Reprinted from yesterday's late editions.
When Yes puts on a show, they don't kid around. Emerging from behind a giant satin curtain that would shame Radio City Music Hall, Yes mesmerized a packed Capital Centre Tuesday night and fully restored their rock 'n' roll credibility in the process.
Moving about a stage that could have been designed by Jules Verne, Yes used a laser light show, a wind machine and a rear-screen projector that ran films on a white backdrop during various musical selections. They also managed to slip in some songs between the technology.
Hurdling some initial sound problems, Yes hit their stride with "I've Seen All Good People." Even normally mystic vocalist Jon Anderson joined in hand-clapping, and the double-barreled rhythm section of drummer Alan White and bassist Chris Squire established the patented Yes full sound.
Squire, dressed like a leftover Christmas present, provided exceptional backing all evening and was clearly the most visually entertaining.
The group is a pioneer of what has come to be known as classical-rock, but the music isn't so much classical as deeply toned. Though classical configurations like fugues are used frequently - especially by rejuvenated keyboardist Rick Wakeman - the key to Yes' music is the bottom provided by Squire and White overridden by Anderson's fragile singing and Wakeman's synthesizer. Last night "And You and I" and "Turn of the Century" from their new album "Going for the One" were perfect examples of this style.
Yes saved the best for last, closing with "Starship Trooper" and "Roundabout." Guitarist Steve Howe stepped out front and Wakeman, down from his corner perch where he spent some of the evening imitating a satellite in orbit, flew through some inspired runs.
Donovan (yes, "Mellow Yellow" fans, that Donovan) opened the show. Though he was no match for Yes, he evoked some fond memories, mixing renditions of several old hits with some new material.