Customer Reviews

Tormato

5 star:		(46)
4 star:		(38)
3 star:		(33)
2 star:		(29)
1 star:		(15)

 

 

Let's now do justice to one of the most undervalued albums in Yes' catalog, "Tormato." Why this album continues to get a bad rap is a mystery to me. I like this album very much, and consider it to be one of Yes' best, certainly somewhere in their Top 10 best. Honestly, what's so bad about "Tormato"? Absolutely nothing! Say what you want about the splattered tomato on the album cover, but the "Tormato" album itself is excellent. After several albums of lengthy, complex prog-rock (albeit great prog-rock), "Tormato" showed Yes loosening up a bit. The hallmark Yes sound is still there, but for "Tormato," the band channeled their sound into shorter, simpler, more-direct kinds of songs. There's eight songs (which, for an early Yes album, is a wide variety!), Jon Anderson finally wrote some lyrics that you could actually *understand*, and there was certainly a more radio-friendly feel to this album than previous ones. This decision by the band to streamline their sound was partially inspired by the punk movement happening at the time, but I truly believe that it was to Yes' benefit. They couldn't do "Fragile Part II" or "Close To The Edge Part II"---they'd done those albums already. I'm certainly not going to knock the classic early Yes stuff, which I love, but when I play "Tormato," I hear the band doing something fresh & different from their previous records. It's GOOD.The band's songwriting, playing, and Jon Anderson's majestic singing on "Tormato" are all in peak performance. "Don't Kill The Whale" is a great, catchy number that could've easily been a hit for the band. "Madrigal" is a lovely tune with Rick Wakeman playing some truly beautiful harpsichord. "Future Times/Rejoice," "Release Release" & "Arriving UFO" show Yes rocking on all cylinders. "Circus Of Heaven" (featuring a spoken word outro by Anderson's young son Damion) is quite charming. "Onward" is one of bassist Chris Squire's finest moments with the group. And "On The Silent Wings Of Freedom" is a terrific album closer, a great jam with soaring vocals from Anderson. Whatever stresses & strains the band were reportedly under at the time they recorded "Tormato," you'd never guess it from the way they sound on this album---this is a very upbeat, happy-sounding Yes record that's always a pleasure for me to listen to. Honestly, I don't know what the heck anybody is talking about when they give "Tormato" a bad review. In my opinion, there's NOTHING bad about "Tormato." It's one of the group's finest works, whether anybody realises it or not! It's a great Yes album, splattered tomato and all.

If you play electric, bass, keyboards, or drums in rock, or compose songs, then you MUST hear this album!!!! It has some of the most innovative musicianship ever heard on a rock album. Steve Howe on electric guitar, Chris Squire on bass, Rick Wakeman on keyboards, and Alan White on drums. The bass has a remarkable "phat", fat sound throughout. The various guitars (electric and acoustic) do many remarkable and amazing things in counterpoint to the other band members. The keyboards (electric, harpsichord, etc.) also show excellent interplay with the overall sound. The drumming is innovative and extremely impressive at times. Singing and harmonics are fine but I warn you that this is echt-Jon Anderson and thus is very high pitched, sometimes almost shrill. I think this album has been overlooked and underrated for several reasons: 1. The band turned away from the "bigger is better" style of composition. Longest track here is 7:45. This shouldn't be held against them. The compositions are tight and loaded with ideas. 2. This is definitely the upbeat and comical side of the band. Most people are looking for something to shut themselves away with for 2 hours. Instead, this is progressive rock with a sense of humor. Prog rock people are often too serious to acknowledge humor and fun in their bands' music. 3. The singing turns some people off. I can also imagine the embarrassment felt by many at hearing a voice even higher than Jon's in track 6 - it's his young son! 4. Normal lay listeners will be mystified by the enormous complexities of a good deal of the music. (Stick with it, you'll figure it out and it'll grow on you. You'll wonder why you'd ever settled for less.)

