What does it sound like?:
This is the Anderson, Rabin, Wakeman version of Yes, which is probably as close to the real thing as we’re going to get unless there’s an unexpected rapprochement with Steve Howe. This show was recorded in Manchester in 2017, the band’s fiftieth anniversary, and although it sadly features no new music, there is an impressive cross section of Yes classics from the original and 90125 eras, all impeccably played. Awaken, And You And I and I’ve Seen All Good People rub shoulders with the likes of Hold On, Rhythm Of Love and Changes, and there’s even a surprise appearance by Lift Me Up from the much-maligned Union album. Anderson presumably has a Dorian Gray style painting in his attic as his appearance and voice seem unchanged since the glory days of the seventies, and happily there’s no sign of the health problems that have plagued him in recent years. Rick Wakeman has not aged so gracefully, but he still proudly sports the bejewelled cloak, and his playing has certainly not been diminished by the passing years. It’s rather odd to hear Heart Of The Sunrise without the late Chris Squire’s thunderous bass, but Lee Pomeroy does a sterling job and Trevor Rabin of course excels on guitar and vocals. While the renditions stick fairly closely to the originals, which is just how I like it, the band do throw in a few unexpected twists and turns from time to time – a forward looking way to pay tribute to an illustrious past.
What does it all *mean*?
A great show with excellent sound and visuals that take you right into the heart of proceedings. Hopefully some new music will be with us next year, which I for one will be very interested to hear.
Goes well with…
Dusting down the old cape from the prog wardrobe!
Release Date:
Might suit people who like…
Yes, prog.
Please
I’ve never really accepted Rabin though I know he’s excellent. Somehow he’s fused with Trevor Horne and The Buggles in my mind, possibly unfairly.
Another live Yes album is not what the world needed.
One might indeed ask who needs another live Yes album. But if you look at: a) the ‘new’ ARW track or, b) “Heaven and Earth”, it is fair to say that there isn’t much new music of any cop in any of them. Which is odd, as Steve Howe remains a tremendous guitarist. I love his jazzy trio work:
I agree that Heaven and Earth was poor fare, but thought the ARW track quite promising.
“Quite Promising” is a bit like faint praise though.
I’m minded of Mary Gauthier’s remark about there being a lot of good music about but that good is just not good enough. It needs to be great.
When I first read the title of this thread “Yes (featuring Anderson, Rabin & Wakeman) – Live At The Apollo”, I assumed that the Apollo in question would be the famous Apollo Theater on 125th Street in Harlem, New York City, where James Brown and the Famous Flames recorded their legendary live album in 1963.
But it tuns out to be the old Ardwick Green Apollo in Manchester. Boo!
I was rather hoping for Yes’s version of “I Get Up, I Get Down, (I Feel Like Being a) Sex Machine”
Don’t knock Manchester Apollo. It is home to many of the best gigs I’ve attended, including James Brown himself in November 1978.
Actually, you’re right, Tigger. I was unnecessarily scornful of the Manchester Apollo there.
I, too, have seen some fine gigs at the famous Ardwick Green venue: Echo & the Bunnymen, Elton John, Orchestral Manoeuvres in the Dark, gulp …. erm …. U2, ….. erm … Sadé ….
I seem to remember that the bouncers there were rather rough …..
I saw Public Enemy there twice. The second time, in 1990, Chuck spent a large portion of the night moaning about the position of the monitors.
I saw David Soul there in 1977. Probably wearing my Starsky and Hutch fan club badge. First ever gig, I think. Still got the programme.
I often tell people I saw James Brown at the Apollo without specifying it wasn’t actually in Harlem. Only a tiny minority have any idea what I’m talking about.
The great thing about the venue is they can easily take the seats out downstairs. When they expect a wild night (last time for me was Alabama Shakes), the bouncers are on their toes. However, the secret weapon is the sticky floor. A little beer spillage and it’s like treacle. I’ve known many a fine pair of shoes to be completely ruined, mainly of the female variety..
Wow, you were really showing out!
Put on your red shoes and dance the blues.
I think some idiot has completely murdered this recording. It is loaded with canned applause and crowd noise that was absolutely not present on the night. The prog community is up in arms at the sacrilege! I did have the triple vinyl on order but managed to cancel it in time after hearing it on Spotify.
I saw them play at the O2 in the summer (stone free festival) and that was a great gig. This sounds like someone got hold of the master and spent the evening sitting in his pants with his laptop and adding shouty crowd noises downloaded from You Tube.
Agree with Martin S in terms of the canned applause and crowd noise. It’s just so unnecessary. The music is okay – Jon Anderson seems in fine fettle, and whilst I feel Rabin lacks the finesse and taste of Howe he *can* play guitar (he really would love to have a guitar duel with Steve Vai .. wouldn’t he?).
The problem I have is with Rick Wakeman. He is undoubtedly talented and can (when pressed) play with depth & sensitivity. However, he cannot seem to resist the temptation to ‘chew the scenery’ musically speaking. He’s like Whoopie Goldberg in ‘Ghost’ when she starts to hear Patrick Swayzee chuntering to her from beyond the veil. Rick, we know you can play fast. And sometimes it sounds good. Just not all the time!!!! And his choice of keyboard sounds is .. well .. pure Bontempi meets Casio. Can he not employ somebody from Kutzweil to do his programming or even have a word with one of his sons about how to use a sampler?
It’s a pretty poor addition to the Yes canon .. and given some of the recent output that’s saying something. Am sure it was better being there in person. However, I think my days of seeing either incarnation of one of my most loved groups have come and gone.
Agree totally on the fake ovations that are constantly inserted. It wouldn’t sound particularly realistic if this was a US venue, but a current British audience of Yes fans simply doesn’t cheer en masse every minute or so. Someone said it’s Rabin who’s responsible for it in the mix. It’s as if they were desperate after the R&R Hall of Fame fall-out to show Howe & company how much more popular and lively they were than the other Yes.
Agree on Wakeman’s grandstanding and cheesy keyboard sounds too, but it’s been like that since Tormato 40 years ago.