----------------------------------------------------- FEBRUARY 29, 1988 ----------------------------------------------------- Source: The Sacramento Bee Yes Cruises into a New Era '70s band moves in the right direction with fresh show By Bruce Nixon Like the machines that are sometimes the subject of its music, Yes build up speed slowly, gaining momentum from the song to song like a big truck grinding through its gears. After lurching promisingly into motion -- "The Rhythm of Love" and "Hold On" open to the Kings arena show Friday night -- the music move to ponderously along, lumbering through an hour's worth of material until it finally hit cruising speed in the set with "Owner of a Lonely Heart" and then barreled to a high-powered conclusion. Unfortunately, the top-heavy pacing didn't appear to be intentional. In an arena-sized room which seems best suited to quick, catchy, flashy tunes, Yes plays lengthy, heavily arranged, carefully crafted music. But the band had a crowd on Friday night that was more inclined to listen than dance, a near-capacity audience that hung on tightly through every hairpin turn and unexpected detour. At the same time, Yes doesn't really seem like a natural performing band -- it's very professional, of course, but probably more at home in the studio, as its fastidious, seamlessly produced records would suggest. On stage, Yes pretty much stands and delivers without a great deal of undue commotion or theatricality. Altogether, these aren't things that make for a breezy show. The answer's simple, of course. You have to go to Yes on the band's terms and not according to normal arena standards. It's not a typical arena show, and it calls for a certain effort on the part of the audience. Of all the bands that dominated the rock' n' role mainstream through the '70s, Yes is one that's made an effective transition on to the pop scene of the late '80s. Partly, it is working in a contemporary pop format that was influenced by its earlier work -- the careful production, great emphasis on technology, non-traditional rock songwriting -- but there's also the freshness derived from the long interruption of the band's career in the early '80s and some key shifts in membership. This was, in any case, a most modern show. The stage was diamond shape, utterly free of frill or decorative effect. The sound was not as good as expected, with a murky mid-range that often obscured Jon Anderson's vocals, although the keyboards and guitar tended to shine. The lights were remarkable, a carefully orchestrated arrangement of varied color and texture that flowed nicely from song to song. Although using three old black-and-white Popeye cartoons as the opening act -- a novel effect that certainly is more economical and easier to move around than a real band -- there was little distraction from the performance itself, which tended to be a straightforward presentation of the music. It's a hard-playing band and a lot goes on in its work. Old complaints of bombast and overly constructed music probably are not as appropriate of Yes as they once were. The band's streamlined itself somewhat for the new era, and influenced that appears to come from guitarist Trevor Rabin, a newcomer to the group. Rabin's the closest thing to a lead soloist in Yes, and, being less of an overachiever and a more natural player then ex-Yes guitarist Steve Howe, he is an appealing figure in the new version of the band. Yes isn't afraid of its old material, either. There are songs which constitute some of the most familiar music from rock radio in the '70s, and which could hardly be avoided in a set even now. But Yes tackled a few unexpected oldies, too, and while they benefited from updated treatment, an interesting tension was derived from the juxtaposition of new and old. This is a veteran band that are really has evolved. Close Window YesInThePress.com For site comments, problems, corrections, or additions, contact YesinthePress@aol.com