This is a brilliant album! Great innovation. Only track 7 is in straightforward song format, but it is very nicely done. "On the Silent Wings of Freedom" is a rock masterpiece. New listeners may just want to scrutinize that track alone for a while. "Circus of Heaven", "Arriving UFO", "Release Release" show a witty, playful yet artsy approach to the music that I just don't hear on any other album from the genre. "Don't Kill the Whale" was almost ordinary, but is then elevated in the last section by the grooviest combination of bass, electric guitar, and chromatic synths! "Future Times-Rejoice" is pure upbeat, positive music. Sophisticated but not depressing. And "Madrigal" shows the wonderful fusion of "rock" with classical as harpsichord, spanish guitar, voice produce truly marvelous textures. Same with "Circus of Heaven": what begins as a cycle of clever embellishments then shifts into an evocative, free-form, key-bending closing section. So many musical elements all played out with amazing lightness yet complexity in a little 4-minute work! Everyone please check out the lighter side of progressive rock and give it a chance here! Prog rock doesn't all have to be Pink Floyd's "The Wall" you know...

Tormato has a reputation as one of the worst Yes albums, but if you ask individual Yes fans their opinion of it, they're likely to say it's not that bad.

And it's not. "Don't Kill The Whale," "Release, Release," and "Onward" are all very good songs. And "On The Silent Wings Of Freedom" is pretty much the epitome of "classic Yes."

But unfortunately, there's also some really bad stuff here. The ear-grating "Madrigal" is Yes self-parody that is mercifully short, "Arriving UFO" is just plain weird (and not in a good way), and of course, there's the infamous "Circus Of Heaven," heavyweight contender for the title of "Worst Yes Song Ever."

Another weak point is Rick Wakeman's shrill keyboards. Why on earth he went for this sound is beyond me- it sounds like a combination of a string section and Alvin and the Chipmunks.

But the good far outweighs the bad on Tormato. "Don't Kill The Whale" has some pretty cheesy lyrics, but it rocks hard and is enjoyable. "Release, Release" is a tongue-in-cheek rocker with some great vocal performances, along with an Alan White drum solo (!) and an Asia-ready solo from guitarist Steve Howe. "Onward" is a simple, mellow love ballad that sounds oddly out of place here. "On The Silent Wings Of Freedom," however, is the reason to purchase Tormato if you don't have it. Squire and White are an incredible rhythm section, and no song better exemplifies that than "Freedom." Jon Anderson gives a great vocal on the song as well.

And the bonus tracks? Well, there's not much to get excited about, unlike some of the Rhino Yes remasters. "Abilene" is as good as it gets, although it would sound much better as an instrumental. "Picasso" is a forgettable sequel to "Turn Of The Century," and "Money" will give you a chuckle but not much else. The a capella Jon Anderson demo "Days" is noteworthy, though, as is "Everybody's Song," an early version of "Does It Really Happen?" (it sounds very weird to hear Anderson sing lines from that song). There is also an unlisted, "hidden" 18th track, a beautiful orchestral rendition of "Onward."

In the context of the masterpieces it comes between (1977's Going For The One and 1980's Drama), Tormato is indeed a disappointment, but taken on its own it's pretty good. Definitely worth a purchase for those on the fence about it.

When Yes issued "Tormato" in 1978, it was not received well by critics or Yes fans alike, and over the years this has become one of the "lost" albums of Yes. This definitive reissue is most welcome, not only for sound quality, but it offers a new opportunity to re-assess "Tormato", which is actually not nearly as "bad" as many want you to believe.

The "Expanded & Remastered" version of "Tormato" (18 tracks, 79 min.) brings of course the 8 tracks of the original album, which brings a rockier and tighter sound than we are used to from Yes, spurred by the succes of the "Wonderous Stories" single of the previous "Going for the One" album. No 10 or 15 min. epic songs here. Highlights include "Future Times/Rejoice", the hard rocking "Release Release" (a minor hit), the brooding yet optimistic "Arriving UFO" (remember, this is the age of "Close Encouters of the Third Kind") containing some great Rick Wakeman keys, and "On the Silent Wings of Freedom", which finds Chris Squire working overtime on bass, as only he can. There is also the hit single "Don't Kill the Whale", still a concert staple these days.

