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YESSHOWS

Yes

Symphonic Prog


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Yes Yesshows album cover
3.61 | 338 ratings | 32 reviews | 24% 5 stars

Excellent addition to any
prog rock music collection


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Live, released in 1980

Songs / Tracks Listing

1. Parallels (6:57)
2. Time And A Word (4:05)
3. Going For The One (5:13)
4. The Gates Of Delirium (22:58)
5. Don't Kill The Whale (4:12)
6. Ritual (Nous Sommes Du Soleil) (28:22)
7. Wonderous Stories (3:55)

Total Time: 75:45

Lyrics

Search YES Yesshows lyrics

Music tabs (tablatures)

Search YES Yesshows tabs

Line-up / Musicians

- Jon Anderson / vocals
- Chris Squire / bass and vocals
- Patrick Moraz / keyboards on 4 and 6
- Rick Wakeman / keyboards on all others
- Alan White / drums
- Steve Howe / guitars

Releases information

Atlantic records

Thanks to ProgLucky for the addition
and to m@x for the last updates
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YES Yesshows ratings distribution


3.61
(338 ratings)
Essential: a masterpiece of progressive rock music(24%)
24%
Excellent addition to any prog rock music collection(50%)
50%
Good, but non-essential (22%)
22%
Collectors/fans only (3%)
3%
Poor. Only for completionists (0%)
0%

YES Yesshows reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by loserboy
PROG REVIEWER
4 stars Pulled this album out of the collection and had to capture a few words about this tasty double album. 100% YES captured live performing some of their best songs including a simply rivetting version of "The Gates Of Delerium" and "Ritual" (split in 2 pieces). This album is really a mix of songs across various shows with WAKEMAN and MORAZ swapping throughout. The end result though is a great double album full of wonderful positive energy and incredible musicianship.

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Send comments to loserboy (BETA) | Report this review (#13632) | Review Permalink
Posted Sunday, March 21, 2004

Review by Easy Livin
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
2 stars A lengthy ritual

"Yesshows" is not my favourite live album by Yes (and there are many to chose from!) by any means. I find the general recording quality, and indeed the performances, to be disappointing when compared to collections such as "Yessongs", and "Keys to ascension". The main reason this album is of interest is the presence of Patrick Moraz on keyboards on some (but not all) of the tracks.

Well over half of the album is taken up by the two feature pieces, namely "The Gates of Delirium", and "Ritual". Both the version of "Gates of Delirium" on "Relayer" and the one which appears here feature Patrick Moraz on keyboards, and the rendition here is pretty faithful to the original version. Rick Wakeman performed on the studio version of "Ritual" so it is interesting to hear the Moraz interpretation which is included here. The track is somewhat longer than the original version due to the extended percussion section. It was split over one and a half sides of the LP version giving a slightly disjointed feel, but has been rejoined on the CD version.

The remaining tracks do not really add anything to their superior studio counterparts, and at times sound significantly inferior.

One for fans looking to complete their collection only.

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Send comments to Easy Livin (BETA) | Report this review (#13634) | Review Permalink
Posted Sunday, June 20, 2004

Review by Philo
PROG REVIEWER
2 stars Many rock bands through the seventies released classic and ultimate live albums but then when it came to a later live release the same bands fell flat on their faces as the energy subsided and other negative forces took hold. While Yes had musically peaked and carried the massive momentum on the triple Yessongs set, the contractual obligated Yesshows album is a very dull affair. After keyboard player Rick Wakeman and vocalist Jon Anderson exited the band and the release of Drama which featured a couple of Buggles, this album was culled from gigs on the Going For The One tour in 1977 but the album sounds uninspired, tepid and lethargic. A good live album should give the listener the impression and excitement of a show which explodes, builds momentum and finishes with a fitting crescendo as if you were there in the audience soaking up the atmosphere. Yesshows sounds very patched together and inconsistent and fails to to grab the attention of the listener. The songs sound overlong and tired and the production is rather unforgiving and for the Yes completist it may be an essential album but for the passive fan Yesshows is an unnecessary and overindulgent collection of live songs from an era of discontent in the Yes ranks. The eighties had arrived and this was the decade that spelled the death knell for many of the rock bands that dominated the seventies but Yes would recover and reinvent themselves and adapt to the new ways and waves with the very successful 90125 album in 1983.

