Power Windows (album)
Power Windows is the eleventh studio album by Canadian rock band Rush, released on October 14, 1985 by Anthem Records. After touring in support of their previous album, Grace Under Pressure, the band took a break and reconvened in early 1985 to work on a follow-up; the material continued to display the band's exploration of synthesizer-oriented music, this time with the addition of sampling, electronic drums, a string section, choir, with power being a running lyrical theme. Power Windows was recorded in Montserrat and England with Peter Collins as co-producer and Andy Richards on additional keyboards; the album reached No. 2 in Canada, No. 9 in the United Kingdom, No. 10 in the United States. In January 1986, the album reached platinum certification by the Recording Industry Association of America for one million copies sold in the United States. Rush released five singles from the album between 1985 and 1986: "The Big Money", "Territories", "Manhattan Project", "Mystic Rhythms", "Marathon".
The band supported the album with their 1985–1986 tour. In November 1984, the band ended their concert tour in support of their previous album, Grace Under Pressure. After a short respite, the group started work for a follow-up album in early 1985. Guitarist Alex Lifeson looked back at this period, noted their conscious effort in taking the strongest elements of their previous two records and Grace Under Pressure, capitalising on them for Power Windows. To Lifeson, this resulted in a more satisfying album. In February 1985, Rush had relocated to Elora Sound Studios in Elora, Ontario to write and rehearse new songs. Drummer Neil Peart would write a set of lyrics from the studio's farmhouse while Lifeson and frontman Geddy Lee worked on music to fit Peart's words in the adjacent barn which housed a 24-track recording studio. Peart worked on a small desk in his room, "about the right size for a five-year-old". During this time, Peart researched the Manhattan Project to write lyrics for the same-titled song.
He had a head start, having written outline lyrics for "The Big Money", "Mystic Rhythms", "Marathon" before these sessions had begun. Lee and Lifeson sorted through jams recorded at soundchecks on tour and Lifeson's own tapes of ideas to assemble music for the three tracks, with each song taking up to a week, they began on "Middletown Dreams", "Marathon" once again, "Grand Designs". Having worked out some material, Rush underwent a five-day warm-up tour in Florida in March 1985 to sharpen their performance and to test the new songs on stage prior to recording. Peart continued to work on lyrics in his hotel room in Miami. Following their warm-up gigs, the band returned to Elora and continued working on their new songs, their break away being a positive impact on their work upon returning. Peart had struggled to finish "Territories" and "Manhattan Project", "but now they just fell together". On their first day back at Elora, Peart began work on lyrics for a ballad titled "Emotion Detector" as the group had discussed the possibility of recording one for their new album.
Upon presenting his words to Lee and Lifeson, his lyrics fit to the piece of music that his bandmates were working on at the time. This was followed by Rush arranging the music for "Emotion Detector" and "Territories", after which they had assembled a demo tape of seven new songs ready to present to Collins for recording. In 1985, Peart told an interviewer that Rush's sound "is changing from having been progressive to not being progressive", he noted that despite the album might "seem simpler", it was just as difficult to compose and perform. Lifeson expressed some resistance to the emphasis on keyboards during this period of their history, he noted the trend began on Signals which pushed his guitar parts too far into the background as a result. However, he thought Rush achieved a much greater balance of the two instruments on Power Windows, which he thought Moving Pictures had. Rush recorded Power Windows from April to August 1985 in five different recording studios; the group recorded Power Windows with Peter Collins.
During their warm-up gigs in Florida, the band first met Australian engineer James "Jimbo" Barton who Collins had recommended. They accepted, Peart praised Barton's contributions and suggestions to the band, considering his small recommendations to improve a song, which he referred to as "events", was "just what we were looking for". Lifeson compared the experience of recording Power Windows as more pleasant and fun than Grace Under Pressure, which presented various problems for the band, he added that the album contained elements that Rush had not incorporated before and broke several boundaries that had existed with previous albums. Lee supported this view, said the group decided "not to hold anything back" and make the album first and worry about presenting the music on stage later. Recording began at The Manor Studios in Oxfordshire, where the basic rhythm and bass tracks were recorded more than usual, in the span of five weeks, to capture more spontaneous performances ready for overdubs.
