[3][4] After forming in the summer of 1968, the band toured extensively across the United Kingdom with sets comprising both original material and rearranged cover versions.

They toured the United Kingdom extensively, playing sets featuring both original material and rearranged cover songs from rock, pop, funk, and jazz artists.

Bruford left the band temporarily with the aim of pursuing education at university, with Tony O’Reilly as his replacement, but the line-up returned to its original formation in November 1968.

[5] With their contract secured, Yes recorded their debut album in the spring of 1969, mostly at Advision with additional sessions at Trident Studios in London.

[8][2][6] Banks was unsure as to how Clay became involved in the album; he deemed Clay unfit for the job, for he had worked on film soundtracks and knew little about working with rock bands, which caused the album to lack in quality as a result, with Bruford's drums sounding "like biscuit tins" and Banks' guitar sounding "clangy".

[7][9] Banks nicknamed Chevin "The Weasel" or "The Ferret", for his small stature and glasses that made him resemble "a rocket scientist from the 1950s", and for his general distaste for rock music.

[11] Recording was also met with technical difficulties, with the group spending two days trying to get a Hammond organ for Kaye to play on to function correctly.

[12][7] These sessions marked Bruford's first time in a professional recording studio, and it was only when the album was nearly complete that he realised he could alter the volume levels of the other band members' instruments in his headphones.

"[16] The album was packaged in a gatefold sleeve, with the UK pressing featuring a front cover of the word "YES" in blue and red inside a speech bubble against a plain black background.

[6] The gatefold includes a group photograph and mid-gig shots taken by Nicky Wright at Parliament Hill Fields in north London.

Scott Campbell of the Arizona Republic wrote that Yes are "a promising set" that deliver on being "solid and together at nearly all times", with "strong and competent" vocals from Anderson.

Wagner rated the band's original material as "generally good" and "fully arranged" despite the over-sentimental quality of "Sweetness", "but there are so many delights on so many levels here that it's hard to complain".