YES BY YES GATEFOLD COVER RED/PLUM LABEL 1969

	£		40
	$		53

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YES BY YES ORIGINAL ORANGE/PLUM LABEL GATEFOLD COVER 1969 RARE 1ST PRESSING A/1 B/1 MATRIX

Description:

YES BY YES

ORIGINAL 1ST PRESSING
GATEFOLD COVER
ORIGINAL RED/PLUM LABEL
ATLANTIC RECORDS
CAT NUMBER 588190
MADE IN GT.BRITAIN
1969 STEREO PRESSING
COVER PRINTED AND MADE BY MACNEILL PRESS LTD LONDON


MATRIX NUMBERS
SIDE 1 588190 A-1
SIDE 2 588190 B-1

THE VINYL IS IN EXCELLENT NR/MINT CONDITION A VERY NICE CLEAN RECORD FOR IT"S YEAR 1969
THE GATEFOLD COVER IS IN EXCELLENT CONDITION VERY LIGHT WORN EDGES ONLY FROM STORAGE
THE ORIGINAL INSERT IS IN EXCELLENT CONDITION
SORRY BUT I DO NOT HAVE THE ORIGINAL LYRIC INNER SLEEVE

History
Early days
Formation
Yes was formed in 1968 by vocalist Jon Anderson and bassist Chris Squire. Anderson had already recorded a single in 1964 as a member of The Warriors, a beat band formed by his brother Tony, and later sang on a couple of 45s for Parlophone Records under the pseudonym Hans Christian. He was also briefly a member of the group The Gun. Squire had been a member of The Syn, a flower-pop outfit that recorded a couple of singles for Deram Records (one, "14-Hour Technicolour Dream", celebrating the "happening" held at Alexandra Palace on April 29/April 30, 1967). After the breakup of The Syn, Squire spent a year developing his bass-playing technique, strongly influenced by The Who's bassist, John Entwistle. In May 1968, he met Anderson in a Soho nightclub, La Chasse, where Anderson was working. The two had a common interest in vocal harmony and began working together soon afterwards.

At the time, Squire was in a band called Mabel Greer's Toyshop with guitarist Clive Bailey and drummer Bob Hagger, and invited Anderson to begin singing with the group. Hagger was soon replaced by Bill Bruford, a jazz aficionado who had played just three gigs with Blues revivalists Savoy Brown before leaving, and who was recruited from an ad he had placed in Melody Maker. An earlier lineup of Mabel Greer's Toyshop had featured guitarist Peter Banks who'd previously worked with Squire in The Syn and who now returned to replace Bailey. Finally, the band also expanded to include an organist and occasional piano player, Tony Kaye, a classically-trained musician who'd abandoned his studies to pursue rock and roll and had already been in a series of unsuccessful groups (Johnny Taylor's Star Combo, The Federals, and Jimmy Winston and His Reflections).

In search of a more commercially useful bandname, Mabel Greer's Toyshop soon became Yes.[5] Banks came up with the three letter name, with the rationale that it would stand out on posters.

The newly-rechristened Yes played their first show at East Mersea Youth Camp in England on August 4, 1968. Soon after this, they opened for Cream at their 1968 Farewell Concert from The Royal Albert Hall. Early on, influenced by bands like 1-2-3 (later Clouds),[6] the group earned a reputation for taking other people's songs and drastically changing them into expanded, progressive compositions.

In September 1968, Yes subbed for an absent Sly & the Family Stone at Blaise's and as a result of that appearance gained a residency at The Marquee club. Soon after that, they made their first radio appearance on John Peel's programme. When Melody Maker columnist Tony Wilson selected them and Led Zeppelin as the two bands "Most Likely To Succeed" (as he states on the liner notes of the band's debut LP), it appeared that their future was assured.
The first two albums

Yes's eponymous debut album was released on July 25, 1969. The harmony vocals of Anderson and Squire were an immediate trademark of the Yes sound. The band's optimistic, vaguely futuristic outlook on the world was delivered with a combination of melody and virtuosity. Standout tracks were a jazzy take on The Byrds' "I See You" and the album closer, "Survival", which displayed the band's vocal harmonies and deft song-construction. There was also a cover of The Beatles' "Every Little Thing". Notably, the album was given a favourable review by Lester Bangs in Rolling Stone magazine, which described the band as promising, the album displaying a "sense of style, taste and subtlety"

In 1970, the band released their second album, this time accompanied by a 30-piece orchestra. Time and a Word featured mostly original compositions and two cover songs - "Everydays" by Stephen Stills (originally recorded by Buffalo Springfield) and Richie Havens' "No Opportunity Necessary, No Experience Needed" (in a reworked version including excerpts from the theme song of the movie The Big Country. Although musically exceptional in terms of melody delivery, the orchestra (and keyboardist Tony Kaye) overpowered Banks and much of the vocal work, leaving Time and a Word somewhat uneven.


PLEASE TAKE TIME TO HAVE A LOOK AT THE PICTURES THAT I HAVE TAKEN THEN YOU WILL SEE THE CONDITION OF THIS OUTSTANDING CLASSIC YES ALBUM !!!! THANK YOU FOR LOOKING

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