----------------------------------------------------- OCTOBER 27, 1977 ----------------------------------------------------- Source: Circus Magazine Going, Going, Gone! Yes Tour Surprises Diehard Fans, Stage Show Finest Ever By Jim Farber Before the latest "Going For The One" album and tour were unleashed onto the unsuspecting public, a whole lot of critics and even some fans were praying Yes would own up to their dinosaur musical style of Cecil B. DeMille bombast and quietly hurl themselves into the nearest tar pit. Many fans felt Yes had become lost in space on "Relayer" and even you guys who hung on during the last three years probably did so more in the spirit of hopeful loyalty than true enthusiasm. But this latest issuance from the band has once again established Yes as a viable entity -- one still relevant in an age where it's more de rigeur to stab your face with safety pins or succumb to the heaving metal drone of Kiss and Rush than to fold into Yes' Cosmic harmonium. Whereas fellow monoliths, ELP, have had both critical and financial problems with their latest Con Ed-hoarding album and tour, Yes have been incredibly successful by presenting a more accessible show than ever before, featuring an on-stage attitude that's loose and at times almost (gasp!) funky. As Jon Anderson revealed to "Circus Magazine" just before the tour began, the stage is a simpler one, without the Roger Dean designed giant space globs of the last stint, featuring instead a dramatically lighted cubist design, highlighted by 3-D stretched fabric backdrops, similar to ones often used by such dance troupes as Alvin Ailey's company. The band's new sound system has also helped, offering a surprisingly clear delivery considering the mangling acoustics of the over-grown halls the band has been playing in. Most importantly, though, for Yes' new earthly success is their more spontaneous stage manner, aided by Chris Squire's enrollment in the Jack Bruce school of intruding bassists, making for some fierce push and shove sessions with Alan White's drums. As Anderson promised, the band are not performing anything from "Relayer" or "Topographic," in reverence to Rick Wakeman's wishes, concentrating on the highly successful new LP plus old faves all the way from "Yours Is No Disgrace" through "Close To The Edge." Wakeman's role has been reduced a bit for this tour but, as he explains, the band wanted to avoid the solo showcases this time around in order to give a shorter, more unified concert. "We didn't want to have one guy have a blow while the rest of the guys go off to take a piss," says Wakeman demurely. Still, with this format all egos are in check and no one has to suffer through a "beat-yer-brains-out" drum solo just to satisfy the democratic whims of the band. Anderson's munchkin vocals remain a standout, ever emphasizing his cosmic overload Iyrics -- chock full of phrases like "total mass retain" -- which I still think sounds like something from an Evelyn Woods Reading Course. As for his stage presence, Jon is still the one canned guru that we've all come to know and flinch at, but with the fine sound system, one can see that the emotion in his voice is actually what establishes Yes as one of the few technocrat bands with heart. The wave of the future may be punk instead of Yes' polyrhythms, but you can be sure that with this type of trend-transcending emotion, Yes will remain among the top performing bands for years to come. Close Window YesInThePress.com For site comments, problems, corrections, or additions, contact YesinthePress@aol.com