Please read my Conditions!
My only method of cleaning is a soft brush and cloth and some Audio Advisor product. That requires to listening to the LP with my turntable & needle... (Which cost more money these days) and collecting the dust from the grooves. If a stubborn noise erupts, I will then look under a light and microscope. It is quite time consuming. So, I may miss a thing or two sometimes on my listings, like overlook a defect or to over grade; but it is not intentional! I will always be here to help resolve the issue! I am a one man show, while taking care of an elder... That being said... Please play record a few times if I mentioned I have cleaned it and do not use another product until u do so! The enzymes work at eating the debris and play gets better, each time, usually much better If after a few plays you could try cleaning again with your product if stubborn static persists... All I ask is my buyers realize these points and be rest assured I offer a refund policy,  but I would prefer you email me so we can work something out first, I may have a backup copy... I have been collecting records since my 20's... It has been a passion and a part-time hobby, I hope you love and enjoy music as much as I do, and selling is another way to get to know other people with a likeminded interest as I. I offer a refund policy, so please give me the opportunity to make good if there is a problem with a transaction. I reserve the right to cancel a transaction after the sale If I find a missed defect on your behalf. Feel free to compare prices elsewhere you will find I am very reasonable. Don't waste your time if the seller does not listen to the lp's, I have return 100's because of defects. Also please be aware I am A human being, and I do make mistakes! So be gentle and straight forward if you are having any issues, I do not like having debates, I would rather listen to my music!  Happy Hunting!
My last copy for sale at the moment.


Jacket ~ vg ~ vg+ has a damage area on front, otherwise normal shelf wear. Records ~ vg+ ~ ex  


The Revealing Science Of God - Dance Of The Dawn20:27The Remembering - High The Memory20:38The Ancient - Giants Under The Sun18:34Ritual - Nous Sommes Du Soleil21:25

1968–1971: Formation and breakthrough The band's logotype used since 1972 designed by artist Roger Dean

In early 1968, bassist  formed the  band . The line-up consisted of Squire, singer and guitarist Clive Bayley, drummer Bob Hagger, and guitarist . They played at the  in , 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 very good, but it was obvious they weren't going anywhere". Barrie introduced Squire to singer , a worker at the bar in La Chasse, who found they shared interests in  and harmony singing. That evening at Squire's house they wrote "Sweetness," which was 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 , who had placed an advertisement in , and Banks was recalled by Squire, replacing Bayley as guitarist. Finally, the classically trained organist and pianist , 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  between 10 June and 9 July 1968.

Anderson suggested that they call the new band Life. Squire suggested that it be called World. Banks responded, simply, "yes", and that was how the band were named. Banks has also stated that he thought of the name "Yes" a couple of years beforehand. The first gig under the new brand followed at a youth camp in , Essex on 4 August 1968. Early sets were formed of cover songs from artists such as ,  and . On 16 September, Yes performed at Blaise's club in London as a substitute for , who failed to turn up. They were well received by the audience, including the host , who became the band's manager that night. That month, Bruford decided to quit performing to study at the . His replacement, Tony O'Reilly of , struggled to perform with the rest of the group on stage and former Warriors and future  drummer Ian Wallace subbed for one gig on 5 November 1968. After Bruford was refused a year's sabbatical leave from Leeds, Anderson and Squire convinced him to return for Yes' supporting slot for  farewell concert at the  on 26 November.

Jon Anderson in 1974

After seeing an early  gig in 1969, Yes realized that there was suddenly stiff competition on the London gigging circuit, and they needed to be much more technically proficient, starting regular rehearsals. They subsequently signed a deal with , and, that August, released their debut album . Compiled of mostly original material, the record includes renditions of "" by the Beatles and "I See You" by . Although the album failed to break into the UK album charts,  critic  complimented the album's "sense of style, taste, and subtlety". Melody Maker columnist Tony Wilson chose Yes and  as the two bands "most likely to succeed".

