upbgirl
02-16-2003, 02:35 PM
As The World Turns…
Yes forges on against all obstacles, real or imagined
By John Collinge, progression magazine editor
What is the status of Tony Kaye’s lawsuit against Yes, and did he really try to get the bands new box set pulled from the shelves? Is Rick Wakeman back for the money, or because he really digs working again with Chris Squire? What did Igor Khoroshev really do to that female security guard? And why, oh why, does Steve Howe insist on wearing that hideously ugly polyester shirt?
Who knows. Who cares. Bottom line: the music’s all that matters. Just ask the 10,000 diehards who greeted nearly everything the group played, sloppy or not, with standing ovations on a muggy early August night in Mansfield, Mass.
The Yes mobile soap opera trundles ever onward; a sort of road-weary jalopy that somehow manages to absorb each and every bump on the corporate rock highway and defy banishment to the scrap heap. For sure, the band looked worn and weather-beaten backstage after this, the 11th of a 26-stop U.S. trek.
Yes is taking the “scenic tour” this time around, traveling in style by luxury bus instead of airplane.. But by the look on Jon Andersons face, you’d think the man just ended a 100-mile trek through Death Valley on the back of a donkey. His gentleness and warmth shone through nonetheless, as he dutifully scribbled his initials on the T-shirts and concert programs of fawning fans lucky enough to score the coveted ‘after-show’ pass.
Squire seemed equally bedraggled. Lacking Anderson’s welcoming spirit, he chose not venture far in to the adoring throng before beating a hasty exit. His perhaps well-earned scowl from the rigors of a typically taxing performance was, nonetheless, off-putting. Wakeman, on the other hand, was upbeat and chatty – a very tall and commanding presence as much in person as he appears onstage. Alan White was the most approachable and most affable of all, the first one into the hospitality tent and the last to leave, indulging many an admirer in candid conversation. Howe was a no-show … Perhaps tending to his laundry.
This was not the best Yes concert ever, but certainly not the worst. The return of Wakeman lent a welcome balance, a certain regality to Yes’s music that had been missing far too long. His presence was both forceful and eloquent, though a bit on the “economical” side – his solo segment following the intermission was disappointingly brief and perfunctory. But there was no mistaking his confidence and sure-handed command of fiery synth leads on the likes of :Roundabout,” “Revealing Science of God” and “Heart of the Sunrise.” Wakemans contribution was palpable, occasionally thrilling in measured doses, even if he seldom cut loose.
Speaking of “loose,” this much-hallowed “classic” ‘70’s Yes lineup eased into the evenings three-hour performance with little initial passion. Anderson moved slowly and sang passably, while the bookish, bespectacled Howe played well but seemed otherwise walled off from his bandmates. Energetically, the stage definitely tipped to the right, where Squire and Wakeman kept their act rolling through a touch-and-go first set. As usual, White’s rhythmic fills were steady if unspectacular.
The song selection was both interesting and challenging. Patience, and a willingness to immerse one’s self in long-winding musical journeys seldom found on the contemporary rock landscape, were audience requirements. “South Side of the Sky” and “Revealing Science of God” highlighted the shows first half, which ended with a pleasant Howe acoustic spot (he sat down for “Leaves of Green” and a passage from “The Ancient”). The band opened the concert with “Siberian Khatru” like they had just woken up, followed by a lengthy “America” and “In the Presence Of,” before settling into the epics and finally hitting stride.
Following a 15 minute intermission, Anderson treated the crowd to a freshly planned work, the touching “Show Me.” Then came the Wakeman solo spot many had waited for and after ward were still left wanting. The “wizard of the keyboard,” as he was introduced by Anderson, launched into “Catherine of Aragon” from his solo work The Six Wives of Henry the VIII, but didn’t linger there long. He quoted a verse from “Wondrous Stories” and added a few other familiar snippets, but it all seemed over before really getting untracked. Anderson returned with a portion of “And You and I.” The entire band subsequently reconvened with “Heart of the Sunrise.”
“Heart…” was performed with energy, precision, and, well, heart. Wakeman’s contributions once again underscored why he remains indispensable to the groups trademark sound. This was pure, proggy nirvana.
Now into the show’s stretch run, Yes trotted out “Magnification.” (Well, it can’t be a total oldies show now, can it? This, and “In the Presence Of” comprised the concerts sole post- 70s tracks.) “Magnification” segued nicely into “Don’t Kill the Whale,” another welcome gem dusted off from years back. Then it was Squire’s turn to show off: He strutted and hammed it up while quoting “The Fish” and “Tempus Fugit.” If you’ve seen one Squire solo, you’ve seen them all and this was no exception, right down to the climactic plucking of that resonant E string.
