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Wednesday, July 27, 1994 Las Vegas, Nevada Thomas And Mack Center 19,522 capacity 28 years, 6 months ago
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Roxi Cook Las Vegas Review-Journal July 29, 1994 Mike Weatherford In The Calling--the rousing second song of Wednesday's concert at the Thomas & Mack Center--Jon Anderson sings "I'll be calling the voices of Africa," and "calling the dragons of China." Here's some other people Yes should be calling: --Whoever decided to put Wednesday's concert into the full arena configuration instead of the cozier amphitheater setup. The pitiful crowd of 2,646 in the cavernous arena was an embarrassment to the band, and denied a more intimate view to the fans who did show up. --Rick Wakeman, the keyboard master from the classic Yes albums, whose showmanship was sorely missed. And while they're on the phone, they could call guitarist Steve Howe and even drummer Bill Bruford (though he's now back with King Crimson). Wednesday's show was in many ways anticlimatic to the eight-man lineup of Yes that visited in 1991. --Their lighting designer, more specifically, calling for his head on a platter. Though the new Yes album, Talk, hearkens back to the warmer, more spiritual versions of the band, the visual design was a retread of 1983's 90125 tour, with a metallic, industrial stage and harsh, cold lighting more akin to a dance club than a band known for its trippy, mystical excursions. Despite all this, Yes defied the odds and put on a great show anyway. They've been around 26 years now, so you can't underestimate their survivability. And the thing that really makes a Yes concert great is that half the crowd--no matter how small--truly believes that Yes is the best band on earth. Their enthusiasm is contagious. The generous 2-1/2 hour event proved that unlike many bands which have slipped into a classic rock ghetto, Yes is still a creative force that deserves to be heard. Playing all but one song from the new album Talk, Yes still delivered the grandiose rock that put it on the map, while updating itself by shifting away from long-winded instrumental indulgences that no longer impress people. A solid 70-minute set fired up the crowd with '80s material such as Changes and Rhythm of Love, paving the way for the knockout punch after a brief intermission. The old standby Your Move/All Good People brought the crowd to its feet, setting up the new 20-minute epic Endless Dream. It was a show-stopper packed with all the dynamic scope you could ask for in a rock show, from quiet verses highlighting Anderson's delicate voice to full-blown orchestral bombast, accented by quadrophonic speakers in the back of the hall. The main drawback is that the current five-man lineup (plus Las Vegas native Billy Sherwood as a guitar and keyboard utility man) leaves Anderson as the primary visual interest on stage. Guitarist Trevor Rabin is the current guiding force behind the scenes, but he's not as much fun to watch onstage as Wakeman or Howe. And watching him play piano as well as guitar further accentuated the weaknesses of keyboardist Tony Kaye, who isn't in the same class as the rest of the band. One footnote: The experimental "Concertsonics," in which fans brought personal stereos inside and listened to the sound feed on headphones, turned out to be an idea worth pursuing. But it probably works better at outdoor concerts. In the arena, the volume was so loud that unless you had a godzilla of a Walkman, you could only hear the headphones during the quietest passages. But, like the show as a whole, it was a nice effort. Jimmy Jones The Las Vegas show did not even fill half of the stadium. I guess that is what Jon meant when he said 'We aren't selling tickets like we used to' during his talk at Yestival.
before 'Rhythm Of Love' transcribed by: Geoff Dunn Jon Anderson:Thank you so much! It’s great to be with you here in Las Vegas. It’s great to be here looking for the rhythm, looking for the ‘Rhythm of Love’ before 'Hearts' transcribed by: Geoff Dunn Jon Anderson:Wooh! Many moons cascade one river, they light from side to side. As we cross in close proximity, like rivers our hearts entwine. before 'Real Love' transcribed by: Geoff Dunn Jon Anderson:Thank you so much. Here’s another song from the new album ‘Talk’. A song about Earth music, about the sky music, about the fire within, about ‘Real Love’, the ‘Real Love’. before 'Heart Of The Sunrise' transcribed by: Geoff Dunn Trevor Rabin:Thank you! Jon Anderson: Trev. Wooh! Wooh! Thank you so much! Thank you! So after this next song we're going to have a little intermission and ahh, re-group backstage, figure out what we’re gonna do for the rest of the evening. Here’s a song that, rumour has, that we wrote this song a zillion years ago, and it was on the planet Zongo. As Zongonians, me and Chris, we wrote this song together. And let me introduce to you the one, the only, the formidable, Chris Squire on bass geetar – wow! before 'And You And I' transcribed by: Geoff Dunn Jon Anderson:Alright! Thank you. Thank you. Must be Las Vegas! before 'Where Will You Be?' transcribed by: Geoff Dunn Jon Anderson:Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. La La La. Thank you. Most of last year was taken up with making a new album called ‘Talk’. I would, ahh, wander up to Trevor’s house, up in Hollywood hills there, and, ahh, we’d write songs and he’d play me some music, and one day he played me this piece of music, and I wrote down the lyrics and everything and, ahh, I’ve still get them written down, because I can’t remember the damn lyrics! But they’re pretty simple, but for some reason, I don’t have them here. I feel very uncomfortable. It’s a song that, ahh, I listened to later when we finished the album. I was listening to the lyrics when I was writing, because they are very simple. It made me think about the idea that the lyrics mean we, we’ve lived many lives and this is just another life to live through and discover and replenish our consciousness, stuff like that. And the idea came to me that maybe, in those different lives we’ve lead, maybe we were once Native American Indians. That’s why we’re back here again. And maybe one time we were African, maybe we were one time Chinese, Indonesian, South American, Italian, German and so on, and so on. This song is called “Where Will You Be”. before 'I've Seen All Good People' transcribed by: Geoff Dunn Jon Anderson:Thank you. Now we’re going to do a sing along song. So you can sing a long, you know. First of all we need the dynamic, hand shaking, hand trembling of Mr. Alan White there on the maracas! The one and only Alan White on the maracas! And before we sing along, with a song that we all know so very well, well I think I know it, a bit. I’m introducing to you, a new friend on stage who’s playing acoustic guitar, electric guitar, bass guitar, keyboards, dancing, singing, clapping his hands, shaking his hair.. in the spotlight, Mr. Billy Sherwood. Here comes the sing along part, okay? It’s for my love. before 'Walls' transcribed by: Geoff Dunn Trevor Rabin:Wooh! before 'Endless Dream' transcribed by: Geoff Dunn Trevor Rabin:Wooh! Thank you. Jon Anderson: Woooh! Woah! Thank you so much, thank you. So wonderful, thank you. The great thing about being in the group Yes is to be able to come out and play to Yes fans like yourself tonight, just a bit! Yes it does! You have that energy and we work off the energy, we do it together. Another reason for being in a group like Yes is to play a piece of music, this is from the new album ‘Talk’, this is real Yes music, this is called “Endless Dream”. after 'Roundabout' transcribed by: Geoff Dunn Trevor Rabin:Thank you. |
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Yes (1994)
07/27/1994 Las Vegas, Nevada
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Las Vegas 1994
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