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Send comments to Philo (BETA) | Report this review (#13636) | Review Permalink
Posted Saturday, August 28, 2004

Review by Guillermo
PROG REVIEWER
4 stars I saw this album in a record shop in late 1980, and I asked one of the shop`s employees if Anderson and Wakeman were in the album, and he said to me that it was true. Even if the recordings and the mixing of this album are not very good (the keyboards are very much in the background, the bass guitar is higher in the mix, as the drums, the guitar sometimes sounds thin), this live album has very good live versions of "Parallels" (with a great synthesizer solo by Wakeman), "Going for the One" (despite Wakeman`s keyboards are almost inaudible), "The Gates of Delirium" (a heavy performance, with Patrick Moraz almost inaudible in some parts) and "Wonderous Stories" (with a good mixing). "Time and a word" also suffers from bad mixing (again of the keyboards), but it is a good version. "Don`t Kill the Whale" is a better recording (done by the B.B.C., with a better mixing). I don`t like very much the "Topographic Oceans" album, but the live version of "Ritual" included here (divided in two parts in the L.P. version, "Part 1" in Side 3 and "Part 2" in Side 4), with Moraz on keyboards, is good in the "Part 1", but I found some musical excess in the "Part 2", too much "noise" in my opinion, but with a good job by Moraz (again in the background most of the time). It seems that this album was going to be released in 1979, so Chris Squire (credited as mixer in the gatefold cover with two recording engineers) mixed these songs, but the album wasn`t released then. But in late 1980 the record label released these mixes in this live album. I don`t know if the remastered 2 C.D. version sounds better, but I think it should sound better. I only have the 2 L.P. version.

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Send comments to Guillermo (BETA) | Report this review (#13637) | Review Permalink
Posted Friday, September 17, 2004

Review by Chris S
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Yesshows released in 1980 was a welcome addition to the Yes library. It will never eclipse the epic Yessongs but it is still an excellent album. ' The Gates of Delirium' and ' Ritual' are both great live as is the Squire compostion ' Parallels'. There is even a jamming piece which runs for about 3 minutes where you can hear Anderson having a great time while the other band members fine tune their pieces. Not the best live album but certainly a very enjoyable one.

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Send comments to Chris S (BETA) | Report this review (#13638) | Review Permalink
Posted Tuesday, October 19, 2004

Review by Jim Garten
SPECIAL COLLABORATOR Retired Admin & Razor Guru
3 stars A interesting album, this - enables the listener to finally come down off the fence in the great Wakeman/Moraz debate, as this is the only live album in Yes's career to feature both men side by side, so to speak (although Moraz's contributions are mainly restricted - if that is the right word in this context - to the huge epics, Gates Of Delerium and Ritual).

The closing section of 'Firebird Suite' opens the album (as usual), and we are then thrown straight into 'Parallels', 'Time And A Word' and Howe's manic slide-guitar driven 'Going For The One', all very well played (although Anderson's vocals are a little weak in 'Time And A Word'), but at times with Squire's bass guitar a little too far forward in the mix to the detriment of Wakeman/Howe.

Notwithstanding the above, however, I, like many people, went straight to side 2 of the album when originally purchased on vinyl, to hear Gates Of Delirium live; this version does not disappoint! For just under 23 minutes, the listener is transported by Yes at their most powerful, enthusiastically driving through this epic, but remaining faithful to the studio original, all leading up to Anderson's stunning vocals on 'soon' and the slow, almost laid back coda to those final half dozen synth chords, closing the piece - pure progressive rock magic.

Following TGOD would always be difficult, so I am at a loss as to why they chose to do so with Don't Kill The Whale..... never my favorite piece, but played well, nonetheless.

Wakeman & Topographic Oceans.....hmmmm, not his favorite album, but still difficult to imagine another person playing his music; refreshing then, when Moraz stamps his mark on Ritual with such authority and almost makes it his own (Wakeman would probably say "and he can keep it"). Clocking in at over 28 minutes, it far outstrips the studio version timewise, and (it has to be said) in terms of self-indulgence, especially in the second half.

After such a workout, Yes can be forgiven for laying back a little and finishing the album with Wondrous Stories, a short, sharp, but perfect little number (like a small glass of '67 port finishing off a banquet...... sort of...).

Overall, then, a fine live album, by one of the few dinosaurs still making and performing good progressive music at the very tail end of the '70s...... in the wings, however, Geoff Downes and Trevor Horn waited to pounce......

But that's another story

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Send comments to Jim Garten (BETA) | Report this review (#13639) | Review Permalink
Posted Monday, January 24, 2005

Review by Eetu Pellonpää
SPECIAL COLLABORATOR Honorary Collaborator
4 stars I found this as a very good double live LP, it's highlights for me being the two epics "The Gates Of Delirium" and "Ritual", which were performed with PATRICK MORAZ. Also the tracks "Parallels" and "Going For The One" are much better here than on the original sterile studio albums. Also the covers by Roger Dean are exceptionally fine!

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Send comments to Eetu Pellonpää (BETA) | Report this review (#13644) | Review Permalink
Posted Friday, April 01, 2005

Review by memowakeman
SPECIAL COLLABORATOR Honorary Collaborator
4 stars After another great live album which is called Yessongs, in 1980 they released this album called Yesshows, performing some songs from Topographic Oceans to Tormato, this is a completely different track list than in Yessongs, and not for that reason this is less good.