What can top “Awaken” for Yes at it’s finest, it’s most progressive? Not much, on this night, at least. “Awaken” was magical, glorious -- as awe-inspiring live as it’s ever been. Wakeman’s brilliantly cascading synth lines, Anderson’s harp playing… it all fell into place.
The band encored with “Roundabout” and “Yours is No Disgrace,” both high-energy classics that brought the show to an exciting though predictable close.
As noted earlier, this was not the most spectacular of Yes performances, but the crowd seemed duly impressed. Production was sparing-a clear plexiglas Yes logo hung above the stage; sound and lighting were adequate. If nothing else, it was a satisfying prog-rock fix served up by one of the genre’s founding acts. God bless ‘em for keeping the fire burning.
And burn it likely will, as long as there’s money to be made and accolades to be reaped. Days after their Boston –area show, Yes was honored by none other than Philadelphia City Hall for reportedly having sold out the most shows of any high-profile rock band in the City of Brotherly Love. August 7th was officially “Yes Day.” To commemorate their achievement, the group was awarded a miniature replica of the Liberty Bell.
Of course, there is no shortage of recent Yes-related product for the insatiable fan. Compact disc releases proliferate, including such notable discography additions as Rhino Records’ impressive new five-disc boxed set retrospective, In a Word, Yes, (1969 - ) ; Keystudio—a collection of studio tracks from the Keys to the Ascension I and II releases; A tow-disc Wakeman solo career anthology Tales of Future and Past ; the Yes tribute album The Revealing Songs of Yes (featuring Wakeman) ; Steve Howe’s Homebrew II and Tomorrow (pre-Yes tracks)… The list goes on and on.
Wakeman is issuing a series of DVDs from both vintage and recent live performances. The band also is going DVD with Symphonic Live (from the 2001 tour) and the DVD-audio re-issues of Magnification and Fragile.
Finally, there is plenty of new printed fodder for the Yes enthusiast, including Peter Banks tome Beyond and Before: The Formative Years of Yes and the new Stuart Chambers book Yes: An Endless Dream of ‘70s, ‘80s and ‘90s Rock Music. There is also a fancy new tour program, complete with requisite Roger Dean artwork, for ( a rather pricey) $20.
Is there enough Yes to go around circa 2002? In a word, yes.
note from upbgirl..i DID do the italics on Word doc, but they didnt transfer to this post.. Just when i thought i was doing everything right!!
Yes forges on against all obstacles, real or imagined
By John Collinge, progression magazine editor
What is the status of Tony Kaye’s lawsuit against Yes, and did he really try to get the bands new box set pulled from the shelves? Is Rick Wakeman back for the money, or because he really digs working again with Chris Squire? What did Igor Khoroshev really do to that female security guard? And why, oh why, does Steve Howe insist on wearing that hideously ugly polyester shirt?
Who knows. Who cares. Bottom line: the music’s all that matters. Just ask the 10,000 diehards who greeted nearly everything the group played, sloppy or not, with standing ovations on a muggy early August night in Mansfield, Mass.
The Yes mobile soap opera trundles ever onward; a sort of road-weary jalopy that somehow manages to absorb each and every bump on the corporate rock highway and defy banishment to the scrap heap. For sure, the band looked worn and weather-beaten backstage after this, the 11th of a 26-stop U.S. trek.
Yes is taking the “scenic tour” this time around, traveling in style by luxury bus instead of airplane.. But by the look on Jon Andersons face, you’d think the man just ended a 100-mile trek through Death Valley on the back of a donkey. His gentleness and warmth shone through nonetheless, as he dutifully scribbled his initials on the T-shirts and concert programs of fawning fans lucky enough to score the coveted ‘after-show’ pass.
Squire seemed equally bedraggled. Lacking Anderson’s welcoming spirit, he chose not venture far in to the adoring throng before beating a hasty exit. His perhaps well-earned scowl from the rigors of a typically taxing performance was, nonetheless, off-putting. Wakeman, on the other hand, was upbeat and chatty – a very tall and commanding presence as much in person as he appears onstage. Alan White was the most approachable and most affable of all, the first one into the hospitality tent and the last to leave, indulging many an admirer in candid conversation. Howe was a no-show … Perhaps tending to his laundry.
This was not the best Yes concert ever, but certainly not the worst. The return of Wakeman lent a welcome balance, a certain regality to Yes’s music that had been missing far too long. His presence was both forceful and eloquent, though a bit on the “economical” side – his solo segment following the intermission was disappointingly brief and perfunctory. But there was no mistaking his confidence and sure-handed command of fiery synth leads on the likes of :Roundabout,” “Revealing Science of God” and “Heart of the Sunrise.” Wakemans contribution was palpable, occasionally thrilling in measured doses, even if he seldom cut loose.