The reissue comes with a whopping 10 bonus tracks, which of course is a mixed bag. Highlights include "Abilene" (the B side of the "Dont Kill the Whale" single), "Days", Jon Anderson singing a capella, just beautiful, "Countryside", and "Everybody's Song", a demo of what would become "Does It Really Happen" on the "Drama" album.

The folks at Rhino did a magnificant job again in this reissue, with great liner notes. "Tormato" is a fine album, if you can get away from the notion that Yes in 1978 was more than creating 10 min. epic songs. I have a soft spot for "Tormato" in the Yes catalogue, and this is the definitive release of it.

PS The title of the album is a reference to "Yes Tor", a hill in the England country side near Okehampton, Devon. The album cover is deservedly much maligned, as it has nothing to do with "tomatoes", shame on Hipgnosis which dreamt up the album concept. What were they thinking?

Many people seem to say this is not Yes at their best. This assumption may be correct. However, from what I have heard, even with their classic albums like "Close to the Edge," "Fragile," or "Going for the One," this album, "Tormato," is actually my favorite.

Lyrically, this album is bright, positive, and based on fantasy themes. Unicorns, UFO's, and spirituality all exist in this record. The production quality is also quite interesting and Rick Wakeman's choice of keyboards is quite unique for sure.

The stand out cuts for me are "Madrigal," which is a beautiful little ditty--in fact, it's what I wish life sounded like--it's just a great, feel-good sounding song.

Also, "Release, Release," which is probably my favorite is a great tune which will have your head bobbing up and down because this song has a great groove--even with an unnecessary drum solo, it's still a kickin' tune with great lyrics telling a tale of controllers releasing their people.

"Circus of Heaven" is another song I love. The melody itself is breathtaking and the subject matter is fantasy at its best--unicorns, elves, and fairies all exist in this song--taking you to another world all together--taking you to the Circus of Heaven. The only problem I have with this song is the ending--it ends with a young boy talking. It would have been more effective with a good power ending, but the song is so well done that the ending doesn't ruin it entirely.

The album's last song is another gem. "On the Silent Wing of Freedom" has a great intro, a powerful melody, and great lyrics about our own final freedom.

"Tormato" is an album even Yes said they weren't very fond of. I, however, think it's just great. Give it a shot--very progressive indeed, but much more accessible than some of their other efforts.

The most tragically under-appreciated Yes
recording -- Tormato -- is
a glorious celebration of the art of music making.
If I had to choose one Yes album I'd take to a
desert island it would be this one.
Why? Because it has a little bit of everything that makes Yes great.
No, there are no 25-minute epics. (Let's face
it: most of their side-long pieces from the old
days were, though great, a patchwork of three
or four shorter tunes spliced together anyway). But here, more
than anywhere else in their career, do Yes prove
that it is not length, but creativity that gives music
its potency. Anderson is totally at ease in the leader role by this
time in his career, as is attested
by his allowing full compositional contributions
from Squire, Howe, White and Wakeman.
He is at his whimsy best on "Future Times" and
"Circus of Heaven," weaving tales of fantasy and
wonder that are his speciality.
Howe burns his way through pieces like "Arriving UFO,"
"Release Release," and
"On the Silent Wings of Freedom." The man is
clearly having the joy of his life on this music;
what a shame that they hardly ever perform
these songs in concert! White and Squire
are clearly at the peak of their
instrumental prowess, displaying blinding
pyrotechnics just about everywhere.
Wakeman is simply all over this album. His
melody lines race like the devil
through "Release Release"(next to "Sound Chaser"
it's the most powerhouse,
high energy song they ever did!), then spin abruptly
round to find him on harpsichord elegantly
accompanying Howe's classical guitar on the
baroque-inflected beauty, "Madrigal."
Even the details shine forth on Tormato: crotales on
"Circus of Heaven"; the French horn on
"Onward"; The whale song that Wakeman mimics
on his Birotron on "Don't Kill the Whale."
Listen carefully or you would miss these subtleties.
Nine out of ten people (many of them die-hard Yes fans) write
this album off as garbage, and I will never understand
why. This kind of snarling derision
hurled at Tormato is totally
unfounded, and can only be explained as a prejudice
against short songs. For my tastes it is one of their most satisfying
albums.

