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Rating: There's something that deeply worries me. The fact that I feel these sensations for Yes.
I've always appreciated Yes, but lately I find myself desiring them like never before. I don't think I'll leave my first love, Genesis, but I also believe that I won't be able to do without Jon Anderson & Co. any longer. They've gotten into my blood and from there into my heart. Otherwise, it doesn’t explain why, having bought two DVDs from a German at the recent used record fair in Lucca, one of Genesis and the other of Yes, both recordings from the '70s, I keep rewatching only the latter.
It's October 5, 1975 in London and on a rather bare stage, behind a fine white drapery, a concert is about to begin in front of a large audience filling a stadium, the Queen's Park Rangers Football Grounds (or Q.P.R. for friends).
Here they come, entering with a casual stride, Alan White gives a wave. There they are, all in white, different outfits but all in white. No frills, almost a mystical aura is created all around. Jon at the center in the front row, to the right for those watching is Chris, and to the left is Steve. Behind and higher to the left is Moraz and to the right White.
They are offering the "Relayer" tour, an album released in 1974 that didn't find much success here in Italy, perhaps weighed down by the preceding overly ambitious and pretentious "Tales From Topographic Oceans" (1973). I believe instead that this album is a resurrection of Yes, a great return to their way of making Music.
The DVD title recalls "The Gates of Delirium", a typical Yes-sounding suite, so unmistakable: powerful instrumental parts, independent yet blended, where Anderson expresses his vocal talents at the highest levels, equally unmistakable. That original way of intertwining solo instruments to form a complex yet easy-to-listen-to harmony. All producing a trademark: the Yessound.
The curtain rises: after "Introduction-Sound Chaser" (with a fleeting quote from the beautiful soundtrack of A Clockwork Orange) the Legends tackle the glorious "Close To The Edge", the ultimate expression of progressive and one of my three absolute favorites (along with "The Cinema Show" by Genesis and "Lark's Tongues In Aspic" by King Crimson). It's evident from these two tracks that Howe is in great form, with his "frightening" solos well captured by the production. Followed by the sweet "To Be Over," the third track from "Relayer."
Tracks are very faithful to the studio versions, with few digressions, typical of the progressive era. They play from memory impeccably. You can tell they have months of touring of the last album behind them. The only flaw: Jon's voice betrays him, sometimes struggling to reach the high notes, closing "Soon Oh Soon" in a forgettable way, cursing immediately after away from the mic. "I've Seen All Good People" recalls old successes, from the album "Yes," their first endeavor. Without interruption, Steve lets us hear (and admire) his "Mood For a Day" on classical guitar, from "Fragile." The beautiful "Long Distance Runaround" pays homage to one of the band's most famous and successful albums: "Fragile." This first volume closes with two solos, first Moraz on the piano, then Howe with "The Clap," also a showpiece from the Yes album.
Jon Anderson - fine, gentle manners, a sensitivity that exudes from every pore, a sweet unmistakable voice, I'd say the anti-Peter Hammill (without detracting from this other virtuoso vocalist of prog), a frontman charisma even in his calmness. October 25 1944 London of Irish origins.
Chris Squire - serious, focused, confident on his bass, an aristocratic look and manner, one of the best beasts of the rock electric bass. March 41948 London.
Steve Howe - serious, very concentrated, typically Anglo-Saxon features, always demonstrating his skill (in composition and performance). It's a delight to hear and see him. Funny when, called to join the choir, often mumbles something not entirely remembering the lyrics. April 8 1947 London.
Patrick Moraz - not convincing in the tone choices for the keyboards, certainly the weak point of the band (ah, Wakeman, where were you?). A great mane of hair though, and a very picturesque outfit, with those Ÿ sleeves ending very wide and pointed. June 24 1948 Morges, Switzerland.
Alan White - an almost beastly physique highlighted by his white tank top, talented beyond expectations, very precise and imaginative. June 14 1949 Pelton, County of Durham, England.
Passion, this is what you breathe on the stage in the atmosphere of that distant '75 afternoon. Clean faces, far from the excesses typical of other musicians of that time and today. A DVD to have but not easy to find.
How nice it is to sit in an armchair, lights off and headphones, to enjoy a show made of substance, pure substance...
Here's... I mean, no, I wanted to say that... damn, I wish I had been there that day at Q.P.R.
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