As one of the more popular progressive rock bands of the 70s and a chart mainstay
of the early 80s, Yes has learned to overcome and outdistance just about every
obstacle in its storied path. By the end of the 80s, Jon Anderson, the group’s
lead singer and spiritual light, was at a crossroads with his career. Despite
the fortunes he enjoyed from the recent forays of Yes into the pop machine,
Anderson yearned for the days of old when the tunes were long, the themes otherworldly,
solos pretentious, and, most importantly, the guitar and keyboard posts were
occupied by Steve Howe and Rick Wakeman, instead of Trevor Rabin and Tony Kaye.
The problem, at that point in time, was bassist that Chris Squire, the only
man who’s been on every Yes album ever released, retained the rights to
the Yes name and was apparently uninterested in reforming the classic lineup.Undaunted,
Anderson rounded up Bill Bruford, Rick Wakeman and Steve Howe to make a record
under their sir names. It worked for ELP and CSN, so why not Anderson, Bruford,
Wakeman and Howe – a mouthful no matter how you slice it. The obligatory
tour begat some astonishing moments with well-known stuff interspersed with
new stuff, captured by film crews at various points. Some 18 years later, ABWH’s
An Evening Yes Music Plus comes to DVD.
The first portion of the show is made up of solo segments from Anderson, Howe
and Wakeman. Anderson wanders through the venue aisles and onto stage, serenading
the crowd with “A Time And A Word,” before switching over to “Owner
Of A Lonely Heart,” a Yes song that only he could have done within this
configuration. It’s a nice nod that the modern Yes era before Howe steps
up with his acoustic and breezes through “The Clap/Mood For The Day,”
a piece he could probably play in his sleep. Howe’s short set provides
the proper prelude for Wakeman, whose flying fingers dart over a random sampling
of his vast solo catalog. Once the keyboardist starts rubbing out the opening
notes of “Long Distance Runaround,” that’s the queue for everyone
to hit the stage and join in the reverie. The chemistry is instantaneous between
the four consummate pros (and three supplementary players, including bassist
Jeff Berlin). Bruford, fresh from an inspiring stint with King Crimson, assumes
the lead as he operates like a hyperkinetic robot with calculated precision
and skill, surrounded by electronic drums and percussive toys. This introduces
an entirely new range to the voice of the band, playing right into the first
new song of the night, “Birthright.” The forbearance of the new
ABWH material eases the transition to the comfort zone of such Yes staples as
“And You And I,” “I’ve Seen All Good People,”
and an exceptionally biting crack at “Close To The Edge.”
Returning to the ABWH provides an excellent view into the renewed sense of
urgency. The music is lighter, less contentious and dramatic, embracing new
possibilities while retaining a sense of dignity. Even as “”Themes,”
“Brother Of Mine,” and “The Meeting” wash over and induce
the audience, it’s the Yes music they want to hear. “Heart Of The
Sunrise” grabs their attention soon enough. “Order Of The Universe,”
the last new one, dissolves into the finale of the ever faithful “Roundabout.”
After the credits role, the group finishes up with “Starship Trooper.”
ABWH would set up the return of Howe and Wakeman back to Yes, first during the
Union album and tour that brought eight past and present members together for
the first time, and then finally as the classic line up of today with Anderson,
Squire and Alan White on drums (Bruford returned to Crimson, and then went solo).
The light’sstill on outside the Yes Clubhouse, so who knows what’s on the horizon.
~ Shawn Perry