Another fantastic Yes album remastered! Really, outside of the stupid album title I don't really find any complaints with Tormato. I guess since I was a youngin when I got into these guys in 95 or so (16yrs old) I didn't know the stigma hanging over this album. Thankfully, without the bias, I grew to love this album as much as anything they'd ever done. Solid song writing with some true Yes classics. Rick's keyboard work is awesome and some of the jagged edges of the previous few albums have been rounded off. Regardless, this album deserves the median rating of 3 at worst. No Yes fan could ever rightly call this album a piece of crap. As for me, I can't really point to a song that doesn't kick ass. Great stuff! Also, with this being the last disc with Jon and Rick for a bit, the bonus tracks are great. Same thing with Drama as that has the Paris sessions before Jon and Rick took off. Awesome to hear the multitude of extras.

I believe I am a loyal Yes fan, having an appreciation for nearly everything they've done. When it comes to Tormato, I am constantly fascinated as much by the ignorance and swift rejection of this album, as I am with its material. Why does this record get so little attention from Yes fans and the media alike - not to mention the band itself? Notwithstanding this, I believe Tormato has a curious blend of creative ideas with some of the best performances ever from the band.
I challenge all naysayers to listen carefully to the brilliance of the arrangements in "FutureTimes/Rejoice", the memorable melody in "Don't Kill the Whale", or the splendid performances in "Release, Release", for example. Perhaps all critics of this album can't help but to compare it with "Fragile", etc., but I enjoy it in absolute terms - most of the songs are simply beautiful, creative compositions albeit shorter in length. In all fairness, maybe it just never got the promotion it needed from the start. I have only one kick worth mentioning: "Circus of Heaven" and "Onward" should really be on Jon's and Chris' solo albums, respectively. To me, they sound too personal to belong on a Yes record. "On the Silent Wings of Freedom" is a very ambitious track (the longest one) highlighting Chris' bass guitar work. "Madrigal" sounds very classical featuring harpsichord and nylon string guitar, while "Arriving UFO" is just plain fun to listen to with its whimsical parts from each instrument.
All in all, Tormato may lack a central theme like "Tales...", but it IS a combination of GREAT music in its own right. I appreciate what it has to offer. Why not give it a fair chance?

I know that most Yes fans don't agree with me on this one. My judgment is admittedly skewed, because "Tormato" was the first Yes album I heard as a kid. Most people already had familiarity with "Close to the Edge" and "Fragile", and that extended-progressive-jam sound was what Yes fans had come to expect. "Tormato" is not typical Yes. There are some longer arrangements here, but a lot of the prog rock self-indulgence (like "Relayer") is missing.

Yes had not yet developed the shorter, polished cuts of their 80s resurgence, but some of "Tormato" could have been very radio-friendly. "Release,Release" is a very engaging piece of rock and roll. The talk-box guitar solo from "Arriving UFO" is still one of those moments when I am compelled to turn the stereo up.

I think the friction between band members at the time may be why this album is so interesting. At times it almost has the flavor of jazz fusion, and it's very funky. The drums and bass carry the listener effortlessly. "On the Silent Wings of Freedom" grooves from the first to the last note, sliding into quiet areas, only to jump maniacally back into the closing sequence of the album--with guitar, synthesizer, and bass combining juicy riffs.

For many, the sound of rock in the late 70s is epitomized by Boston or some punk band. For me, it's also "Tormato".

