Howe and Jon Davison, are actively writing, there’s no immediate rush to create a new Yes album. He suggests that new material might be considered after their touring commitments, potentially after their cruise event the following year. Howe emphasizes the importance of a collaborative writing process for authentic Yes music, referencing Keys to Ascension as an example of successful band-written material. This collaborative approach, while time-consuming, is considered essential for capturing the true essence of Yes’s sound.
Despite various members pursuing individual projects, Howe expresses a desire to maintain Yes’s ongoing activity. Balancing individual ambitions with the collective goals of Yes requires careful planning and agreement. The band’s current focus is on fulfilling their touring commitments for the year, including international dates in Japan and Howe’s annual solo tour in the UK. Howe’s solo work, influenced by Chet Atkins and his broader musical interests, provides a contrasting outlet to his work with Yes. Even within his solo performances, elements of Yes’s music often find their way into his setlists, demonstrating the enduring presence of Yes in his musical identity.
