Tormato
Tormato is the ninth studio album by YES. Issued as the follow-up to 1977’s acclaimed Going for the One, Tormato received less than charitable reviews upon release and its virtues are still a matter of debate for Yes fans and critics. Many fans and some band members – particularly Rick Wakeman – state that the production was faulty, resulting in compressed and dull sound.

It is the last album featuring singer Jon Anderson and keyboardist Wakeman before the band’s disbanding in 1981. However Anderson returned to YES when the band reformed in 1983, and Wakeman returned in 1990.

Personnel

Jon Anderson
Vocals

Steve Howe
Guitars, Vocals

Chris Squire
Bass, Vocals

Rick Wakeman
Keyboards

Alan White
Percussion


Dan Hersch & Bill Inglot 2003 Stereo Remasters for Warner Music UK/USA

Tormato
Tormato Remastered in 2003 from the master tape of the original 1978 mix.
Available as:
HD 24-192 or 24-96 Downloads (no extra tracks) at HD Tracks, HiRes Audio
Gatefold CD at Amazon
Vinyl LP as per original release (no extra tracks) at Amazon
MP3 Downloads at iTunes, Google Play, 7 Digital, Microsoft Store
Streaming at Apple Music, Spotify, Deezer, Rdio
This Remaster of Tormato is also available as part of the ‘Studio Albums 1969-1987‘ Box Set at Amazon.
The Box Set contains the following remastered albums and their original track listing (ie no bonus tracks): Yes, Time and a Word, The Yes Album, Fragile, Close to the Edge, Tales from Topographic Oceans, Relayer, Going for the One, Tormato, Drama, 90125, Big Generator. Each individual album comes in a gatefold sleeve that replicates the original LP packaging.


Isao Kikuchi 2013 Stereo Remasters for Warner Music Japan

Tormato is also available as part of the High Vibration SACD Box Set at Amazon.
High Vibration is a 16 x Hybrid SACD Box Set made for the Japanese fans, containing their first 13 albums on 15 discs plus a bonus disc of extra tracks. All Remastered by Isao Kikuchi at 24-96 & 16-44.1 with a 220 page book in Japanese.
Albums: Yes, Time and a Word, The Yes Album, Fragile, Close to the Edge, Yessongs, Tales from Topographic Oceans, Relayer, Going for the One, Tormato, Drama, 90125, Big Generator and a Bonus Disc.
Bonus Disc: Something’s Coming, Dear Father, Roundabout (Single Edit), America, Total Mass Retain (Single Version), Soon (Single Edit), Abilene, Run Through The Light (Single Version), Run With The Fox, Owner Of A Lonely Heart (Move Yourself Mix), Leave It (Single Remix), Big Generator (Remix).



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Dan Hersch & Bill Inglot 2003 Stereo Remasters

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Dan Hersch & Bill Inglot 2003 Stereo Remasters

Sweet Dreams, Classic Years 1971-79 - From Perpetual Change by David Watkinson

Following the ascendance of punk rock, YES had an uphill battle in following the popular Going for the One. Before they even started working on the follow-up album, the decision to record in London had caused problems. Some of the band members wanted to go abroad again for tax reasons, preferably to Switzerland, where they had had such a good time making the last album – but, after heated debate, they all regrouped in London, to record at Advision and R.A.K. Studios in St. John’s Wood.

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Seven months of writing, rehearsing and recording led to Tormato, released in September 1978. It was a big disappointment after Going for the One, which had captivated and delighted so many people – even the band members agreed that it was a messy, strained effort. Tormato hit the UK charts on 8 October for a stay of eleven weeks, reaching number eight at its highest point. The first reaction to the album from fans was one of disbelief, particularly at the sight of the cover, which they were not impressesd by. Press reaction was mixed: ‘Arriving UFO‘ and ‘Circus of Heaven‘ were given a rough ride, whilst the Chris Squire-written ‘Onward‘ accompanied by a string section, ‘On the Silent Wings of Freedom‘ a longer more typical YES composition with a strong bass opening by Chris, and the mellow, classical Wakeman piece ‘Madrigal‘ were considered to be better tracks. US fans, more tolerant than their UK counterparts, were more appreciative of the album. But, for all its faults, Tormato‘s best tracks stand up to a contemporary listen. YES showed their affection for ‘Onward‘ in 1996 by recording a live version for the Keys to Ascension album.

Rick summed it up by saying, “Tormato could have been tremendous but suffered from appalling production. If I could be given one album to remix and to get the guys to add a couple of extra bits to, it would be that one. If ever an album had unfulfilled potential it was Tormato, but totally our fault as it had probably the worst final production mix of anything I have ever been involved with.”

