eum shout be the rund about (he words wat mae you oot ¥-00 Yee change he day yor ‘al een ding Cru te sod tak land out the vel ‘the menic dance and sng ‘hey make the chron realy ing estas summers wv be there ond ihe outing wind hea wes Se amote ine a dees ath del put Shon aia of ar (we ntand tte at time thoutand anewert Sym corked lat a your despa foar ws stand ymin pees ‘Ssexth Sie ofthe Sty 4 vers mountain to Me crag ‘he sosine i es,‘4 2st and Nahe longed by Uishemaerats ome hess “jorbo at wera Hone) ave hawnan (Ancenon) Mood ers dy Gur) 4 Southside ote sky ndenon Sqn) 3. Hea ofthe sane Rederion Squire Brod) the’ ‘Chris Sue's “the "the diferent vaonds of the bass fredeae by ing the ire ‘The remaining tracks on the album are Group arranged and performed. erstrumentation on Bll Bruford-Orunrs, Percussion | steve newe-thectc and Aco Gar Woe ‘Che Squire-fase Cantar, ic Waheren-Oran, Gand Plano Bec Pane and Harpsichecd) ‘mation, yathesizec. Seo the ‘i yt i mod\ ieee fat teers bra Macrae lemedgr at tas Pheri na nie etal eee cnet Peni TS tamer ree eaten tet Tipe tr ENP TE wAELYzi Nufactured by Rhino exten awt ou oct =p (10!)oatoneune | .beswer abu iesions, cluded Additional Tracks: PCA Stereo 24/96 Roundabout (rehearsal take, early mix) We have heaven (full version, Steven Wilson mix) South side of the sky (at. take, steven wilson mix) All fighters past (steven Wilson mix) ‘Mood for another day (prev. unreleased take) We have heaven (acapella. Steven Wilson mix) Blu-ray Exclusive: pc stereo 24/96 Roundabout (early rough mix from Fragile 2083) South side of the sky (early take) Roundabout (headphones mix for vox overdubs) 2015 Stereo Instrumental Mixes: wean stereo 24/96 Roundabout ‘Cans and Brahms ~ We have heaven South side of the shy Five per cent for nothing = Long Distance runaround the fish (Schindleria Praematurus) © Mood for a day ~ Heart of the sunrise wer aneune ‘mix trom Rhino DVO-A release CPM Stereo 24/96 Cans and Brahms We have heaven South side of the sky Five per cent for nothing Long Distance runaround * the fish (Schindleria Praematurus) * Mood for a day Heart of the sunrise America Needle-drop: ‘A101 UK ving transfer PKA Steres 24/96 Roundabout ans and Brahms We have heaven ‘South side of the sky Five per cent for nothing Long Distance runaround the fish (Schindleria Praematurus) Mood for a day Heart of the sunrise Roundabout (US single edit) Long Distance runaround (Us single edit) Drawing: Space Ark No.3 Roger Deen 1972Anote about audio sources: The arg! seco este, adésonel suxio econdigs, new seo. ser 8.5.1 ‘ines on this so ore presensed as. what's commonly srw os "hat arses”. No firter mastesng OF compression was added at the sc authoring sige 16 the orginal mane, as (ceived foe Rico, oto the ste & rl channel eecongs os moar by Steven Won, Blu-ray disc setup information: fic hy ch bem raced lost erika Eater ele lego neers) oermare upto maybe need Of some player settings may need to be adarst- ‘ed. Firrmmare updates ore usually avadabie on Th pes fecha coi En pisirmenging 1 sing an older style dpa connection (Coil 2 TOSink / hep) fx yur ors0 pK surobed sound only avdable in TSHO MA forma. Ye cess MIP! 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The bassist, recently retumed ee reunite) been supporting Jethro Tull, had ‘offered a job with the group folowing their decision to fire co-founder Tony Kaye. Having just finished a gruelling three-day session playing piano and keyboards in various London studios, Tera Reed a ae mowed SOL Wakeman’s sleep-deprived mind was jumping ship to join another group. meee cat ee ae Sn ee eer Pe me Ever since the release of The Yes ee aes at home and in Europe was on the ee ee ei Ce Maen eu ecs ee eager? getting tired of seeing us. We had ee ee a) Se el ade eg nue!‘sig, with Jethro Tull thinking ‘at last - ‘we're in the right place’* With The Yes Album penetrating the lower reaches of the American album charts, there ‘was an eagemess not only to broad- en their audience but to expand their core sound. With Tony Kaye reluctant to add the Moog or Mellotron to his tig the band were on the lockout far someone who would. Given his formidable powers as an arranger as well as a high profile play- er with a growing reputation as an on-stage showman, Rick Wakeman was the obvious choice to help push Yes to the next level. After the band persuaded an_ initially reluctant Wakeman to attend a rehearsal, by the second week in August he had joined them at Advision to work on their fourth studio album. Reflecting upon what has become referred to as ‘Yes’ revolving door policy towards its personnel, Bill Bruford observes: “It sounds harsh but you were always looking for the better guy. Tony had given his best but it was a fast-moving world anid you had to give more than your best. From fon's point of view, ‘Tony was committing the cardinal sin of not bringing in new ted ‘and not bringing in enough stuff. There was one