zinabre

Monday, September 13, 2021 2:19 PM

[Link] link (audio only)

Michael Charney

Thursday, February 21, 2013 4:09 PM

One of my all-time favorite concerts, and still my favorite Yes gig. I loved (and still do) Topographic Oceans... I definitely remember they played only three sides--probably because the missing one was my favorite... I also remembered the incredibly strange orange light set up climbing up the back of Wakeman's keyboards... It looked like the god Vulcan's distorted fingers....

Oddly, I don't remember anything before the Topo stuff; it wasn't until I saw the set list that I remembered. Biggest blowaway, though? Those ticket prices! At the time I thought $6.50 was OUTRAGEOUS!!! ;-)

David P.

A magical night in my life. I specifically remember them doing "The Remembering" too, i.e., ALL 4 sides of "Tales", so setlist is wrong. I couldn't believe it...we just sat in my car after the show dazed and thinking, "wow...did we just see that?" (and no, I wasn't stoned...well, maybe a little!) You don't get many concerts in your life with that much unbroken and continuous music....(plus "CTTE"??? JUST INCREDIBLE!)

Scott Salmon

"Yes Offers Unique Material"
AT INGLEWOOD FORUM
Wednesday, March 20, 1974
Los Angeles Times
Richard Cromelin

Yes' immense popularity is one of the most unlikely in a world dominated by the lascivious likes of Led Zeppelin and brutal thrashers like the Who and Emerson, Lake and Palmer. The group's concerns are the dead opposite of the secular and hedonistic, and the sight of a rock audience paying attention to a good hour of musical interpretation of Sanskrit scriptures (as did Monday's Forum crowd) approaches the surreal.

Yes is most enjoyable when you take it less seriously than it seems to want you to take it, and the tremendous ovations were surely responses to the music rather than expressions of gratitude for spiritual enlightenment. But Yes projects its role convincingly, with pretense, particularly singer writer Jon Anderson, a pure, innocent, white-clad eye in the midst of the musical storm.

Although that gap between what Anderson wants to communicate and what the audience is actually getting is a slightly disorienting factor throughout the show, the sheer power and exalted complexity of the music finally shatters any reservations.

Yes' performance on Monday night was virtually flawless, and though it offered little in the way of surprises it managed, miraculously; to avoid dryness and sterility. Abetted by a magnificent sound and lighting setup, Yes played current, middle-period and old (a tantalizing gesture that whetted the appetite for more of the earlier, more pop-oriented songs) material.

The new music is a slight refinement of the familiar sound, a gradual, unforced progression. Like all of Yes' music, it features bold shifts, from angelically ethereal to primevally violent, and it functions on a multitude of levels. Although at odds with traditional rock 'n' roll attitudes, Yes has made it work and refreshing, challenging alternative.

The crowd was warmed up by singer/guitarist Charlie Starr.