Yes, No or Maybe?

YesAsiaPalmer2019_ad2I’ve been a Yes fan and patron going back to my teenage years, and I’ve seen them more than any other band since. My first chance to see the group was during 1977’s Going for the Onetour at the fabulous Forum in Inglewood, California. It began a lifelong patronage.

The Revolving Door: Before and since that first experience, the lineup of musicians who play as part of Yes has been ever changing. Jon Anderson (original vocalist), Steve Howe (guitars), Rick Wakeman and Tony Kaye (keyboards) have come and gone more than once. Guitarist Steve Howe joined after original member Pete Banks left, and Trevor Rabin replaced him in the 80s. Drummer Alan White joined after original maestro Bill Bruford left just before the Close to the Edgetour. In 1980 Jon left for what turned out to be one record, and Trevor Horn sang vocals while Geoff Downes, his partner in the Buggles played keys. Personnel changes only accelerated after that, from 1980 up through today.

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I’ve continued to see the band many times since original singer Jon Anderson’s second departure in 2008, due to health issues. When Anderson left for that second time, the band first recruited singer Benoit David, then current singer Jon Davison, who is skilled at covering Anderson’s vocal parts. In 2015 we mourned the passing of Chris Squire, the exceptional bass player and vocalist for Yes and it’s most consistent member. When Squire first announced that his illness would preclude his involvement in the remainder of 2015’s Yes tour, he also indicated his support for collaborator Billy Sherwood, who stepped into the role with grace and reverence, bringing his own skills and style to the stage. Alan White’s recent surgery sidelined him, and ex-Hurricane/Conspiracy/Asia drummer Jay Schellen replaces White for most of the show. Last year, and two years prior, we were able to catch three other core members of Yes billed as ARW – Jon Anderson, Trevor Rabin and Rick Wakeman for several solid performances that found Jon’s voice completely recovered from prior illness. Whew, so many Yes’s so little time!

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Which Yes is Yes?Unfortunately, rabid fans carp about “which Yes is Yes” constantly on social media, acting as if they hold the title of band manager, planner, and critic. A common post is “no Yes without Jon” as fans then argue about whether the “official” Yes led by Steve Howe (and Chris Squire before his passing) have any right to play the songs without Jon Anderson. Some of the critics attended the limited ARW tours over the last few years and when they decry the official act, call it a “tribute” or “cover” band. Taste is subjective, but the criticism of particular members gets harsh.

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The Important Point:In reality, there’s been something to admire in every Yes tour since the band’s inception and always there have been transcendent moments, no matter what combination of musicians are on stage. Fundamentally, the compositions are amazing and the performances are inspiring as Yes builds their long songs to astral crescendos of power and emotion. They are truly an amazing band, packed with virtuoso musicians whatever the collective, and they are the musicians I’ve seen play live more than any other. This fan catches as many Yes (official), ARW, and Wakeman or Anderson solo tours as possible. Soon, with the passing of time, there will be no more original members of Yes, unfortunately and the baton will be “officially” handed over to tribute bands. If I’m still on this mortal coil I will be there still as this music is meant to be heard in a live setting, and it’s magical when done right.

Case in Point:This year the band booked a summer tour of America, the Royal Affair tour with openers Asia, John Lodge (of the Moody Blues) and Carl Palmer (of ELP) opening.

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YesAsiaPalmer2019_KR_Asia1The show at the Mountain Winery in Saratoga was fantastic. Carl Palmer led his small band through several highlights from the ELP catalog with Arthur Brown covering lead vocals and delivering us his 1960’s hit “Fire” as well. I have to admit we skipped the set from The Moody Blues’ John Lodge’s to go talk to Roger Dean who was showing his work, but he was very well received. We were back inside for Asia, who nailed a rousing set of their best tracks, along with “Lucky Man” from ELP. Ron “Bumblefoot” Thal expertly covered the lead vocal duties formerly helmed by the late John Wetton, and played guitar through the first part of the set, after which Steve Howe did a walk on for the older songs.

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Once Yes took the stage, they performed rousing renditions of songs like “Tempus Fugit” and “Siberian Khatru” at the proper pace and with accuracy. The centerpiece moment this time was a piece of music they hadn’t played for decades, side one of Relayer (1975) — “The Gates of Delirium” and “Soon.” This is over 20 minutes of the most challenging progressive rock the band ever wrote, with one-time keyboard player Patrick Moraz. While it cleared a few rows of attendees out of the venue, we were transfixed. Howe sliced thru the staccato guitar riffs that lead into and reach crescendo during “the battle” section of “Gates…” as the long song tells the tale of the development, pursuit, and aftermath of war. Downes hit his leads, Davison nailed the highest notes, and Sherwood gently colored “Soon’s” soft tones with care that would have made Squire proud. If the group as rumored will be back to do the whole album with Moraz guesting, it will be spectacular.