Following a tour of Scandinavia with , Yes performed a solo concert at the  on 21 March 1970. The second half consisted of excerpts from their second album , accompanied by a 20-piece youth orchestra. Banks left the group on 18 April 1970, just three months before the album's release. Having expressed dissatisfaction with the idea of recording with an orchestra as well as the sacking of Flynn earlier in the year, Banks later indicated that he was fired by Anderson and Squire, and that Kaye and Bruford had no prior knowledge that it would be happening. Similar to the first album, Time and a Word features original songs and two new covers–"Everydays" by  and "No Opportunity Necessary, No Experience Needed" by . The album broke into the UK charts, peaking at number 45. Banks' replacement was  guitarist , who appears in the photograph of the group on the American issue despite not having played on it.

The band retreated to a rented farmhouse in  to write and rehearse new songs for their following album. Howe established himself as an integral part of the group's sound with his  and variety of acoustic guitars. With producer and engineer , recording sessions lasted as long as 12 hours with each track being assembled from small sections at a time, which were pieced together to form a complete track. The band would then learn to play the song through after the final mix was complete. Released in February 1971,  peaked at number 4 in the UK and number 40 on the US  charts.

Yes embarked on a 28-day tour of Europe with  in January 1971. The band purchased Iron Butterfly's entire , which improved their on-stage performance and sound. Their first date in North America followed on 24 June in , Canada supporting . Friction arose between Howe and Kaye on tour; this, along with Kaye's reported reluctance to play the  and the  synthesizer, preferring to stick exclusively to  and , led to the keyboardist being fired from the band in the summer of 1971. Anderson recalled in a 2019 interview: "Steve and Chris came over and said, 'Look, Tony Kaye... great guy.' But, you know, we’d just seen  about a month earlier. And I said, 'There’s that Rick Wakeman guy,' and we’ve got to get on with life and move on, you know, rather than keep going on, set in the same circle. And that’s what happens with a band."

1971–1974: Fragile, Close to the Edge and Tales from Topographic Oceans Rick Wakeman

At the time of Kaye's departure, Yes had already found their new keyboardist – , a classically trained player who had left the folk-rock group  earlier in the year. He was already a noted studio musician, with credits including , ,  and . Squire commented that he could play "a grand piano for three bars, a Mellotron for two bars and a Moog for the next one absolutely spot on", which gave Yes the orchestral and choral textures that befitted their new material.

Released on 26 November 1971, the band's fourth album  showcased their growing interest in the structures of classical music, with an excerpt of  by  being played at the start of their concerts since the album's . Each member performed a solo track on the album, and it marked the start of their long collaboration with artist , who designed the group's logo, album art, and stage sets. Fragile peaked at number 7 in the UK and number 4 in the US after it was released there in January 1972 and was their first record to reach the top ten in North America. A shorter version of the opening track, "", was released as a single that peaked at number 13 on the Billboard  singles chart.

In February 1972, Yes recorded a cover version of "" by . The single reached number 46 on the US singles chart. The track subsequently appeared on , a 1972 compilation album of several bands signed to Atlantic Records, and again in the 1975 compilation .

Released in September 1972, , the band's fifth album, was their most ambitious work so far. At 19 minutes, the  took up an entire side on the vinyl record and combined elements of classical music, psychedelic rock, pop, and jazz. The album reached number 3 in the US and number 4 on the UK charts. "" was released as a single that peaked at number 42 in the US. The growing critical and commercial success of the band was not enough to retain Bruford, who left Yes in the summer of 1972, before the album's release, to join . The band considered several possible replacements, including  (who was playing with  at the time), and decided on former  drummer , a friend of Anderson and Offord who had once sat in with the band weeks before Bruford's departure White learned the band's repertoire in three days before embarking on their . By this point, Yes were beginning to enjoy worldwide commercial and critical success. Their early touring with White was featured on , a triple live album released in May 1973 that documented shows from 1972. The album reached number 7 in the UK and number 12 in the US. A  of the same name premiered in 1975 that documented their shows at London's  in December 1972, with added psychedelic visual images and effects.

It is a fragmented masterpiece, assembled with loving care and long hours in the studio. Brilliant in patches, but often taking far too long to make its various points, and curiously lacking in warmth or personal expression ..."Ritual" is a dance of celebration and brings the first enjoyable moments, where Alan's driving drums have something to grip on to and the lyrics of la la la speak volumes. But even this cannot last long, and cohesion is lost once more to the gods of drab self-indulgence.

