TORMATO

I’m not sure there is a whole lot to be said about Tormato really, other than it was the last album to include the most famous lineup of the band until the underwhelming Union more than a decade later.

I would think that for the most part someone will either like this album or they won’t, and I doubt if repeated listens will change that opinion one way or the other. Those new to the band in 1978 were probably more likely to find the album appealing than long-time fans, as the songs are all highly accessible and don’t require a whole lot of knowledge of the band or even of music in general to appreciate. Those who cut their teeth on works like “Close to the Edge”, “Gates of Delirium”, or even “Yours is No Disgrace” probably find this album a bit disappointing. There is nothing resembling an epic track, and the songs that are here don’t really seem to demonstrate any kind of conscious approach or progression from the band’s previous works. It just seems like the band put out an album for the sake of putting one out. The record did well commercially, but few of these songs show up on any subsequent compilations, greatest hits collections, or even live albums.

“Future Times” is about the most generic-sounding Yes song I’ve ever heard. Wakeman’s keyboards are prominent but not particularly impressive. Anderson’s vocals seem just a bit tepid. Howe’s guitar work is pretty good throughout the album, but I wouldn’t call it inspired or anything.

The modest hit single from the album was “Don’t Kill the Whale”, an unconvincing but rhythmic tune that is for the most part dominated by Howe, with a couple of short jaunts mixed in by Wakeman. And speaking of Wakeman, he seems to be just noodling quite a bit, especially during Anderson’s vocals parts. It’s a catchy tune, but nothing you’d really expect from a band of Yes’s stature.

I do like the keyboards and mellow guitar on “Madrigal”, but this actually sounds like some kind of Irish folk song, and wouldn’t even be recognizable as a Yes song were it not for Anderson’s voice.

“Release, Release” sounds more like the Yes of the mid-70s, but here again Wakeman is rather uninspired and Squire seems to be almost invisible. Frankly, Squire doesn’t really stand out anywhere on this album.

The weird “Arriving UFO” really seems to be a bit of nonsensical filler. Wakeman throws in a wide variety of sound effects, but the appeal of this song is for the most part lost on me.

“Circus of Heaven” actually begins as if it is building up to something substantial, but after about four minutes of ‘building’ it becomes apparent the buildup is all there really is. The goofy kid babbling at the end is really unnecessary.

I like the overall mood of “Onward”, but really this is more of a song for a single B-side, or maybe as a respite piece for the band in concert. I can picture the couples hugging and waving their disposable lighters as the soft lights wash over the concert hall as I listen to this one.

Yes had always been known for including at least one lengthy, complex central work on their albums. I suppose “On The Silent Wings of Freedom” is supposed to be that song for Tormato, but despite its length and the awkward tempo changes in the second half of the song, it seems to be more of a mechanical exercise than an inspired, passionate work.

I’ll admit I bought this when it came out, and wore my allegiance to Yes on my sleeve amid the onslaught of disco and new wave that was filling the airwaves at the time. This was at least better than most of that crap. But it doesn’t wear well with time, and is not even fondly remembered by the members of the band themselves. The story that the tomato on the cover was a result of Wakeman throwing it at the artwork in disgust speaks volumes about the lasting impression of this album.

It’s probably a must-have for ardent fans and collectors, but that’s about all. Two stars.

peace