Here, the music was recorded using two Studer A800 24-track tape machines with an SSL console. It was during sessions at The Manor where Rush brought in musician Andy Richards to play additional synthesizers and assist in their programming, his rig consisted of a PPG Wave 2.3 synthesizer connected to a Roland Super Jupiter module through a MIDI system, a Yamaha QX-1 digital sequencer, a Roland Jupiter-8 and Yamaha DX7 synthesizer. In one incident, Peart's drum technician Larry Allen drove with him to London to collect a set of African and Indian drums to use on "Mystic Rhythms", bongos for "Territories". In May 1985, the band had relocated to A
Bad Company are an English hard rock supergroup formed in Westminster, London, in 1973 by two former Free band members—singer Paul Rodgers and drummer Simon Kirke— as well as Mott the Hoople guitarist Mick Ralphs and King Crimson bassist Boz Burrell. Peter Grant, who managed the rock band Led Zeppelin managed Bad Company until 1982. Bad Company enjoyed great success throughout the 1970s, their first three albums, Bad Company, Straight Shooter, Run with the Pack, reached the top five in the album charts in both the UK and US. Many of their singles, such as "Bad Company", "Can't Get Enough", "Good Lovin' Gone Bad", "Feel Like Makin' Love", "Ready for Love", "Shooting Star", "Rock'n' Roll Fantasy" remain staples of classic rock radio. Contrary to speculation that singer Paul Rodgers named the band after the Jeff Bridges film Bad Company, Rodgers stated in an interview with Spinner.com, that the idea came from a book of Victorian morals that showed a picture of an innocent kid looking up at an unsavoury character leaning against a lamp post.
The caption read "beware of bad company". Bad Company consisted of four seasoned musicians: two former members of Free, singer Paul Rodgers and drummer Simon Kirke; the band signed to Swan Song Records/Atlantic Records in North America, with Island Records in other countries.. Atlantic/Warner Music would acquire the non-North American rights to the band's catalogue; the band's 1974 debut album, Bad Company, was recorded at Headley Grange, Hampshire in Ronnie Lane's Mobile Studio. The album reached number one on the Billboard 200 in the US, number 3 in the UK Albums Chart, spending 25 weeks in the UK charts; the album has been certified five times platinum in the US, became the 46th–best-selling album of the 1970s. The singles "Can't Get Enough" and "Movin' On" reached No. 5 and No. 19 on the Billboard Hot 100. In 1975 their second album, Straight Shooter, reached No. 3 in both the UK and the US, went platinum in the US. The album spawned two hit singles, "Good Lovin' Gone Bad" at No. 36 and the slower "Feel Like Makin' Love" at No. 10.
Their third album, Run With the Pack, was released in 1976 and reached No. 4 in the UK and No. 5 in the US. Bad Company scheduled a British tour with the band of former Free member Paul Kossoff, Back Street Crawler, to support the album, as well as a new album by Back Street Crawler; this double headline tour was scheduled to commence on 25 April 1976 but was halted due to Kossoff's death on 19 March 1976. 1977's Burnin' Sky fared the poorest of their first four records, reaching No. 15 in the US and No. 17 in the UK. 1979's Desolation Angels did better than its predecessor, peaking at No. 3 in the US and No. 10 in the UK. Desolation Angels embellished the group's sound with synthesisers and strings, it had two charting singles: "Rock'n' Roll Fantasy" at No. 13 and "Gone Gone Gone" at No. 56. By the end of the 1970s, the band grew disenchanted with playing large stadiums. In addition, Peter Grant lost interest in the group and management in general after Led Zeppelin drummer John Bonham died on 25 September 1980.
In the words of Simon Kirke, "Peter was the glue which held us all together and in his absence we came apart". A three-year hiatus from the studio ended with the release of Rough Diamonds in 1982; this would be the sixth and final LP in the group's original incarnation until four new songs were recorded in 1998. The album was the worst selling Bad Company album of those; the album peaked at No. 15 in the UK and No. 26 in the US. After the release of Rough Diamonds, Bad Company disbanded. Mick Ralphs said, "Paul wanted a break and truthfully we all needed to stop. Bad Company had become bigger than to continue would have destroyed someone or something. From a business standpoint, it was the wrong thing to do, but Paul's instinct was right". Despite being famous for their live shows packing the largest stadiums for a decade, Bad Company did not release an official live album of performances from this time period until the 2006 album Live in Albuquerque 1976; the recordings were made by Mick Ralphs, who taped the group's shows and used the tapes to critique the band's performances.
