TORMATO

Tormato is the album with which Yes closed out the extraordinary decade that saw them reach the peak of progressive music and become the legendary group they are today. Tormato is an album I have a special affection for, as it was my entrance into this great band. Although many consider it mediocre, I've always found it extraordinary?not quite on the level of Close to the Edge or Fragile, but far better than what the band would go on to produce in the mid-eighties.

Tormato came after a glorious period for the band. They had just recorded an incredible album Going For The One and completed an extremely successful tour. By then, Yes was already considered one of the best bands in the world, almost on the same level as giants like Led Zeppelin and Black Sabbath. That's why, when they entered the studio to record Tormato, Yes had carte blanche to do whatever they wanted.

It's important to place ourselves in the historical context of 1978. The musical landscape had changed drastically. It wasn't just disco anymore?punk and new wave were now dominating the market and leaving a strong impression. Yes wasn't punk or new wave, but people still liked them. The Police were the band of the moment?everyone liked them, and many wanted to be like them.

After Going for the One, which featured the return of the band's prodigal son Rick Wakeman, things seemed to remain stable?at least on the surface. The problem was that the band had no new music composed. Everything they had was discarded, as the members couldn't agree on the sound they wanted for this new record, which already had a working title: Yes Tor, named after some hills near Dartmoor, Devon, close to where Steve Howe lived.

The cards were on the table, and the players were ready. Wakeman arrived at the studio with a range of new polyphonic keyboards, which significantly reduced the amount of gear he needed. The Polymoog and the Birotron would come to define the album's sonic character. Meanwhile, Chris Squire had discovered the Mu-Tron pedal, which gave his bass a distinctive, more modern effect?closer in line with the evolving sounds of the time. Steve Howe opted for single-coil guitars to create a sound that was softer yet more piercing.

Production duties were handed back to Eddie Offord, who hadn't worked with Yes since Relayer in 1974. This album wasn't just another record?it felt more like a reunion of old friends, eager to show off their new toys but lacking a clear direction. As the days passed and ideas floated in and out, the sessions turned increasingly frustrating. Chris wanted to sound like The Police, Alan White was pushing for a heavier rock vibe, Steve aimed for something more experimental, Rick wanted to explore his new keyboards, and Jon Anderson?curiously?didn't even want to sound like himself. He was trying for a deeper tone, searching for something different.

After those endless sessions, very little could be salvaged. The material was taken to Eddie Offord, who ended up abandoning the project because he found it dull and uninspired. Eventually, the band had to take over the production themselves. Slowly, out of that chaos, Tormato began to take shape. But why Tormato, if the album was supposed to be called Yes Tor?

Although the original plan was to have Roger Dean design the cover, he never really connected with the band's vision this time. Instead, as with Going for the One, Yes contacted Hipgnosis again. The final concept came from a photo featuring a smashed tomato, which immediately struck a chord with the band. It symbolized their frustration, mockery, and protest toward the whole recording process. For years, it was believed that the band members themselves had thrown tomatoes at the photo in anger. In truth, it was Aubrey Powell from Hipgnosis who hurled tomatoes at his own creation, frustrated after it was rejected by other bands. Yes empathized with that gesture, and Yes Tor becoming on Tormato.

The music on Side one opens with "Future Times / Rejoice", composed entirely by Anderson, whose lyrics here are unusually direct. The track features Chris Squire using the Mu-Tron pedal, adding that now-iconic touch to his bass tone.

"Don't Kill the Whale" originated from a bass line and acoustic guitar part created by Squire, which Anderson developed further using a poem he had written. The lyrics were inspired by a TV program about saving tigers, which led him to write about whale conservation. Their friend Terry Doran also played a role in sparking the theme. Wakeman added a Polymoog sound resembling whale calls, which shaped the track's unique identity. The song was an instant hit and it was the first major hit for the band since Roundabout.

"Madrigal" is a short, delicate piece driven by Wakeman's harpsichord, written at Anderson's suggestion to explore the madrigal form of English evening song.

"Release, Release", originally titled The Anti-Campaign, was co-developed by Anderson and White and reflected the social and political unrest of the time. The song features automatic double tracking on drums and a live crowd sample?allegedly from a football match?to energize the instrumental break. It caught the attention of Atlantic Records president Ahmet Ertegun, who even suggested the whole album follow its more straightforward rock sound. Anderson later admitted the song was difficult to perform live due to the vocal range it demanded.

On the other side starts with "Arriving UFO", a sci-fi-inspired track based on a theme Anderson developed after watching Close Encounters of the Third Kind. Wakeman composed the instrumental midsection.

"Circus of Heaven" tells a whimsical story aimed at children, complete with unicorns, elves, and a circus arriving in a quiet Midwestern town. The story was inspired by Ray Bradbury and was something Anderson shared with his son Damion, who voices the child at the end. Musically, the song is notable for Squire's reggae-style bass line.

"Onward" is a lush ballad written entirely by Squire, featuring orchestral arrangements by Andrew Pryce Jackman. Squire considered it one of his best compositions, and it was later revived on stage in 1996 with a new acoustic intro by Steve Howe called "Unity".

Finally, "On the Silent Wings of Freedom" closes the album on a high note, built around Squire's bass with a distinctive Mu-Tron Envelope Shaper effect, giving it a driving, pulsating energy.

As a side note, some original cassette and 8-track editions included a hidden track called "Richard", written by Anderson. Though it was omitted from later reissues.

In the end, Tormato it is a fascinating record in the Yes story. It's an album born from frustration, and experimentation, but it still carries moments of brilliance musical extremes hated by many and loved for others. While it may not reach the heights of their masterpieces, it reflects a band trying to adapt, to evolve, and to remain true to themselves in a rapidly changing musical world. For some, it's a misstep. For others? like me?it's a misunderstood gem, full of character, tension, and charm. And above all, it marked the last time this classic lineup would record together until much later, making Tormato both an ending and a turning point in the history of Yes. I still believe that this record needs more love from the fans.

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