YESSHOWS

Yesshows is the follow-up of the highly praised live album Yessongs. It was released in November of 1980 as their final album before the group would come back together for their studio album, 90125. Yesshows is compiled of recordings from their 1976, 1977, and 1978 tours from dates in North America and Europe with its mixing supervised by bassist Chris Squire. This detailed mixing is a brilliant decision that was also done for the band's previous live album, Yessongs. Despite the sound quality not being necessarily perfect due to the times, this live album has aged better than many of the other live albums released at the time. The album features Jon Anderson on vocals, Chris Squire on bass, Bill Bruford on drums, Steve Howe on guitar, and both Rick Wakeman and Patrick Moraz on keyboards. Both keyboardists provide excellent renditions throughout the album, it is especially interesting to hear Patrick Moraz play on Ritual (Nous Sommes Du Soleil) which Rick Wakeman originally played on. In fact, there are no tracks performed here that overlap with their previous live output which is an intentional decision the band made when creating Yesshows.

As the trademark for Yes, the first track begins with the Firebird Suite which brilliantly transitions into Parallels after the one minute and twenty-eight second mark. This track contains a terrific energy with an exceptional keyboard solo from Rick Wakeman. I actually tend to prefer this version over the album variant due to the sound of the somewhat abrasive organ being lessened. In fact, the use of organ on this version is quite pleasant. Furthermore, Chris Squire truly does a masterful job on bass all through the entire song. The next track, Time and a Word, receives a genuinely wonderful rendition. Jon Anderson's vocals here are nothing less than breathtaking. This is surely an improvement in regards to the vocals over the original as Jon Anderson was still developing his voice during the recording of the Time And A Word album. Furthermore, both Rick Wakeman and Steve Howe add pleasant touches of keyboard and guitar during various points in the track. Going for the One transfers seamlessly from the last track and is yet another great live rendition. There is plenty of energy found here, but my main complaint has to be Rick Wakeman's keyboards being too low in the mix. They remain audible, but undeniably not enough. The highlight of this track is definitely Steve Howe's blazing guitar work which is nothing less than exceptional. After Going for the One, we enter The Gates of Delirium. This track does not disappoint with every band member performing to their best ability. This includes Patrick Moraz who plays fantastically throughout. Furthermore, Chris Squire and Alan White provide a wonderful rhythm section. This version of The Gates of Delirium seems to be even heavier then the version that is originally found on the album Relayer. This and the upcoming track, Ritual (Nous Sommes Du Soleil), remain to be the centerpieces of the album. Truly brilliant and dynamic live rendition of one of the bands best songs!

Don't Kill the Whale receives splendid live treatment that improves on the somewhat sterile studio version. Alan White's drumming certainly grooves with Steve Howe providing engrossing guitar work. It's a shame that the outro of the track is so lengthy since you are forced to sit through around two minutes of talking which could have been cut. It is not something I mind when listening to the full album, but becomes slightly bothersome when attempting to put the track in a playlist or listen to it during a jog since you are forced to pause whatever you are doing to skip the last few minutes of the track. Nevertheless, I do believe this rendition of Don't Kill The Whale is truly wonderful. Ritual (Nous Sommes Du Soleil) is a goliath of a track that extends to around thirty minutes during this live performance. What another magnificent rendition that resides with The Gates of Delirium as being another centerpiece of the album. Patrick Moraz gets to play on this track and the way he decides to handle Rick Wakeman's original keyboard sections is fascinating. Similar to the rest of the album, there is so much energy thrown in that it begins to make the original track found on Tales from Topographic Oceans seem somewhat dull in comparison. Yet another fantastic live performance found here to add to the list! The album closes with a solid but ultimately insignificant version of Wonderous Stories. It just seems as if they could have added something a bit more sensational to the song since it is in a live setting. Still, Rick Wakeman provides some notable keyboards throughout which adds a pleasant texture to the track.

Yesshows may not live up to their previous live album, Yessongs, but is still undoubtedly a successful continuation that successfully develops on the ideas originally found on these live tracks studio counterparts. Furthermore, Yesshows contains exceedingly epic renditions of both The Gates of Delirium and Ritual (Nous Sommes Du Soleil). This album throws the listener into Yes live during that time-period and remains to be one of their best live albums to date. This is a superb live album that is truly an excellent addition to any progressive rock collection. Especially for fans of Yes! "Nous sommes du soleil. We love when we play!"

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