One particular characteristic is that was performed in some songs by Patrick Moraz in keyboards, and in the other ones by Rick Wakeman,, both with their particular style, both excellent keyboard players. This concert starts with the opening song from 1977 release "Going for the One ", "Parallels", with that keyboard intro, and then the bass and the unique style of Howe`s guitar, good song to opene the album, I like it, and it sounds as good as the album version. The second song is the only early Yes song, "Time and a Word", it is maybe not the song which people is expecting in a concert, maybe this is the weakest part, anyway I like the song, and the extraordinary voice of Jon Anderson, this song I think is strictly for singing, ( theres a time, and the time is now and its right for me.) Then after that soft song, comes a powerful beginning of "Going for the One" , a great performance of that song, is very complex and guitar sound is really great ( last Yes`visit to Mexico City, they opened with Going for the One, it was really great), this concert is a 1977 sound oriented. But then, the best moment , my favourite epic, a extraordinary song, and a really really great performance, "Gates of Delirium", this song is just amazing, im a huge Wakeman`s fan, but that's ironic, this is my favourite Yes`song, and without Wakeman, but the work of Moraz is awesome and it makes me forget abou The Keyboard Wizard, I don't know if this version of Gates of Delirium is my favourite, because here I find more power at the moment of play it, vocals are so emotional, Jon Anderson has a great voice , I think he made in this live version a great effort to please the audience, musically I don't have nothing more to add, because the music is simply superb, the bass of Squire is always perfect, and I think this is the heart of this album, listen to it, Gates of Delirium, impressive.

I have this album in LP, and that was the first side of it, the second side begins with a "protest" song "Don't Kill the Whale", as the title says, we can imagine the topic of lyrics, in this song we can listen again beautiful and great guitar solos. "Ritual ( Nous Sommes du Solei)", the main track of the controversial 1974 album "Tales from Topographic Oceans", which after that release Wakeman left the band, here this song was played by Moraz instead Wakeman, and was divided in 2 parts, another great epic, with excellent changes and superb musicianship, maybe not for everybody`s ears, but for me this was an amazing performance, ( I remember this song when I saw them, and wow, I was amazed). To finish this album "Wonderous Stories", another track from "Going for the One" album, this is a classic song of Yes, is quite nice, but not my favourite, maybe this is one of the bad things of this album, maybe another song instead this could be better to finish this live album.

After all, I really enjoy it, I think it is great, and we know what Yes is, a monster of progressive rock, and here we can make sure of it. For that reasons I highly recommend it, and this album deserves at least 4 stars.

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Send comments to memowakeman (BETA) | Report this review (#76143) | Review Permalink
Posted Monday, April 24, 2006

Review by ZowieZiggy
PROG REVIEWER
4 stars When I saw the tracklist of this album, I was quite surprised. So many numbers belonging to such different period of their career : "Time & A Word" (1970) and "Wonderous Stories" (1977) for instance. But you understand why when you read the CD booklet information (I have the CD version). It was recorded from different concerts, with different line-ups. The two epics "The Gates of Delirium" and "Ritual" were recorded in Detroit (17th August 76) with Moraz on the keys. "Parallels" & "Wonderous Stories" come from Rotterdam (24th November 77). Another two from the Empire Pool at Wembley (different dates : 27th & 28th October 78); and finally "Going for the One" from Frankfurt (18th November 78).

This combination might be a bizzarre choice and I would probably prefer each period to fill out one CD on a remastered issue (which could have been expanded like Yes did for almost each of their earlier releases). The double CD version being just a copy of the original double album. It is a pity because during this tour, "CTTE" was in the tracklist and would have been a marvelous bonus track. There is also little information on the Cd booklet (they consist mostly of the lyrics). The only track totally out of time being ... "Time & A Word".

It is indeed a very short double CD : seventy five minutes !. There is almost no interaction with the audience which is a pain. Some tracks are cut abruptly after their rendition (almost no aplause) as if we were short of space ! The "Going For The One" tour is well represented here (three tracks - but I miss "Awaken" of course - out of seven in this live album). I saw this tour actually in Antwerp on Saturday, November 26 1977 and I can tell you that it was a good one).

The opening "Firebird" turns beautifully into the rythmy "Parallels" after 1'28". The comparison with "Firebird" and "Siberian" in YesSongs is amazing. This version of "Parallels" is at times accelerated quite a bit (too much IMO). I like an awful lot this live version of "Time & A Word" : Jon really puts again a HUGE lot of emotion in here; a great, great moment. The intro words (one of the very few ones on this live album) for the ecological "Don't Kill the Whale" is hardly audible ("This is a song about the factory ship industry that seem to get rid of too many whales" ... says Jon). At the end of the song there is a little jam session during which Jon thanks the crew. It is one of the (too) few moments during which you can actually notice that this is a live album. "Gates of Delirium" sounds more rocky / heavy than the studio version. The rythmics are GORGEOUS : Alan and Chris being really great. At times as well, I have the same feeling as in "Parallels" : too fast (again : are we running short of space) ? The "Soon" moment being as always very, very emotional. The audience seems to appreciate a lot.