band with Peter Banks and Tony Kaye and there was another band with Steve Howe and Rick Wakeman, and they were qualitative ly different. Jon wanted a small orchestra, so you put Rick together with Steve and you really do have a small orchestra overnight. | can see why Jon hod to go there. t wasn’t me that initiated it but it wasn't me also that said to Jon ‘you can't do that. We trusted Andersons vision.” ‘A growing reputation as a sometimes bluntly forthright but catalysing force eamed Jon Anderson the nickname of Napoleon around the recording of Fragile."I dide't care 08 long 0s it was happening” Anderson later told In The Studio. “1 would make things happen because | didn’t want them to sit around just playing... they had great talent and | wanted to hear something inspiring." Something inspired and inspiring is exactly what Anderson got. Within the first week, Roundabout and Heart of the ‘Sunrise, were largely in place. “Rick ‘coming into the group made us work faster and harder than we'd ever done before” For his part, Wakeman was aston- ished at the level of intricate liscussion and practical trial and rot that ae ae music, ing from a| session work where brevity and economy were more often than not the onder ‘of the day, he initially regarded the band's approach to be inordinately detailed to the point of obsession. ‘But, as he later told in The Studio, “at the end of the day after all those hours put into the little bits, then ‘you listen back to some of the tracks. you realise that it is those little attentions to detail that make the pieces what they are". ATLANTIC @"° ‘Abou: UK first press, US promo and French edition of Fragilepearing later in Siberian Khatru on ‘Close fo the Edge and The Revealing Science of God on Tales From Topographic Oceans. Though there'd been discussions that the next record from Yes should be 2 double album with one studio dise and an accompanying live recording. the idea was shelved once they decided to present all new material reflecting the changes in the line-up. However, a3 the days ticked by during ‘August, it was apparent they weren't going to have enough songs to fill bboth sides of a single album, never mind a double LP. Notwithstanding the undeniable af Roundabout and Heart of ‘the Sunrise that were now in the can and with South Side of the Sky acting as a kind of fulcrum between the two ‘bookends, even with Wakeman’s gal- vvanising presence, the meticulous but laborious means by way which Yes ranged and assembled their pieces simply couldn't generate the required tracks in the time they had left. "What we had was great. Roundobout was. really good, Long Distance Runoround was. also work- ing well and Heart of the Sunrise was temrific.” says Bruford. “We'd really found out what we could do on Heart of the Sunrise and it was absolutely the template for what was to come. But, you see how little material we had? That's partly because Yes had to be together in a rehearsal room Somewhere to make it all work and partly because we were always argu: ing (laughs). So my ‘brilliant’ idea wes to say: ‘Look, everybody, you get to hhave Yes for a track. You direct i, you write it, you compose it, conduct it Bo whatever you want with the musi cians, That way we'll play what your version of Yes is." It was an ingenious solution to the problem, though it didn't go entirely to plan, with Steve Howe and Wakeman opting to pro- duce solo tracks rather than utilise their bandmates, Wakeman’s adapta tion of a Brahms piece was a last minute slot-in when his proposed solo, Handle With Care, had to be scrapped due to a publishing wrangle. Contracts and royalties alsa played 2 part when it came to the title of Bill Bruford's piece. Originally named Suddenly i's Wednesday, it became Five Per Cent for Nothing alter the drummer leared of a settlement with their former manager Roy Flynn. netted him 596 of future royalties. “At the time nobody ever seemed to have money or to be able to figure out where it was, and I somehow blamed Roy. | think | blamed him unfairly and unnecessarily,” reflects a now contrite Bruford. Rick Wakeman wasn't the only person to become a member of the extend- ed Yes family during the recording of ‘although he had produced ‘covers for other bands and labels, Roger Dean's work on Fragile not only established him as one of the quin- ‘tessential artists of his generation at ‘the age of 26, but initiated a creative Evolution of. logo, thorn Roger Bean'sCe era a co Leica) Ere ee crete eee DR Ee Re ead er Co heed ara heey edd at Opus Productions Lid. Blu-ray disc design & layout by Clare Bidwell ‘at Opus Productions Lid. eke gtd etre POs ee hg Ce et eee) rt ten Lodi aaa CE Proofreading by Sean Hewitt & Joe O'Connor (Disc testing by Tim McDonnell, Bob Romano Posehn Ara eo Ape et ahr d re Fahad hector ltd eel Sec Ce ae) Pech nO Thanks for help with this edition to Peet tes er) Dee ue D Pee etna duem liergenayengaee Hn ra i i a