This fantastic concert at Pershing Municipal Auditorium was the first time I saw Yes. I was a blown away by the three-headed monster they had that spit out a fan of green laser light. It looked great peircing the mist ;-) that filled the air. When it started to spin like a rotating hand, the music and the lights combined to lift us out of our chairs.

I and some friends followed Yes around the mid-west on the early Relayer tour. We were probably the only ones in the crowd who knew something of Moraz's earlier career with Refuge (one of the gang found a copy of the Refuge album only weeks before we first saw Moraz in concert with Yes. We saw five shows on that tour. IMHO, the Lincoln show was probably the best of the sixteen Yes concerts I've seen. They played in what seemed to be a part-time hocky rink: they were on a permanent stage that was about five feet off the concrete floor of the main floor area. There were no chairs and it was "festival" (i.e., every man for themselves) seating. Around this main area was a low wall (4-5' tall) with seats extending up from behind the wall. At the beginning of 'Close to the Edge,' the lights went down and the fog machines went on, while Moraz started the trademark burbling brook noises. When the band kicked in and the lights came up, the Yesmen were treated to a fantastic sight: The well-behave (lots of smoke and acid) crowd on the main floor had settled down to sit on the bare floor. The fog had, under the cover of darkness, rolled off the stage and had completely filled the mainfloor area to a depth of about four feet. The mainfloor crowd could not be seen, because they were sitting deep under the fog. (I was one of them!) Furthermore, as the Yes mirror ball started rotating and shooting off shards of light, and their impressive laser show followed, both sent beams of lights into the fog. Sitting in the fog, it was like being in a cool grey opaque world of your own, with occassional bursts of different colored light exploding around you! I stuck my head up as the band started to see a few other half-heads rising from the fog. On stage, Anderson, Howe and Squire were all at the edge of the stage looking down with amazed smiles, apparently not expecting this effect either! One of those magical moments again....

Moraz got a five minute piano solo during this show, where he ripped through some of the Grand Canyon Suite themes from Refuge, did a brief homage to Wakeman with a nod to Six Wives (I don't recal which theme), played some honky-tonk, and really enjoyed himself.