— review of , 1973.

 was the band's sixth studio album, released on 14 December 1973. It marked a change in their fortunes and polarized fans and critics alike. The double vinyl set was based on Anderson's interpretation of the  scriptures from a footnote within 's book . The album became the first LP in the UK to ship gold before the record arrived at retailers. It went on to  for two weeks while reaching number 6 in the US and became the band's fourth consecutive gold album. Wakeman was not pleased with the record and is critical of much of its material. He felt sections were "bled to death" and contained too much musical padding. Wakeman left the band after the ; his solo album  topped the UK charts in May 1974. The tour included five consecutive sold-out shows at the Rainbow Theatre, the first time a rock band achieved this.

1974–1980: Relayer, Going for the One, Tormato and the Paris sessions

Several musicians were approached to replace Wakeman, including ,  of  and former Atlantis/Cat Stevens keyboardist . Yes ultimately chose Swiss keyboardist  of , who arrived in August 1974 during the recording sessions for , which took place at Squire's home in , Surrey. Released in November that year, Relayer showcased a -influenced direction the band were pursuing. The album features the 22-minute track titled "", which highlights a battle initially inspired by  by . Its closing section, "Soon", was subsequently released as a single. The album reached No. 4 in the UK and No. 5 in the US. Yes embarked on their  to support Relayer. The compilation album , released in 1975, contained tracks from Yes' first two albums, the B-side track from their "Sweet Dreams" single from 1970 titled "Dear Father", and the original ten-minute version of their cover of "America".

Between 1975 and 1976, each member of the band released a solo album. Their subsequent  of North America with  featured some of the band's most-attended shows. The show of 12 June, also supported by  and  at  in Philadelphia, attracted over 100,000 people. Roger Dean's brother Martyn was the main designer behind the tour's "Crab Nebula" stage set, while Roger and fabric designer Felicity Youette provided the backgrounds.

In late 1976, the band travelled to Switzerland and started recording for their album  at , . It was then that Anderson sent early versions of "Going for the One" and "" to Wakeman, who felt he could contribute to such material better than the band's past releases. Moraz was let go, after Wakeman was booked on a session musician basis. Upon its release in July 1977, Going for the One  the UK album charts for two weeks and reached number 8 in the US. "" and "Going for the One" were released as singles in the UK and reached numbers 7 and 25, respectively. Although the album's cover was designed by , it still features their Roger Dean "bubble" logotype. The band's  spanned across six months.

 was released in September 1978 at the height of  in England, during which the music press criticized Yes as representing the bloated excesses of early-1970s progressive rock. The album saw the band continuing their movement towards shorter songs; no track runs longer than eight minutes. Wakeman replaced his Mellotrons with the , a , and Squire experimented with harmonizers and Mu-tron pedals with his bass. Production was handled collectively by the band and saw disagreements at the mixing stage among the members. With heavy commercial rock-radio airplay, the album reached number 8 in the UK and number 10 in the US charts and was also certified platinum (1 million copies sold) by the . Despite internal and external criticisms of the album, the band's  was a commercial success. Concerts were performed  with a £50,000-central revolving stage and a 360-degree sound system fitted above it. Their dates at Madison Square Gardens earned Yes a  for grossing over $1 million in box office receipts.

In October 1979, the band convened in Paris with producer . Their diverse approach was now succumbing to division, as Anderson and Wakeman favored the more fantastical and delicate approach while the rest preferred a heavier rock sound. Howe, Squire and White liked none of the music Anderson was offering at the time as it was too lightweight and lacking in the heaviness that they were generating in their own writing sessions. The Paris sessions abruptly ended in December after White broke his foot while roller-skating in a roller disco.

When the band, minus Wakeman (who had only committed to recording keyboard overdubs once new material would be ready to record), reconvened in February to resume work on the project, their growing musical differences, combined with internal dissension, obstructed progress. Journalist Chris Welch, after attending a rehearsal, noted that Anderson "was singing without his usual conviction and seemed disinclined to talk". By late March, Howe, Squire and White had begun demoing material as an instrumental trio, increasingly uncertain about Anderson's future involvement. Eventually, a serious band dispute over finance saw Anderson leave Yes, with a dispirited Wakeman departing at around the same time.

thx u wiki~