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Every band that night had experienced the loss of former colleagues who have passed on. We lost Asia’s John Wetton, and Keith Emerson and Greg Lake from ELP just over the last few years. Songs were highlighted during those sets as being played for these fallen musical heroes, to somber effect, and some celebration of lives well lived and music shared.

All in all a great show – one that left an exclamation mark on the statement that anyone interested in seeing members of Yes ply their most amazing trade live, should be going out to support them. In addition, Rick Wakeman just played Journey to the Center of the Earthon two nights in London for what he says is the last time. He is doing a solo tour of the states this fall, as is Jon Anderson. So hey, we get to see almost every key member who’ve been in Yes over these many years, just on different nights – go for the one!

(A shout out to Kim – Most fabulous photos above © kimreedphotos.com)

Beck on Point

Beck Colors Album CoverWe’ve seen indie artist Beck several times over the last couple decades and the shows have been a bit uneven; usually presenting a mixed bag of songs that emphasize whatever is most top of mind for this diverse artist, and often with Beck himself seeming a bit disconnected from the proceedings. Not so on this fantastic night July 14th2019 at the Shoreline Amphitheater in Mountain View, California. Beck was in absolute top form, commanding attention as “front man” and master of ceremonies. Beck sang, played his guitars, and danced – yes danced, skillfully and infectiously for the rapturous crowd.

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The core of the set on this night put emphasis on Beck’s upbeat, groovy tunes, including “Girl,” “Mixed Bizness” and “Up All Night.” The latter was one of three songs plucked from 2017’s Colors, a very up-tempo record for Beck, often calling to mind 70s disco music, and it set the celebratory tone for the whole show. A glance through the set list, with albums and dates credited, shows a balanced pick of tracks from “Loser” 1993 to the new single from this year, “Saw Lightning.”  With just this one new song to promote (the next album Hyperspaceis not yet released) this show, though a bit short at 75 minutes, ended up as a sort of mini greatest hits compilation, with 14 of his own songs, and a handful of covers, ranging from the touching The Korgis cover “Everybody’s Got to Learn Sometime” to the Rolling Stones “Miss You,” and Chic’s disco hit “Good Times.” Several of the covers fell at the end of the set; just after Cage The Elephant’s lead singer Matt Schultz joined Beck on stage for their collaboration “Night Running.” Having not been wowed by Cage’s set, or Schultz, these fans found solace in the fact that Beck absolutely nailed just over a dozen of his greatest songs.

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The production was stellar. It included rear projections, and a dazzling, colorful light show, which made ample use of geometric shapes, lasers and rich vibrant tones. One of the clever rear projections included live shots of the musicians from directly above their heads, projected just behind each, and was artfully done. Sound was fantastic – balanced, not over loaded with bass as can happen with this era of music.

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The bands Cage the Elephant, Spoon, and Starcrawler opened for Beck. For these fans, only Spoon was of interest, and they delivered, squinting in the hot sun through a short set that emphasized lead singer/guitarist Britt Daniel’s vocal prowess and riff-driven songs, following a release this year of their greatest hits.

Beck began his career with a long search for something that would set him on a proper course, and lift him from a poverty with which he had learned to cope, playing folk songs on the street for cash. It was clear on this night that Beck is still on that restless journey, one that he has paused along the way, to pay particular attention to various forms of rock, folk, pop and even disco music. We felt lucky to be part of this very upbeat detour, part of the “good times!”

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p.s. it’s worth noting that Beck also recently appeared in a very good documentary film, Echo in the Canyon, which featured Jakob Dylan leading a cast of guest musicians through the L.A. Laurel Canyon songbook from the mid sixties when bands like The Byrds, Buffalo Springfield, the Mama’s and the Poppas, The Beach Boys, and CSN brought folk rock to the masses. Beck performs on several songs in a tribute concert that includes Dylan as bandleader, joined by Fiona Apple, Cat Power, Nora Jones and others. It’s a heartfelt tribute to these bands, and an excellent film in general for any fan of rock and folk music.