------------------------------------------------------- SEPTEMBER 7, 2004 ------------------------------------------------------- Source: Burlington Free Press (Vermont) http://www.burlingtonfreepress.com/wkend/yes.htm Yes delivers stunning performance at fair By Paul Kaza Concerts like this one simply don't come along very often. First of all, groups who have survived four decades rarely maintain the core original members. Secondly, the impact of the musical presentation frequently lies purely in nostalgia regardless of who is on stage. Finally, the treading of time can sadly often render veteran musicians less capable. For the group Yes, who performed one of their 35th Aniversary Tour dates Saturday night at the Champlain Valley Fair, you could just say no to all three of those notions. This was a performance of power and majesty, an exhibition of extraordinary musical skills set amidst an artist's fantasy of floating inflatable shapes and a dazzling display of lights. It was a gathering for Yes devotees, with perhaps a surprisingly high representation of fans in their 20 and 30s (as lead singer Jon Anderson pointed out in one song intro "Most of you weren't even born when we wrote this one.") No matter. And it also mattered not that Anderson was mistaken when he said "We're very glad to be here, even if it took 35 years to get here." Quick Burlington music history trivia quiz: who headlined a double bill featuring the J. Geils Band as the opener in 1972? Hint: their eventual arrival onstage was delayed by nearly two hours when University of Vermont's Patrick Gymnasium had to be evacuated due to a bomb threat. The answer is Yes. This reviewer was there that night, but never saw Yes. The wait was simply interminable, and the transport vehicle back to Plainfield had an impatient driver. I wasn't about to miss this opportunity, 32 years later. And, while my expectations were high, one always worries that a band with players pushing into their 60s has a hard enough time when the music is easy (think Crosby, Stills Nash earlier this summer) but the music of Yes is exceptionally demanding. Could they pull it off? The question was almost embarrasing to recall as the band immediately lit the stage up with "Going for the One," followed by "Sweet Dreams" and "All Good People." Jon Anderson's remarkably high voice has been the real signature for Yes, and it remains sweet and sublime as ever. But Anderson is accompanied by four musical masters whose respective instrumental prowess is nothing short of staggering. Steve Howe rotated between steel guitar, acoustic, several brands of conventional, and even a Brazilian variety. He was as impressive on a scorching rock solo as he was playing reflective acoustic licks. Bassist Chris Squire carries about half dozen axes with him, including a triple necked bass used towards the end of the two hour performance. Rick Wakeman, the keyboard genius who has contributed mightily to the classically infused sound of Yes, is encircled by a bank of various electronic keyboards and also had a grand piano wheeled in mid-set. Alan White provides the percussion in a most dramatic fashion whether high volume intensity or playing brushes during the acoustic set. Simon and Garfunkel's "America" was a compelling interlude, utilizing parts of the original arrangement but adding much greater crescendos. "Southside" brought Howe and Wakeman into a blinding "see if you can match or top this" solo duel. They finally just grinned at each other and let the singer come back to the mike. With such a high voltage start, you might think that an "acoustic" set would break the intensity. Far from it. In fact, this is what illustrates the sheer depth of this band's music. With White on a single snare, Wakeman on the grand piano, and Howe and Squire on acoustics, they broke out "Long Distance," "Runaround," and "Wondrous Stories." The crowd went absolutely beserk. Many artists get tired of playing their hits the way you heard them on the radio over and over. When Anderson said they were going to do a bluesy version of "Roundabout," I cringed. How could it compare to the original? It worked -- and really well, retaining enough of the original song's structure while being lathered over with a smokey barroom beat. "Owner of a Lonely Heart," their smash hit from 1983, drew the crowd up out of its seats and into full singalong mode. "Yours is No Disgrace" was the most ambitious undertaking of the evening. This is a complex composition, with the piece rising to great heights through the layering of Wakeman's phalanx of keyboards and Howe's use of wah wah pedal, treble sustain, and his own remarkable chops. A standing ovation went on for several minutes before Anderson quieted the audience and delivered the epic "And You and I." It was quintessential Yes: soft, evocative, lyrical -- and then instrumentally building its way to a magnificent height. The band took its bows, but the delirious audience would have nothing of it. A rousing version of the rarely played "Every Little Thing" from "Beatles VI" brought things to a close, and the title seemed quite appropriate. Yes, in fact, had done all the little things right. And all the big ones, too. Close Window YesInThePress.com For site comments, inquiries, corrections, or additions, contact yitp@yesservices.com