------------------------------------------------------- APRIL 23, 2004 ------------------------------------------------------- Source: Las Vegas Review-Journal Yes show needs no forgiveness Aging rockers still deliver something new By Mike Weatherford As a die-hard Yes fan, I was willing to accept I might be delusional in separating the cosmic British rockers from other '70s acts that have become the new nostalgia staples on the casino circuit. While the likes of REO Speedwagon and Styx recycle their hits to fill seats in repeated casino bookings, the past few Yes visits have shown the group hustling to sustain, sometimes a bit desperately, some type of forward motion. In 1999, they filmed a House of Blues show for a concert video tied to their new album "The Ladder." In 2001, they played Sunset Station with an orchestra to advance another new release, "Magnification." So you'd think Wednesday's arena concert at Mandalay Bay, billed as a 35th anniversary tour, would be a forgivable excuse for these visibly aging prog-rockers to coast with their most enduring lineup: singer Jon Anderson, guitarist Steve Howe, bassist Chris Squire, keyboardist Rick Wakeman and drummer Alan White. That longevity, plus the contagious affection for performing they've maintained even in lean times, could have been declared good enough. But it wasn't good enough for Yes, or the independent spirit that has always showed progressive rock was about more than long, twisting songs or virtuoso musicianship we almost take for granted. Even without something new to play, Yes found something new to play. They dug up a couple of pieces -- one long, one short: "Mind Drive" and "Foot Prints" respectively -- that the current lineup recorded in 1997, but never got a chance to play live. They took this 35-year benchmark seriously, too, resurrecting "Sweet Dreams" from 1970, before they really became Yes as we know them, and "Every Little Thing," the Beatles cover from their first 1969 album. Saving the latter for the encore was arguably anticlimactic, as the usual crowd pleasers, "I've Seen All Good People" and "Roundabout," already had been doled out. Sure, they could have used their biggest hit, "Owner of a Lonely Heart" for that encore instead of ignoring it. And there's an argument for doing such things that might help fill a few more seats. But a degree of stubbornness and independence always helps separate the originals from the hacks. For Yes, that includes closing with a 20-minute-plus album side from "Tales From Topographic Oceans," an album once reviled (even by Wakeman) for its excess that now commands respect, albeit limited. And while the crowd wasn't much more than could have fit into the House of Blues, it was great seeing Yes on an arena stage again. It was the first tour in ages to have a set decorated by trippy inflatables designed by Roger Dean, the artist of their classic album covers. It was even fun to laugh at some Spinal Tap-like moments, such as White's drum extensions whirling like an amusement-park ride, or an inflated tentacle bumping Squire in the face ("I think it likes you," Anderson quipped). It's all about sticking to your guns whether it's fashionable or not. That's punk rock, er, prog rock for you. Close Window YesInThePress.com For site comments, inquiries, corrections, or additions, contact yitp@yesservices.com