Moraz's interpretation of "Ritual" is good but I really don't like the lenghtly percussion section. It lasted for 2'45" on the studio version and here it is extended to five boring really noisy and pointless minutes : I mention this already in my review for TFTO. My comparison was that this section is quite similar to "The Waiting Room" from "The Lamb". The difference in the live performances is that in "The Lamb" live (I was attending this show in Brussels, 1975) Genesis raised the (poor) level of this song to an acceptable one. Here we have the reverse : from a poor studio section, we get an even poorer live rendition. Really, it is the (only) bad part of this live album. But don't get me wrong : Alan is absolutely brilliant on the other parts of the song, hitting his drum kit like if his life was depending on his play. The last track "Wonderous Stories" is just as wonderful as the studio version. The sound quality, although not perfect, is waaaaaaaaaay ahead the "YesSongs" one. Four stars for this YesLive.

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Posted Friday, January 05, 2007

Review by Chicapah
PROG REVIEWER
2 stars There are many good reasons for putting out a live album. One would be that the band/artist is at times better on stage than they are in the studio and they want to give the fan/listener a truer rendition of their creation as Genesis did with "The Lamb Lies Down On Broadway" on "Archives I." Another rationale is that they generate a high level of energy in concert that can't be conveyed from inside a closed environment like Deep Purple did with "Made In Japan" and Yes themselves did with their earlier "Yessongs." Yet another is to give their supporters new material in a novel way as The Mahavishnu Orchestra did on "Between Nothingness & Eternity." However there are some less-than-admirable reasons, as well. Foremost of which is to fulfill the terms of a recording contract with their label and I tend to believe that may have been the case with "Yesshows" because none of the aforementioned good reasons apply.

As on their initial live offering, the piped in final strains of Stravinsky's "Firebird Suite" are heard first except this time the group teases the audience by playing along with the taped music. Once the fanfare subsides Rick Wakeman cranks up the introductory cathedral organ sounds of "Parallels" and off you go. It's a faithful rendering of the song with guitarist Steve Howe playing some dazzling runs toward the end. The vocals are strong with frontman Jon Anderson coming through clear as a bell. (All that being said, I still prefer "Siberian Khatru" as a more powerful, unbeatable start from the gate.) Next you get a welcome blast from the past as they perform a tasteful update of "Time and a Word." Jon's uncharacteristic emotion-filled voice lifts the song and gives it new relevance. It's one of the few highlights. Without a pause Howe tears right into the rocking "Going for the One." Evidently the privilege of mixing this project fell to bassist Chris Squire so it's understandable that his Rickenbacker guitar is out front throughout the proceedings, especially on this song. It's another near note-for- note run through but the tune suffers greatly from the fact that you can hardly hear Wakeman's keyboards at all. The duly respected "Gates of Delirium" follows and it has both great and not-so-great qualities as a concert piece here. It starts off well with Anderson emoting some rare grit through his vocals and the band projecting some tight energy. Chris and drummer Alan White are a solid, powerful rhythm section and Howe is at peak form but poor Patrick Moraz is woefully out of his league as he tries to keep pace with them. I'll admit that he turned in the performance of a lifetime when he laid down his intricate parts on this song in the studio but he lags a step behind on stage. After the tumultuous battle segment they lead you to the climax but the payoff just doesn't achieve liftoff for me. I adore this part when it arrives in the "Relayer" version but here Steve loses control of his steel guitar echo effect and the triumphant melody runs amok, ruining the moment. The beautiful "Soon" ascends gracefully from the transitional "fog machine" section and doesn't disappoint but Howe's playing continues to suffer from overindulgence in the echo department. (Enough already, Steve!) "Don't Kill the Whale" is next and all I can say is that they can put all the lipstick they want on this pig but it's still a sow. (Unsightly tunes should be left at home, not taken on the road.) The song's embarrassingly out of date phrase "dig it" is only apt if it refers to the grave this tune belongs in. Once you get past that pothole you are treated to a loose improvisational snippet wherein Jon takes the time to thank the road crew while the rest of the group farts around. (If this isn't desperate filler I don't know what is.) Anderson tries to be hip as he pleads for the "funk" to be removed from his face and actually says that it's "getting to be a soul show now." No, Jon, it isn't. I know that Rick has said that he never liked "Tales From Topographical Oceans" but when you compare what he contributed to what Moraz does on "Ritual" you'd think it was Wakeman's all-time masterpiece. Patrick timidly hangs far back from start to finish and when he gets his moments to shine he disappears in Rick's giant shadow. There's some neat things going on during "Nous Sommes Du Soleil" and when Squire dishes out some furious bass guitar shredding things get heated but the magnificent "At All" section that is so effective on the studio version fails to thrill. And the extended drum/percussion passage is a bust mainly because White gets drowned out by too much excessive noise. This complex song just never gels. At least the last tune, the gorgeous "Wonderous Stories," is worth the wait because Wakeman is back (Hooray!) and he shows you why he was pretty much irreplaceable. It's an exquisite song performed impeccably.

