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MARCH 20, 1974
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Source: Los Angeles Times
Yes Offers Unique Material at Inglewood Forum
By Richard Cromelin
Yes' immense popularity is one of the most unlikely in a world dominated by
the lascivious likes of Led Zeppelin and brutal thrashers like the Who and
Emerson, Lake and Palmer. The group's concerns are the dead opposite of the
secular and hedonistic, and the sight of a rock audience paying attention
to a good hour of musical interpretation of Sanskrit scriptures (as did
Monday's Forum crowd) approaches the surreal.
Yes is most enjoyable when you take it less seriously than it seems to want
you to take it, and the tremendous ovations were surely responses to the
music rather than expressions of gratitude for spiritual enlightenment. But
Yes projects its role convincingly, with pretense, particularly singer
writer Jon Anderson, a pure, innocent, white-clad eye in the midst of the
musical storm.
Although that gap between what Anderson wants to communicate and what the
audience is actually getting is a slightly disorienting factor throughout
the show, the sheer power and exalted complexity of the music finally
shatters any reservations.
Yes' performance on Monday night was virtually flawless, and though it
offered little in the way of surprises it managed, miraculously; to avoid
dryness and sterility. Abetted by a magnificent sound and lighting setup,
Yes played current, middle-period and old (a tantalizing gesture that
whetted the appetite for more of the earlier, more pop-oriented songs)
material.
The new music is a slight refinement of the familiar sound, a gradual,
unforced progression. Like all of Yes' music, it features bold shifts, from
angelically ethereal to primevally violent, and it functions on a multitude
of levels. Although at odds with traditional rock 'n' roll attitudes, Yes
has made it work and refreshing, challenging alternative.
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