Bootlegs of Bad Company's live performances from this period were available, including "Boblingen Live", "Live in Japan" and "Shooting Star Live at the L. A. Forum". In 1985 Mick Ralphs and Simon Kirke, having just worked together the previous year on Ralphs' solo album Take This, decided to reteam for a new project, but in 1986, their label, Atlantic Records, insisted they resume the Bad Company name. Paul Rodgers was engaged with a new supergroup called The Firm. With Rodgers gone, the remaining two members partnered with new managers Bud Prager and Phil Carson and teamed up with ex-Ted Nugent vocalist Brian Howe as the new lead singer. In addition, they hired Steve Price as Greg Dechert on keyboards. Howe's vocal style brought more of a pop-rock sound to the band, which Atlantic Records, looking to bring the band back up to arena status, was looking for after declining turnouts to previous live performances and the dismal sales of Rough Diamonds; the band hired Foreigner producer Keith Olsen to produce the new line-up's initial album, 1986's Fame and Fortune.
Burrell agreed t
Rush: Beyond the Lighted Stage
Rush: Beyond the Lighted Stage is a 2010 documentary film directed by Scot McFadyen and Sam Dunn. The film offers an in-depth look at the Canadian progressive rock band Rush, chronicling the band's history and musical evolution; the film made its debut at the 2010 Tribeca Film Festival. The film was nominated for Best Long Form Music Video at 53rd Grammy Awards, losing to When You're Strange, a documentary about The Doors. A limited theatrical run began on June 10, 2010, the film was released on DVD and Blu-ray in the US and Canada on June 29 of that year. John Rutsey, the band's original drummer, died in 2008. Individuals are listed in alphabetical order. Musicians Non-musicians Rush: Beyond the Lighted Stage premiered on VH1 on June 26, 2010; the 2-disc DVD features over 3 hours of video, including a 1.5 hour bonus disc of never-before-seen live performances, special features, deleted scenes from the film. Being Bullied and The Search for the First Gig Reflections on the album Hemispheres Presto and "Roll The Bones" Rap The Rush Fashion Hobbies on the Road Rush Trekkies Pre-Gig Warm-Up - An extended version of the backstage footage shown at the start of the film "Best I Can" - Live at Laura Secord High School, St. Catharines, Ontario, 1974 "Working Man" - Same performance as above with Rutsey "La Villa Strangiato" - Live at the 1979 Pinkpop Festival in the Netherlands "Between Sun and Moon" - Opening night of the 2002 Vapor Trails Tour, Hartford, CT Dinner with Rush at a Hunting Lodge - An extended version of the footage shown during the film's closing credits "Far Cry" - Live in Rotterdam, 2007 "Entre Nous" – Live in Rotterdam, 2007 "Bravado" - Live in Frankfurt, 2004 "YYZ" - Live in Frankfurt, 2004 Runtime of the film and bonus disc includes over three hours of content.
The film received positive reviews from critics and holds an 89% rating on Rotten Tomatoes. Rush: Beyond the Lighted Stage on IMDb Rush: Beyond the Lighted Stage at Rotten Tomatoes
The National Post is a Canadian English-language newspaper. The paper is the flagship publication of Postmedia Network, is published Tuesdays through Saturdays, it was founded in 1998 by Conrad Black. Once distributed nationally, it began publishing a daily edition in the provinces of Ontario, Quebec and British Columbia, with only its weekend edition available in Manitoba and Saskatchewan; as of 2006, the Post is no longer distributed in the territories. Conrad Black built the National Post around the Financial Post, a financial newspaper in Toronto which Hollinger Inc. purchased from Sun Media in 1997. Financial Post was retained as the name of the new newspaper's business section. Outside Toronto, the Post was built on the printing and distribution infrastructure of Hollinger's national newspaper chain called Southam Newspapers, that included the newspapers Ottawa Citizen, Montreal Gazette, Edmonton Journal, Calgary Herald, Vancouver Sun; the Post became Black's national flagship title, Ken Whyte was appointed editor.
Beyond his political vision, Black attempted to compete directly with Kenneth Thomson's media empire led in Canada by The Globe and Mail, which Black and many others perceived as the platform of the Liberal establishment. When the Post launched, its editorial stance was conservative, it advocated a "unite-the-right" movement to create a viable alternative to the Liberal government of Jean Chrétien, supported the Canadian Alliance. The Post's op-ed page has included dissenting columns by ideological liberals such as Linda McQuaig, as well as conservatives including Mark Steyn and Diane Francis, David Frum. Original members of the Post editorial board included Ezra Levant, Neil Seeman, Jonathan Kay, Conservative Member of Parliament John Williamson and the author/historian Alexander Rose; the Post's magazine-style graphic and layout design has won awards. The original design of the Post was created by a design consultant based in Montreal; the Post now bears the motto "World's Best-Designed Newspaper" on its front page.