When you consider that this is supposedly the best of their stage recordings from over two years of touring it connects a lot of the dots as to why Anderson and Wakeman had already said "adios" when this came out. It's not a total waste of time but I can't recommend that it top any progger's must have list. It is what it is. The tape doesn't lie. This is what one of the best groups in the world sounded like during those difficult years when they were trying to hang on to their worldwide popularity and not abandon their legion of followers but it's obvious they had lost their center and their utopian spirit. On a more positive note I have to acknowledge Roger Dean's eye-popping, out- of-this-world artwork and the colorful action photographs inside the double LP cover. Gotta give it an extra half star just for that.

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Posted Thursday, March 29, 2007

Review by febus
SPECIAL COLLABORATOR Honorary Collaborator / In Memoriam
3 stars YESSHOWS IS NO YESSONGS!

Well back then, YES was in disarray after the release of DRAMA in 1980. The band disbanded, we thought for good, and CHRIS SQUIRE holder of the key name YES, was asked to put out a YES live album for contractual reasons, so at the end of 1980, YESSHOWS was released just in time for these Christmas gifts.

We have once again a great artwork designed by Roger DEAN, though not as mesmerizing as the one produced for YESSONGS or TFTO. And guess what? the same goes for the music content!! not that's bad, no there is good YESmusic here. The main problem, i think this album will always have to be compared to its live predecessor YESSONGS!!

YESSONGS was the pantheon of a live prog album; everything in it from the cover art to the quattro-fold pack and most important , has some of the most beautiful music ever recorded by a young band bringing more life and energy to already fabulous studio- recorded epics. That's was imposiible to surpass, even to equal. Listening to YESSONGS is an magical experience to live, it's a wonderful dreamy journey to some magnificent world: a 6star album!! YESSHOWS is live album recorded by an amazing band that showcases the talent of the band, is a pleasant listening but in no way is a journey! I am sure some of YESfans understand what i mean!

One of the drawback of YESSHOWS is the somewhat inferior quality of some tracks; Nothing against GOING FOR THE ONE or PARALLELS, but they are for me the 2 weakest of the GFTO album. As for DON'T KILL THE WHALE, though pleasant, this has never been a highlight of YESmusic.

WONDEROUS STORIES and (surprise) TIME AND A WORD are nice additions, but the meat of the album are of course the 2 long epics : THE GATES OF DELIRIUM and RITUAL. The GATES is played somehow very similar to the studio version which is great, but that doesn't give me a reason to play this album more tha RELAYER and the same goes for RITUAL which is a little bit too long here; The 20mn studio version is well sufficient as it is.

The main interest is that you have PATRICK MORAZ playing the parts of WAKEMAN on RITUAL. So if you have free time on your hands, you still can compare the 2 of them . But i don't have that much time!1

So this is a good album, not great, not a masterpiece; nothing bad either, but i don't play it anymore. 3 stars i guess!!

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Posted Saturday, June 30, 2007

Review by progaardvark
PROG REVIEWER
4 stars Yesshows is Yes' second live album. The selection is mostly of material from where Yessongs left off, from Relayer through Tormato. They key reason to get this is the astounding performance on Gates of Delirium and Ritual, both played in their entirety and both featuring Patrick Moraz instead of Wakeman on the keys.

The rest of Yesshows is made up of performances of their shorter songs, Parallels, Time and a Word (from their 2nd album of the same name), Going for the One, Don't Kill the Whale, and Wonderous Stories. Not a bad selection overall, but not the masterpiece that Yessongs is. The performance and sound quality is well done.

I would rate this in four-star territory, but if you want a good taste of Yes live, try getting Yessongs or the two Keys to Ascension live albums. An excellent addition to a prog rock collection and a required purchase for Yes fans.

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Posted Friday, July 20, 2007

Review by Finnforest
SPECIAL COLLABORATOR Honorary Collaborator
3 stars An unfortunate misfire.

Yes was due for another live album I suppose but this should not have been it. The excellent Yessongs covers the great material up through Close to the Edge. So the assumption is that they wanted something to cover Relayer through Tormato.

The problem with Yesshows is the song selection. I'll be brief. Drop the weaker cuts completely which are Parallels, Time and a Word, Going for the One, Don't Kill the Whale, and Wonderous Stories. You're left with the great versions of Ritual and Gates of Delirium. To those two songs, you now have 24 open minutes for which you could take your pick from Sound Chaser, To Be Over, Awaken, Turn of the Century, a better Tormato song, or more from Topographic if you wanted to add a third disc.

