David P.

Yes outdoors under the stars with Moraz and a moving, smoking, light flashing set design by Roger Dean...memorable night indeed! The night belonged to Moraz (okay, and Howe, too!) as the high keyboard setup to the left of the stage (as later seen with Igor) kept your attention on him and Howe. Moraz and the band blew away any thoughts of Wakeman with incredible renditions of "Gates" and "Sound Chaser". Now if they would only include "To Be Over" in any upcoming tour, I would die a happy Yesfan! (Somehow I don't think Wakeman wants to bother with it though.) Too bad Moraz only made one album with them. It would have been nice to see what more he could have added. Of course, "Going For The One" could not have been the same without Wakeman back.

Geoff Dunn

To Steve J.

I think you should get your facts right before you go verbally attacking people. On the two occasions where you have criticised Scott for his posting, Scott has simply transcribed a newspaper review -- in both cases written by Mr. Richard Cromelin.

On behalf of many Yes fans I'd like to thank Scott for going to the trouble of doing this, as we find it fascinating reading -- even if we disagree with what the reviewer wrote all those years ago.

Steve Jensen

I remember this concert too! Didn't get tickets in advance but was able to get good seats at the box office at showtime. This was my wife's first concert and it rocked. Who needs Rick Wakeman? Patrick Moraz kicked ass and the night was a winner. Scott who? Maybe if yesfans spent more time here then we wouldn't have to suffer the rantings of an wanna be critic of rock and roll when reading the reviews of a thirty year old concert. By the way, Roger Dean's stage design was completely in tune with the YES message.

Scott Salmon

"Yes Plays With Eloquent Energy"
AT HOLLYWOOD BOWL
Monday, June 23, 1975
Los Angeles Times
Richard Cromelin

The atrophy that has descended on the progressive branch of rock 'n' roll has taken some steam out the continuing debate between the experimentalists and the heavy-metallurgists, the spaceman and the traditional pop manufactures, but then something like Yes' Hollywood Bowl concert on Saturday comes along to mix it all up again.

Because despite the band's rejection of such essential rock attributes as simplicity and rebellious spirit, its performance was so breathtakingly good, its standard of professionalism in both sounds and visuals so high, that theoretical reservations seem insignificant.

Recovering handsomely from last year's forgettable "Topographic Oceans" show, Yes sounded fresh and exciting again, displaying such passion and aggressiveness that one might suspect they've been eating meat on the sly. The prodigious, orchestral music is eloquent enough to the offset abstruse lyrics, while the energy and intensity mow down any possible self-indulgence.

The members of Yes, obviously aware of the need for exaggerated gesture in a venue like the Bowl, project exceptionally well (unlike so many of their ilk who would rather be in a cocoon than on a stage), and the physical expressions of their concentrated musical rapport substitute nicely for a flashy lead singer.

They don't weather their lack of humor so well, and the weekend's impossible dream was to see them become mere mortals and throw in something like "All Shook Up" or "My Boyfriend's Back" at encore time. Yes deserves all the admiration that came its way that night, but a move like that would make the group downright lovable.

Steve Derbes

There were lasers at the June 1975 Hollywood Bowl show, though not nearly as extensively used as in '76.

Randy Amasia

Ace (Paul Carrack's old band) opening for Yes at the Hollywood Bowl in June 75.