The Post was unable to maintain momentum in the market without continuing to operate with annual budgetary deficits. At the same time, Conrad Black was becoming preoccupied by his debt-heavy media empire, Hollinger International. Black divested his Canadian media holdings, sold the Post to CanWest Global Communications Corp, controlled by Israel "Izzy" Asper, in two stages – 50% in 2000, along with the entire Southam newspaper chain, the remaining 50% in 2001. CanWest Global owned the Global Television Network. Izzy Asper died in October 2003, his sons Leonard and David Asper assumed control of CanWest, the latter serving as chairman of the Post. Editor-in-chief Matthew Fraser departed in 2005 after the arrival of a new publisher, Les Pyette – the paper's seventh publisher in seven years. Fraser's deputy editor, Doug Kelly succeeded him as editor. Pyette departed seven months after his arrival, replaced by Gordon Fisher; the Post limited print distribution in Atlantic Canada in 2006, part of a trend to which The Globe and Mail and the Toronto Star, Canada's other two papers with inter-regional distribution, have all resorted.
Print editions were removed from all Atlantic Canadian newsstands except in Halifax as of 2007. Focussing further on its online publishing, in 2008, the paper suspended weekday editions and home delivery in Manitoba and Saskatchewan; the reorientation towards digital continued into its next decade. Politically, the Post has retained a conservative editorial stance although the Asper family has long been a strong supporter of the Liberal Party of Canada. Izzy Asper was once leader of the Liberal Party in his home province of Manitoba; the Aspers had controversially fired the publisher of the Ottawa Citizen, Russell Mills, for calling for the resignation of Liberal prime minister Jean Chrétien. However, the Post endorsed the Conservative Party of Canada in the 2004 election when Fraser was editor; the Conservatives narrowly lost that election to the Liberals. After the election, the Post surprised many of its conservative readers by shifting its support to the victorious Liberal government of prime minister Paul Martin, was critical of the Conservatives and their leader, Stephen Harper.
The paper switched camps again in the runup to the 2006 election. During the election campaign, David Asper appeared publicly several times to endorse the Conservatives. Like its competitor The Globe and Mail, the Post publishes a separate edition in Toronto, Canada's largest city and the fourth largest English-language media centre in North America after New York City, Los Angeles and Chicago; the Toronto edition includes additional local content not published in the edition distributed to the rest of Canada, is printed at the Toronto Star Press Centre in Vaughan. On September 27, 2007, the Post unveiled a major redesign of its appearance. Guided by Gayle Grin, the Post's managing editor of design and graphics, the redesign features a standardization in the size of typeface and the number of typefaces used, cleaner font for charts and graphs, the move of the nameplate banner from the top to the left side of Page 1 as well as each section's front page. In 2009, the paper announced that as a temporary cost-cutting measure, it would not print a Monday edition from July to September 2009.
On October 29, 2009, Canwest Global announced that due to a lack of funding, the National Post might close down as of October 30, 2009, subject to moving the paper to a new holding company. Late on October 29, 2009, Ontario Superior Court Justice Sarah Pepall ruled in Canwest's favour and allowed the paper to move into a holding company. Investment bankers hired by Canwest received no
Grace Under Pressure (Rush album)
Grace Under Pressure is the tenth studio album by Canadian rock band Rush, released in April 1984 on Anthem Records. After touring for the band's previous album, had come to an end in mid-1983, Rush started work on a follow-up in August; the band had decided to not work with its longtime producer Terry Brown, who had worked with Rush since 1975. The new material continued the group's change in direction towards a keyboard-oriented sound as per the previous two albums. After some difficulty in finding a suitable a producer who could commit, the album was recorded with Peter Henderson. Grace Under Pressure reached number 4 in Canada, number 5 in the UK, number 10 on the Billboard 200 where it reached platinum for selling one million copies. In July 1983, Rush ended its 1982–1983 tour of North America and the UK in support of its previous album, Signals; the group reconvened in mid-August to write and rehearse new material for a follow-up in a lodge in Horseshoe Valley in Barrie, Ontario. The sessions were productive due to the set amount of time they gave themselves to work in and that studio time had been booked.