Laugh at me if you wish but I'd bet hard core Yes fans would rather have my mix of Yesshows than the one sitting on their shelves! As it exists, 3 stars. The two long songs are of course much better than that but I'm rating the job of presenting the overall middle period Yes material and they don't cut it in my opinion. The album artwork is some of Dean's finest and belongs in the prog art museum once we start one!

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Posted Friday, August 03, 2007

Review by Tarcisio Moura
PROG REVIEWER
4 stars Yesshows is a far less thrilling album than Yessongs (1973), but like his earlier live companion, it closes a chapter in Yes history. While Yessongs was their crowning achieviment, Yesshows catches them fading away. But it was a worth release, even thought I would prefer it was the recording of one show, or at least the recording of a period of time. Here it mixes Yes of the Patrick Moraz era with the time Rick Wakeman came back. Fortunatly you´ll hardly notice the differences. Their live excellence was notorious and here is the proof they had lost none of it.

Going for The One and Parallels are quite superior to their studio versions and the other tracks are also very well done. I used to hate the vynil double LP because it divided Ritual in two parts. Fortunatly I got a hold of a russian remastered copy that correted that (all the tracks are here, but it is a single CD. Much of the talking and clapping is edited, but I don´t really mind). The sound quality is very good.

Although obviously not par to Yessongs, it is however an essential live album, and documents the best songs from a rather confusing period for Yes (and prog music in general). But, performing live, they were prog masters anyway.

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Posted Tuesday, September 11, 2007

Review by Rune2000
SPECIAL COLLABORATOR Prog Metal Team
3 stars This live compilation album was released only 5 month after Drama and felt like an obvious cash-in on the newly reunited band. Unfortunately, anyone expecting a testament to the new lineup would be disappointed since this release is only concerns itself with the band's past.

Yesshows consists of live recordings from their 1976-78 incarnations, featuring Patrick Moraz on 2 tracks (3 if you count the original LP-version) that take up more than 60% of the album and Rick Wakeman on the rest of the material. It's clear that this record doesn't want to be a rehash of Yessongs, meaning that it's completely void of material from The Yes Album, Fragile and Close To The Edge. What we get instead is one track off Tales From Topographic Oceans, Relayer, Tormato and even the title track from Time And A Word combined with three tunes off Going For The One.

This is, in my opinion, a very lethal combination of material since there is nothing to hold these tracks together. Instead, it comes off like a collection of odds and sods that was released as a cheap cash in from both the band and the label. The playing on Yesshows is great, although I lack the magic of the original studio takes. This becomes especially apparent when listening to the over the top performance of Ritual (Nous Sommes Du Soleil). I mean, the original 22 minute version felt way too long for its own good, but this live jam just pushes those boundaries even further into obscurity.

The only track that really makes me want to revisit this album is The Gates Of Delirium and that great performance only makes me want to hear more of of that 1976-tour, even though I'll also have to revisit the 30 minute version of Ritual (Nous Sommes Du Soleil). The general mood of this live album is non-existent thanks to the constant back and forth jumps in time, but I'm sure that Yes fans will forgive Yesshows for its shortcomings since the material itself can be quite pleasant at times. Overall, a good but non-essential part of your Symphonic Prog collection.

***** star songs: The Gates Of Delirium (22:41)

**** star songs: Time And A Word (4:06) Don't Kill The Whale (6:50) Wonderous Stories (3:54)

*** star songs: Parallels (7:07) Going For The One (5:22) Ritual (Nous Sommes Du Soleil) (28:55)

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Posted Sunday, November 21, 2010

Review by Anthony H.
PROG REVIEWER
4 stars Yes: Yesshows [1980]

Rating: 7/10

Yes's second live album consists of performances from two different tours and lineups. The two centerpieces of the album ("The Gates of Delirium" and "Ritual") were recorded in 1976; these tracks are particularly notable because they're some of the few live Yes recordings to feature Patrick Moraz on keys. The rest of the album is taken from 1977/78 shows, with Wakeman on keys. I find all the performances featured here to be excellent, and have never understood why Yesshows receives negative reception.

The recording quality, although not great, is generally decent and is a huge improvement over Yessongs. Nearly every classic track from the band's mid-to-late 70s period is included here (although I would have liked to hear "Sound Chaser"), and every song is performed with the skill and feeling one expects from Yes. The only problem, however, is that most of the songs don't fittingly differentiate themselves from their studio counterparts. The exception is the 28-minute rendition of "Ritual." This is a mind-blowing performance; the extended middle section features sublime bass from Squire and the percussion section becomes even more strangely intense than on the original recording.

For me, both Yessongs and Yesshows are on the same level. Both encapsulate 70s Yes well, but both are limited by the recording technology of the time. Both feature performances of Yes's greatest songs during peaks of their artistic career. However, while Yessongs failed to reach masterpiece level due to recording quality, Yesshows fails to reach it because the songs are not unique enough to provide listeners with the "re-experience" that a live album is supposed to impart. Regardless, this is still an excellent live album recommended to anybody who enjoys Yes's music.