The extra tracks on this remastered edition are okay, but they don't really add anything.

On the album art and title - The title the band originally intended for this album was "Yes Tor". Hipgnosis followed that concept in creating the inner sleeve and cover art, which was taken on Yes Tor in England.

The story that has surfaced in band interviews over the years is that when Hipgnosis brought the original art for the band to review, Wakeman had been talking about how he thought the whole image of the band was too stuffy and polished and "needed the p*** taken out of it". So when he saw the predictably pretentious cover art of a drummer in a suit standing on a desolate tor, he pulled a slice of tomato out of the sandwich he was eating and threw it at the picture and jokingly said, "Now you can call the album Tormato.". Hipgnosis and most of the band thought it was a brilliant idea, and a proper tomato splat was permanently added to the cover.

The art is the clue about the band's intentions to make accessible, non-pretentious prog, an ambitious task for a band that was one of the gold standards of pretentious prog rock in the seventies. The motivation was there but the energy wasn't, and the music industry was being overrun with quick-buck artists who didn't want to put up with a band that needed weeks to come up with a completely new musical direction.

Did the band succeed? Partially yes, and that's why many Yes fans despise the album. Like Topographic Oceans, there are a lot of good ideas on the album that haven't been worked through. (But unlike Oceans, the good ideas haven't been bled to death in 20-minute extended expositions.) Like Relayer, it defies your expectations of what a Yes album, and prog music itself, should be. Like Fragile, it's a whole-band effort, and not just Anderson calling the show.

You can hear a war between accessibility and invention going on in nearly every track. Case in point - "Arriving UFO". Think tomato-splat prog. Think "Campy-Buck-Rogers-T.V.-serial-music-striding-boldly-to-the-future meets pop". You may not go for it, but at least it's a new and unique item on the menu. And for those who can set the "Yes in majestic mode a la Awaken" expectations aside, they might find that it can be a fun, accessible track to listen to.

"Circus of Heaven" - Anderson in full twee mode with a "Lucy in the Sky with Diamonds" lyric vibe in the first section, but the slow, dreamy feel of the second section sets it off nicely. More work on the transition between the two sections, polishing the sub-standard (even for Yes) vocal arrangements, dialing down the tweeness in the rest of the arrangements and it could have been a masterpiece. But the current form shows the possibilities.

"On the Silent Wings of Freedom" - Clearly the track the band focused on because the more somber sound fits the classic Yes aesthetic. The most realized track on the album, and one of Yes's best.

"Don't Kill the Whale" - Wakeman's Prophet-5 solo trying to sound like a whale call going into a Gary Numan/New Wave vibe. Interesting idea, fits the idea of the song, but doesn't serve the song itself. A good producer would have nixed the overly-long outro and at least tried to get Wakeman off the Polymoog and on the Hammond. The song itself is solid single material and could have had major radioplay beyond FM.

"Release Release" - This is the only track on the album that largely falls short of the mark. It's the least realized track on the album, with a very clumsy handling of the outro and lead-in to Howe's guitar solo. Way too frenetic and half-hearted - only Alan White's drumming is up to the job. The crowd noises during Howe's solo was a recording of a crowd at a soccer match where Wakeman's team, the Brentwood Football Club, was playing. A good producer would have slowed the song down and not allowed it on the album in this form. Yes simply wasn't a stadium rocker band, and they should have realized that at the time.

Wakeman was right in saying that the band was unproducable at the time they made this album, but that doesn't address either the many strengths or the shortcomings of this album. It wasn't that they didn't have a direction, it was that they were pursuing many directions that for the most part didn't meet up at the end.

What makes this album worth listening to is that there are many groundbreaking ideas in it that, if they had been properly developed, would have resulted in a masterpiece that would have made Yes a force to reckon with in both prog and mainstream pop. Unfortunately, Asia, Genesis, and the Rabin-led Yes would later succeed in this with a far less musically ambitious approach.