The band adopted its usual working method of Geddy Lee and Alex Lifeson working on music while Neil Peart worked on lyrics. News stories from the Toronto-based newspaper The Globe and Mail inspired some of the lyrics on the album "Distant Early Warning," "Red Lenses" and "Between the Wheels." Peart wrote that they came up with "Between the Wheels" on the first night and, after a few days, "Kid Gloves" and "Afterimage." In three weeks, the group had assembled a demo tape of the aforementioned tracks along with "Red Sector A" and "The Body Electric." Development paused in September 1983 while Rush performed five nights at Radio City Music Hall in New York City, after which the band resumed album rehearsals. Grace Under Pressure is the first Rush album, not produced by Terry Brown since its 1974 debut effort. At the beginning of the Signals tour in April 1982, Rush met with Brown in Miami to inform him that the band had decided to work with a different producer; the group wished to explore different approaches and techniques that someone else might offer which in turn would develop their sound, but stressed that the change did not suggest any dissatisfaction in Brown's production.
Peart recalled that the split was tough for both parties considering the length of time they had worked together, but that they split on good terms. Brown receives a tribute in the liner notes of Grace Under Pressure in French which translates to "And always our good old friend."The search for a new producer began during Rush's 1983 European tour, where the band met various individuals during their visit to the UK. They met Steve Lillywhite, who agreed to the project, but he backed out two weeks before the band was to start rehearsing, as he had decided to work with Simple Minds instead, they had Yes bassist Chris Squire and singer and producer Trevor Horn, who once sang in Yes, to attend their concert at Wembley Arena with the prospect of choosing one of them to produce. The group started pre-production alone, which Peart thought increased the band's desire to succeed: "This drew us together and gave us a strong resolve and a mutual determination to make a great record." Rush met with another English producer during rehearsals who showed promise, but various problems that hindered his availability could not be solved in time.
This was followed by the arrival of Englishman Peter Henderson, who the band liked and agreed to produce and engineer, but his occasional indecisiveness left the band to handle the majority of the creative decisions themselves. Despite this and Henderson are credited as co-producers in the liner notes. After a collection of demos had been worked out, the group entered Le Studio in Morin-Heights, Quebec to record, from November 1983 to March 1984, the longest period Rush had taken to record an album up to this point; the band spent up to 14 hours per day in the studio. In a 1984 interview, Lifeson picked Grace Under Pressure as the "most satisfying of all our records."A music video produced for "The Enemy Within" would be the first played by the Canadian music television channel MuchMusic, which launched in August 1984. Musically, the album marks yet another development in Rush's sound; the guitars played a larger role than on Signals, with Lifeson stating that "I think the guitar on Signals took a bit of a back seat.
The keyboards were upfront... though in a sense that's what we were trying to achieve, we wanted to go for a different perspective on the whole sound. But we lost direction at times on Signals." Lifeson pointed out that there is no acoustic guitar on Grace Under Pressure and the lack of ballad type songs. "The Body Electric" features a guitar solo with an added harmonizing effect with delay which Lifeson described as "pretty bizarre.""Afterimage" was written about Robbie Whelan, a tape operator at Le Studio, killed in a car accident a year prior to the album's release. The cover was designed and painted by Hugh Syme, who had designed album covers for Rush since 1975; the back cover features a band portrait by Armenian-Canadian photographer Yousuf Karsh. The group had decided to employ Karsh when they discussed ideas for the album's sleeve during rehearsals in Horseshoe Valley. Lifeson suggested to Peart a black-and-white band photograph, as the band had not done something like that on previous albums.
Lee suggested to use Karsh. Lifeson spoke of the end result: "It's not a rock'n' roll picture, but it's a true, real
Yes are an English progressive rock band formed in London in 1968 by singer Jon Anderson, bassist Chris Squire, guitarist Peter Banks, keyboardist Tony Kaye, drummer Bill Bruford. The band has undergone numerous formations throughout its history. Since June 2015, it has consisted of guitarist Steve Howe, drummer Alan White, keyboardist Geoff Downes, singer Jon Davison, bassist Billy Sherwood, with no remaining founding members. Yes have explored several musical styles over the years, are most notably regarded as progressive rock pioneers. Yes began in 1968, performing original songs and rearranged covers of rock, pop and jazz songs, as evident on their first two albums. A change of direction in 1970 led to a series of successful progressive rock albums until their disbanding in 1981, their most successful being The Yes Album and Close to the Edge. Yes toured as a major rock act that earned the band a reputation for their elaborate stage sets, light displays, album covers designed by Roger Dean.
