Badfinger had endured its share of bad luck before April 24, 1975, to be sure. But everything changed on that awful day, when Pete Ham — singer and composer of so many of their hits — committed suicide.

With the recent news that Billy Sherwood is returning to do some studio work on the new Yes album, fans may be wondering just what the ex-1990s-era collaborator has been up to lately. Here’s a primer

A new prog-rock project from William Shatner has already garnered headlines for its collaborations with former members of Yes. Ponder the Mystery also includes final recordings with the late George Duke.

Arriving in a period in which Yes wasn’t doing studio work, and including contributions from no less than five musicians with ties to the band, the comparisons for Circa came early and often. A new reissue from Cleopatra underscores the differences.

Jon Anderson stopped by before embarking on a new solo tour of Australia and New Zealand to discuss a few key moments from his career — including key Yes tracks from Close to the Edge and The Yes Album.

Anyone can recite, bass line and verse, their favorite moments from Yes’ seminal 1972 release Close to the Edge. Everybody knows about the mountains coming out of the sky, and how they stood there, too.

Having cemented a new line up in Brazil, Circa returned on a musical roll. Co-founding keyboardist Tony Kaye says fans can expect an new concert souvenir called Circa: Live from Here There and Everywhere soon.

Tony Kaye joins us to talk about key moments from his time in Yes, Badger and Badfinger — including “Yours Is No Disgrace,” “Hold On” and “Starship Trooper,” among others.

Yes has been a part of Tony Kaye’s life, off and on, since the late 1960s. He was a co-founding member, and helped craft the band’s breakthrough release The Yes Album, then returned for its platinum 1980s era.

Amazon.com Widgets Billy Sherwood, both with Yes and on his recent helming of the Prog Collective, has already established himself as a staunch advocate for the 1970s’ signature rock style. So why shouldn’t he do the same with 1970s jazz?