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1978
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Source: Sounds Magazine U.K.
Contributed by Simon Gilman
Review: YES Tormato
(Atlantic SC 19202)
****½
By Phil Sutcliffe
I understand it has remained OK to like Genesis (which I don't) but it's
not OK to like Yes (which I do, though no longer with the fine unfettered
rapture they drew from me about five years ago). Attitudes have been
struck, battle lines drawn and the situation has a regrettably fixed and
immutable look to it. So may I suggest that 'Tormato' is a very good Yes
album for Yesfans, and if any of you pass 'Go' on that roll of the dice,
collect the next 700 words. The rest of you can go straight to the jail of
prejudice.
Nine tracks. The 'Fragile' economy and self-control. All five Yespersons
writing. Very much a unified band album for the first time since 'Close To
The Edge'.
The title and cover are further clues to its character. The band shied
tomatoes at the original arty picture presented for their consideration,
and here it is, complete with vegetable decoration. An actual
Yesjest. What's more, these qualities of joviality and exuberance spread
themselves into the music. Particularly in a track called 'Arriving UFO'
they are positively jocular, with Wakeman and Squire producing grandiose
effex in clownish mockery of past pomp, and Anderson processing his voice
into cosmic gobbledegook which makes him sound hilariously like Miquette
Giraudi.
'Future Times/Rejoice' are bracing openers. Stirring explorations on
synthesiser and drums (Alan White's sound nicely splashy)
lead into an Anderson vocal which inevitably includes the word 'universe'
in the first line, but, irrespective of sense, rides the dazzling sound
surf of Yesinform with bravura. Squire's playing is colossal, I noticed on
my first spin. By the time I'd reached the end of the album, I'd realised
that was true for every track, so take it as read from here on. Great
girders of profundo twanging with hints of fuzz and wah-wah giving it more
'voice'.
Steve Howe surfaces on the next track, the single 'Don't Kill The
Whale'. He saves it from potential heavy-going with some pungent guitar
which harks back to George Harrison's muscly tone on 'Revolver'. No
frantic virtuosity, he just plays it very hard and strong while Wakeman
adds to the entertainment with some hurdy-gurdyish synthesising.
All this is pretty flamboyant stuff, and the following two minutes of
'Madrigal' are little more than a tranquil interlude of Wakeman medievalry
and Anderson romantic optimism. A fragment. The side closes with
'Release, Release', one helluva track. It's the thoughts of Jon Anderson
on the subject of rock, a sermon which might set eyelids drooping but for
the thundering Yesboogie with which they illustrate his views. Heads-down
physical it is, mindless it isn't.
Yes SF is the theme at the start of the second side, the band's response to
the inspiring fantasy of 'Close Encounters', it would seem. 'Arriving UFO'
bleeps out into 'Circus of Heaven', which is the one more or less dud track
on 'Tormato'. It's the story of a celestial circus coming to a mid-western
town on The Very Last Day. With no convincing tune and a half-hearted hint
of reggae, the tin lid of ungainly sentimentality clangs down on it when an
infant voice complains that the circus was 'OK, but there were no clowns,
no lions, no tigers...'
Swiftly, 'Onward': a Chris Squire love song, the calming balm on this side,
but far more substantial than 'Madrigal'. Yes take it slowly and
gracefully with Anderson down from the stratosphere for as warm and
personal a vocal as he has ever recorded. Tenderness is not quite the
Yesweknow, and this is no classic knee-melter, but it shows they can still
extend their scope in appealing ways.
With the swashbuckling flourish which typifies 'Tormato', they close on the
most vibrant track, perhaps one at last to rival 'Roundabout'. 'On The
Silent Wings Of Freedom' has Squire stretching a bassline over a Thor's
Hammer of a drumbeat from White and doing it with luxuriant relish until
Wakeman and Howe come buzzing in with evident excitement and Anderson
begins singing ecstatically at the top of his range. A challenge to
Yeshaters. Listen to this one without smiling and leaping about inside
your skin.
I think I've praised the musicians adequately in transition. Somehow they
all reached a new peak in their playing as a band for this recording,
supported by their own co-production. But you may have caught a few
critical undertones on Jon Anderson. They refer solely to his lyrics,
which are generally as opaque as ever. Despite his always friendly
Lancashire accent, I can't take his didactic, finger-waving approach. He's
too much the instructor to teach or share his experience verbally. The
solution is simple though: don't make the effort necessary to hear the
words, and the distinctive beauty of his voice makes all the meanings you
need. The great leap forward in the Squire/White partnership seems to have
refreshed him wonderfully.
As I said, way back when it was 2 a.m., I've gone off this kind of music
really. But Yes have transcended 'this kind of music'. In its own way,
'Tormato' is as pleasing and decorous a comeback as 'Some Girls' was for
the Rolling Stones.
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