The success of "Roundabout", the single from Fragile, cemented their popularity across the decade and beyond. In 1983, Yes reformed with a new line-up that included Trevor Rabin and a more commercial and pop-oriented musical direction; the result was 90125, their highest-selling album, which contained the U. S. number-one single, "Owner of a Lonely Heart". From 1990 to 1992, Yes were an eight-member formation after they merged with Anderson Bruford Wakeman Howe for Union and its tour. Since 1994, Yes have released albums with varied levels of success and completed tours from 1994 to 2004. After a four-year hiatus, they continue to release albums. In 2016, a new group of former Yes members began touring and named themselves Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman. Yes are one of the most successful and longest-lasting progressive rock bands, they have sold 13.5 million RIAA-certified albums in the US. In 1985, they won a Grammy Award for Best Rock Instrumental Performance with "Cinema", received five Grammy nominations between 1985 and 1992.
They were ranked No. 94 on VH1's 100 Greatest Artists of Hard Rock. Yes have headlined annual progressive rock-themed cruises since 2013 named Cruise to the Edge, their discography spans 21 studio albums. In April 2017, Yes were inducted into the Rock and Roll Hall of Fame, which chose to bestow the honour upon current and former members Anderson, Bruford, Howe, Rick Wakeman and Rabin. In 1967, bassist Chris Squire formed the rock band Mabel Greer's Toyshop, with singer and guitarist Clive Bayley, drummer Bob Hagger, guitarist Peter Banks, they played at the Marquee Club in Soho, London where Jack Barrie, owner of the nearby La Chasse club, saw them perform. "There was nothing outstanding about them", he recalled, "the musicianship was good but it was obvious they weren't going anywhere". Barrie introduced Squire to singer Jon Anderson, a worker at the bar in La Chasse, who found they shared interests in Simon & Garfunkel and harmony singing; that evening at Squire's house they wrote "Sweetness,", included on the first Yes album.
Meanwhile, Banks had left Mabel Greer's Toyshop to join Neat Change, but he was dismissed by this group on 7 April 1968. In June 1968, Hagger was replaced in the nascent Yes by Bill Bruford, who had placed an advertisement in Melody Maker, Banks was recalled by Squire, replacing Bayley as guitarist; the classically trained organist and pianist Tony Kaye, of Johnny Taylor's Star Combo and the Federals, became the keyboardist and the fifth member. The newborn band rehearsed in the basement of The Lucky Horseshoe cafe on Shaftesbury Avenue between 10 June and 9 July 1968. Anderson suggested. Squire suggested. Banks responded "yes", and, how the band were named; the first gig under the new brand followed at a youth camp in East Mersea, Essex on 4 August 1968. Early sets were formed of cover songs from artists such as the Beatles, the 5th Dimension and Traffic. On 16 September, Yes performed at Blaise's club in London as a substitute for Sly and the Family Stone, who failed to turn up, they were well received by the audience, including the host Roy Flynn, who became the band's manager that night.
That month, Bruford decided to quit performing to study at the University of Leeds. His replacement, Tony O'Reilly of the Koobas, struggled to perform with the rest of the group on-stage. After Bruford was refused a year's sabbatical leave from Leeds and Squire convinced him to return for Yes's supporting slot for Cream's farewell concert at the Royal Albert Hall on 26 November. After seeing an early King Crimson gig in 1969, Yes realised that there was stiff competition on the London gigging circuit, they needed to be much more technically proficient, starting regular rehearsals, they subsequently signed a deal with Atlantic Records, that August, released their debut album Yes. Compiled of original material, the record includes renditions of "Every Little Thing" by the Beatles and "I See You" by the Byrds. Although the album failed to break into the UK album charts, Rolling Stone critic Lester Bangs complimented the album's "sense of style and subtlety". Melody Maker columnist Tony Wilson chose Yes and Led Zeppelin as the two bands "most to succeed".
Following a tour of Scandinavia with the Small Faces, Yes performed a solo concert at the Queen Elizabeth Hall on 21 March 1970. The second half consisted of excerpts from their second album Time and a Word, accompanied by a 20-piece youth orchestra. Banks left the group in May, two months before the a