----------------------------------------------- NOVEMBER 6, 2001 ----------------------------------------------- Source: Helsingin Sanomat Translation by: Markku Kuoppamäki  CONCERT Yes at the Arena on Sunday Complicated but beautiful Yes' first visit to Finland met the expectations  By Tero Valkonen The British progressive rock giant Yes may have broken a sort of record on Sunday. Or is there another band that has made their first visit to Finland 30 years after their start ­ and yet offered a performance full of drive and energy? Touring with a symphony orchestra, the band gathered an audience of around 6,000. Yet, the Arena hall did not echo in its half-emptiness. The empty upper balconies were closed behind drapes, and after the initial acoustic problem was solved, the atmosphere rose to a high level. If progressive rock is widely regarded as the music of excesses, then Yes is probably the band where excesses have found their corniest forms. There's a lot of truth in the bad reviews, but you have to remember that the band's output includes some excellent albums. Their strongest period began in 1971 with The Yes Album and ended in 1974 with Relayer. Quite appropriately, the concert consisted almost exclusively of songs from this era. Exceptions included two songs from their newest album and the group's biggest commercial hit, Owner of a Lonely Heart, from the 1980s. It's too early to say how their new album, Magnification, will stand time. The album is so interesting, however, that it could have been given a wider exposure. Although the orchestral arrangements are old-fashioned by classical criteria, they support the grandiose Yes sound very well. Old songs were strengthened by the symphony orchestra with moderate success. The most recognizable element of Yes, the fairy-like larynx of Jon Anderson, is still in great shape.  It makes you wonder, since the vocal range of aging rock singers almost always narrows down. Guitarist Steve Howe, too, is still in great shape. Moving about in a calm and gentlemanly manner, he varied his riffs ingeniously, even with humor. Interestingly, he left the solo in Owner of a Lonely Heart to the keyboard player ­ originally it was performed by the then-guitarist Trevor Rabin. It would be difficult to praise the way bassist Chris Squire dresses, but his melodic lines have a lot of idea. However, the man has some inclination to narcissist trickery, and the sound of his instrument is often far from ideal. A too loudly mixed rattle was annoying in Starship Trooper, otherwise one of the greatest moments of the evening. The most tragic character of the evening was drummer Alan White. His fate is to be remembered as the man who replaced Bill Bruford who left for King Crimson. White is a good musician, but it was particularly impossible to listen to Close to the Edge without remembering how much more inventive Bruford was playing it. Yes could very well have compiled an utterly boring set out of their massive output. Progressive rock moves in such a difficult areas that you always run the risk of extravagance. However, the most precious Yes output includes such inventive structures and melodies that even the younger generation of musicians should get acquainted with the band. Luckily, that seems more possible today when the public aversion to progressive rock has finally subsided after some 20 years. Close Window YesInThePress.com For site comments, problems, corrections, or additions, contact YesinthePress@aol.com