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Posted Sunday, March 27, 2011

Review by Warthur
PROG REVIEWER
3 stars Yesshows is a victim of Yessongs' success. The preceding live album had been so incredibly lavish, and presented so many songs, that the pre-Tales from Topographic Ocean material was more or less exhausted. (Chris Squire, who compiled this set, even stoops to including a performance of Time and a Word - a rendition which only proves how much of a step down that song is compared to the subsequent Yes repertoire).

The album also seems to have been compiled with an agenda - despite coming out after Drama, not a single song from the accompanying tour is included. And yet a tepid rendition of Don't Kill the Whale makes the grade? Oh, spare me; the material on Drama was too good to be excised from Yes history in this way. The album is further marred by the sound quality being - to my ears at least - a step below Yessongs, when considering the advancements in live recording technology over the subsequent years really shouldn't be the case.

It's not a disaster, mind. The band do the good job they usually do, and some will find the performance of Ritual featuring Patrick Moraz to be intriguing. Nonetheless, unlike Yessongs the performances here do not approach the standard of the studio renditions. One to skip unless you're addicted to live Yes, I'd say.

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Posted Sunday, October 30, 2011

Review by octopus-4
SPECIAL COLLABORATOR RIO/Avant/Zeuhl Team
4 stars Respect to Yessongs there's a Bruford less and Moraz replaces Wakeman on a couple of tracks, the opener is again, as I suspect in all the concerts of that era, the Firebird's Suite by Stravinskij, but this time it's Parallels the first YES song of this double vinyl....it's double, not triple. This is another difference.

As in the previous live the sound quality is not the best, but again, this is how a live should sound. A perfect sound quality is always pleasant, but you risk to make the live atmosphere evaporate. However Ihave to admit that the sound quality of this live album is effectively a bit below the average.

It's "only" a double. I have a triple bootleg from the same tour and that tracklist would have been really amazing, but this official bootleg is a very good complement to Yessongs as it contains trakcs from Tales From Topographic Oceans and Going For The One plus something from Tormato and also "Time and a Word" on which Wakeman adds asomething respect to the original version.

Going For The One is a little accelerated but I like too much this song, which first conquered me to YES, so it doesn't matter, also because it has Howe in a very good shape.

Moraz plays on only two songs, but they occupy about 51 minutes of the album

It's a pity that Ritual(Nous Sommes DU Soleil) had to be split in two parts because of vinyl limits, but it's more a pity that Wonderous Stories is cut to an excerpt only. One of my favorite YES songs is shortenet to 1/5 of its original length.

In any case, "songs and shows" together are the ultimate anthology of the YES classic period. Before the rating, let me add a word for one artist who is not on those two live albums. So long Peter Banks.

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Posted Friday, March 15, 2013

Review by SouthSideoftheSky
SPECIAL COLLABORATOR Symphonic Team
3 stars Parallels

Yesshows was Yes' second live album following the amazing Yessongs. While Yessongs was recorded at the very peak of the band's career following right on the heels of the incredible trio of studio masterpieces The Yes Album, Fragile, and Close To The Edge, Yesshows was recorded over the years 1976 to 1978 and focuses on material from the subsequent studio albums Tales From Topographic Oceans, Relayer, Going For The One, and Tormato. Also included is a version of Time And A Word from the band's second album from 1970. There is no overlap at all between this album and Yessongs.

The fact that this album was recorded in various venues over several years also means that more than one line-up is involved. Rick Wakeman had left the band after the recording of Tales From Topographic Oceans and was replaced by Patrick Moraz for Relayer. The Yesshows versions of The Gates Of Delirium and Ritual feature Moraz while the rest of the tracks feature Wakeman (who returned to the band again for the recording Going For The One and subsequent tours). As such Yesshows does not run as a complete concert, but rather as a compilation of live tracks. If one bears this in mind while listening to it, I believe that one will enjoy the separate tracks on their own merits, at least I do.

The centrepiece here is the fantastic The Gates Of Delirium. The other epic track is Ritual which in this version runs for very nearly half an hour and therefore had to be split into two parts on the vinyl LP version of Yesshows. While The Gates Of Delirium is, for me at least, clearly the best track of Yesshows, Ritual is more interesting due to the fact that it is more different from its studio counterpart. For one thing, we get to hear Moraz playing on it here, while it was Wakeman that played on the studio version. Among the shorter tracks Parallels and Don't Kill The Whale are the highlights (even though the spoken word section at the end of the latter is annoying). Wondrous Stories, Going For The One, and Time And A Word are very good too, but somewhat less exciting.

Overall, Yesshows does not hold up to the quality of Yessongs. But it does remain an interesting compilation of mostly excellent live tracks that makes a nice companion to Yessongs.