Speaking of “loose,” this much-hallowed “classic” ‘70’s Yes lineup eased into the evenings three-hour performance with little initial passion. Anderson moved slowly and sang passably, while the bookish, bespectacled Howe played well but seemed otherwise walled off from his bandmates. Energetically, the stage definitely tipped to the right, where Squire and Wakeman kept their act rolling through a touch-and-go first set. As usual, White’s rhythmic fills were steady if unspectacular.
The song selection was both interesting and challenging. Patience, and a willingness to immerse one’s self in long-winding musical journeys seldom found on the contemporary rock landscape, were audience requirements. “South Side of the Sky” and “Revealing Science of God” highlighted the shows first half, which ended with a pleasant Howe acoustic spot (he sat down for “Leaves of Green” and a passage from “The Ancient”). The band opened the concert with “Siberian Khatru” like they had just woken up, followed by a lengthy “America” and “In the Presence Of,” before settling into the epics and finally hitting stride.
Following a 15 minute intermission, Anderson treated the crowd to a freshly planned work, the touching “Show Me.” Then came the Wakeman solo spot many had waited for and after ward were still left wanting. The “wizard of the keyboard,” as he was introduced by Anderson, launched into “Catherine of Aragon” from his solo work The Six Wives of Henry the VIII, but didn’t linger there long. He quoted a verse from “Wondrous Stories” and added a few other familiar snippets, but it all seemed over before really getting untracked. Anderson returned with a portion of “And You and I.” The entire band subsequently reconvened with “Heart of the Sunrise.”
“Heart…” was performed with energy, precision, and, well, heart. Wakeman’s contributions once again underscored why he remains indispensable to the groups trademark sound. This was pure, proggy nirvana.
Now into the show’s stretch run, Yes trotted out “Magnification.” (Well, it can’t be a total oldies show now, can it? This, and “In the Presence Of” comprised the concerts sole post- 70s tracks.) “Magnification” segued nicely into “Don’t Kill the Whale,” another welcome gem dusted off from years back. Then it was Squire’s turn to show off: He strutted and hammed it up while quoting “The Fish” and “Tempus Fugit.” If you’ve seen one Squire solo, you’ve seen them all and this was no exception, right down to the climactic plucking of that resonant E string.
What can top “Awaken” for Yes at it’s finest, it’s most progressive? Not much, on this night, at least. “Awaken” was magical, glorious -- as awe-inspiring live as it’s ever been. Wakeman’s brilliantly cascading synth lines, Anderson’s harp playing… it all fell into place.
The band encored with “Roundabout” and “Yours is No Disgrace,” both high-energy classics that brought the show to an exciting though predictable close.
As noted earlier, this was not the most spectacular of Yes performances, but the crowd seemed duly impressed. Production was sparing-a clear plexiglas Yes logo hung above the stage; sound and lighting were adequate. If nothing else, it was a satisfying prog-rock fix served up by one of the genre’s founding acts. God bless ‘em for keeping the fire burning.
And burn it likely will, as long as there’s money to be made and accolades to be reaped. Days after their Boston –area show, Yes was honored by none other than Philadelphia City Hall for reportedly having sold out the most shows of any high-profile rock band in the City of Brotherly Love. August 7th was officially “Yes Day.” To commemorate their achievement, the group was awarded a miniature replica of the Liberty Bell.
Of course, there is no shortage of recent Yes-related product for the insatiable fan. Compact disc releases proliferate, including such notable discography additions as Rhino Records’ impressive new five-disc boxed set retrospective, In a Word, Yes, (1969 - ) ; Keystudio—a collection of studio tracks from the Keys to the Ascension I and II releases; A tow-disc Wakeman solo career anthology Tales of Future and Past ; the Yes tribute album The Revealing Songs of Yes (featuring Wakeman) ; Steve Howe’s Homebrew II and Tomorrow (pre-Yes tracks)… The list goes on and on.
Wakeman is issuing a series of DVDs from both vintage and recent live performances. The band also is going DVD with Symphonic Live (from the 2001 tour) and the DVD-audio re-issues of Magnification and Fragile.
Finally, there is plenty of new printed fodder for the Yes enthusiast, including Peter Banks tome Beyond and Before: The Formative Years of Yes and the new Stuart Chambers book Yes: An Endless Dream of ‘70s, ‘80s and ‘90s Rock Music. There is also a fancy new tour program, complete with requisite Roger Dean artwork, for ( a rather pricey) $20.
Is there enough Yes to go around circa 2002? In a word, yes.
note from upbgirl..i DID do the italics on Word doc, but they didnt transfer to this post.. Just when i thought i was doing everything right!!