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Send comments to SouthSideoftheSky (BETA) | Report this review (#1084002) | Review Permalink
Posted Sunday, December 01, 2013

Latest members reviews

5 stars Of all the songs over the years from this album the only one I return to is Ritual. What a grand event this thing is. I even like the idea that this tune was so important it had to be split into two to fit on vinyl! The song is so great I even over look the fact it's a little on the tinny side ... (read more)

Report this review (#1184796) | Posted by Jobal | Wednesday, June 04, 2014 | Review Permanlink

3 stars One of the earlier Yes live records this was a double album released in 1980 and was the RELAYER, TALES, GOING FOR THE ONE, TORMATO era live recording. Only "Time and a Word" is an old tune. Patrick Moraz appears on 2 of the tracks, the rest have Rick Wakeman on keyboards and organ. The sound here ... (read more)

Report this review (#733607) | Posted by mohaveman | Friday, April 20, 2012 | Review Permanlink

4 stars The "other" Yes live album One of the most powerful live albums of rock music was 1973's Yessongs triple LP embelished with the magnificent canvasses of Roger Dean along with a colour booklet it pushed the envelope and brought porgrock beyond mystic proportions. The highest of the high. In 1979 ... (read more)

Report this review (#267495) | Posted by Vibrationbaby | Monday, February 22, 2010 | Review Permanlink

3 stars I have always been in awe of Yes.......... so it is strange that this is only my second review of a Yes album. Both of them live albums. I need to rectify the lack of Yes reviews soon. In my view, Yesssongs is one of the best ever prog/rock/pop/jazz live albums, period. So it is pretty imposs ... (read more)

Report this review (#258930) | Posted by toroddfuglesteg | Saturday, January 02, 2010 | Review Permanlink

3 stars This is a good live release from Yes, but not their greatest by far. The performance here is good, nothing special, kind of sounds like they are going through the motions, so I don't get as excited to play this one. Another thing to consider is the sound quality. Though it is much better th ... (read more)

Report this review (#253905) | Posted by Rushlover13 | Tuesday, December 01, 2009 | Review Permanlink

3 stars The non-choice of leaving off all the songs that appeared on Yes' first live album Yessongs hindered the impact of Yesshows. It was further affected by the band's decline in the late-70's, and subsequent breakup in the early-80's. While still displaying a good array of songs from their post-Clos ... (read more)

Report this review (#135016) | Posted by PensRule11385 | Monday, August 27, 2007 | Review Permanlink

3 stars Hmm, I suppose I may be in the minority here, but I have always liked this album. I suppose it's fair to say that I mostly like the two epic pieces, and while they certainly have their flaws, there is nothing poor or dull about them. Moraz plays on both, and I think does an excellent job. Sur ... (read more)

Report this review (#116865) | Posted by infandous | Friday, March 30, 2007 | Review Permanlink

4 stars I just got this album and my Yes collection is soon finished, since I'am not going to buy 80's or 90's Yes stuff since they can't be compared with real Yes. Yesshows is sequel to Yessongs which might be the best live album ever. Yesshows has two cd's like its predecessor but only 7 tracks. Some s ... (read more)

Report this review (#76729) | Posted by gimsom | Sunday, April 30, 2006 | Review Permanlink

3 stars Yesshows is one of the better live Yes albums out there,(the best being Keys to Ascension 1 IMO) it has a couple of epics and stuff from Tormato and Going for the One what more could you ask for. Yesshows marks the real end of the "classic Yes Symphonic period" and three years after this album ... (read more)

Report this review (#67210) | Posted by Thufir Hawat | Saturday, January 28, 2006 | Review Permanlink

3 stars If you crave to listen to Yes live, go pick up Keys to Ascension 1 and 2. However, if you wish to listen to Yes live, when they were young and truly at their peak, Yessongs is the disc for you. But, if you're STILL not satisfied, and want live performances of songs from the later part of their ... (read more)

Report this review (#51917) | Posted by gok22us | Saturday, October 15, 2005 | Review Permanlink

3 stars It's odd how Yes seems to know what the good moments out of their overall bland late '70's era are. Indeed the performances here are interesting and well-done, but it doesn't contain much different than the studio versions. The sound quality is good, but the music quality however isn't, making ... (read more)

Report this review (#39500) | Posted by | Friday, July 15, 2005 | Review Permanlink

4 stars Although I like almost everything on this album, the main reason I recommend it is Steve Howe. Listen to the guitar work on The Gates of Delirium. Awesome. From start to finish, he plays blazing stuff at times to intricate lines that are barely audible. The man is a menace. Never settling into ... (read more)

Report this review (#13643) | Posted by | Monday, March 28, 2005 | Review Permanlink

3 stars I just have heard this album again, and I found it very interesting... Chris Squire's bass has more presence than usual in Yes albums and Steve Howe guitars sounds very clear. White is O.K. as Moraz and Wakeman. In the other hand, is not one of the finest performances of Jon Anderson... Some p ... (read more)

Report this review (#13635) | Posted by Gabito | Wednesday, July 14, 2004 | Review Permanlink

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