What started as a change of direction with Going For The One continued with Tormato. It was a conscious effort to lighten the band’s material and increase the number of tracks on an album. Following the hit single ‘Wondrous Stories‘, which had been a pleasant surprise to everyone, YES realised the potential of a wider audience for their music and the need for hit singles to make it happen. From this point, they would continue to record their albums with some tracks aimed at mass­market appeal.

If the album had been a disappointment to some, then the 1978 shows on the Tormato tour more than made up for it! Touring from August to October, YES absolutely blew the audiences away with the spectacular, unforgettable In-the-Round stage show, which topped all previous tours, something that seemed impossible beforehand. Whilst discussing the future presentation of the Yesshow in 1978, Chris Squire had suggested to Michael Tait that the band should play in the middle of an auditorium.

Once an auditorium was filled to capacity, the lights were dimmed and the overture music began (either a piece from Benjamin Britten’s Young Person’s Guide To The Orchestra, or the soundtrack from the film Close Encounters of the Third Kind by John Williams) as the band emerged from the side entrance of the arena. Picked out by spotlights, YES would walk towards the stage. Once set up, they would open with the classic ‘Siberian Khatru‘. The stage slowly moved round at about two to three miles per hour, giving the crowd an unrestricted view of the band from all angles, bringing the audience much closer to them than ever before.

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At one point, however, the audience got too close, as Rick Wakeman recalls. “I remember the second night in Chicago when we were on stage… when you’re moving, you tend to look at the audience; you don’t normally. There was a whole block in the front of about twenty seats that were empty and this was very strange because I knew the show was sold out. Now, with any show that is sold out with thousands of seats, there are going to be twenty to thirty no-shows, it’s a fact of life. But I thought this is really weird that there’s twenty to thirty no-shows, but they’re all in the front row – this is crazy! We came to the part of the show where Steve Howe played Clap and while he played we all used to disappear. I would jump off stage and go to where my road crew were. When I went under there… I’d never seen so many people in my life! And I said to my guy, “What on earth is going on?” He said, “The motor that turns the stage burned out. So we’ve taken twenty people from the front two rows.” And they were underneath pushing the stage around!’

Excerpted from David Watkinson’s ‘Perpetual Change‘.

Lyrics

Click on the song title to view the lyrics.

FUTURE TIMES/REJOICE

In the fountains of the universe (set time in accord)
Sits the boychild Solomon (Ever turning round and round)
In the cities of the Southern Sky (set points universe)
Dreams he of glory (pulsating round and round)
Future times will stand and clearly see (highest dancing)
Of the course of innocence (Drifting drifting)

See it all
See it all
Till tomorrow
See it all
See it all
Till tomorrow
Future times will stand and clearly smile
Of the course of innocence

Dantalion will ride again (raging forth underland)
The course of evils standing straight (grind to grind)
Hot metal will abound the land (churning out shout)
As the form regards our blazing hand
Future times will stand and clearly see
Of the course of innocence

One the word will enter all our hearts
Two the duel will alter them
Three jewels countenance divine away delight away
four the fight to free the land
Five the islands of Arabia
Six the tears that separate
Six the tears that separate

REJOICE

Rejoice forward out this feeling
Ten true summers long
We go round and round and round and round
Until we pick it up again

Time flies, on and on it goes
Thru the setting sun
Carry round and round and round and round
Until it comes to carry you home

Rejoice forward out this feeling
The white eagle soars
He goes round and round and round
Until the early winds of change

Dawn’s new light conquering timeless ease
Spread the harvest breeze
Let our hour of passion
Gently hold our heads on high with you

Gently hold our heads on high


PEFORMED BY

Jon Anderson: vocals
Steve Howe: Guitar, mandolin, vocals
Chris Squire: Bass Guitar, piano (on ‘Don’t Kill the Whale’), vocals
Rick Wakeman: piano, organ, Polymoog, harpsichord,
Alan White: drums


PRODUCED BY

Brian Lane & YES


DON’T KILL THE WHALE

You’re first I’m last
You’re thirst I’m asked to justify
Killing our last heaven beast
Don’t hunt the whale

In beauty vision
Do we offer much
If we reason with destiny, gonna lose our touch
Don’t kill the whale

Rejoice they sing
They worship their own space
In a moment of love, they will die for their grace
Don’t kill the whale

If time will allow
We will judge all who came
In the wake of our new age to stand for the frail
Don’t kill the whale


PEFORMED BY

Jon Anderson: vocals
Steve Howe: Guitar, mandolin, vocals
Chris Squire: Bass Guitar, piano (on ‘Don’t Kill the Whale’), vocals
Rick Wakeman: piano, organ, Polymoog, harpsichord,
Alan White: drums


PRODUCED BY

Brian Lane & YES


MADRIGAL

I will be there said my friend of a distant life
Covered in greens of a golden age, set in stone
Follow me, “he sounded of dreams supreme” follow me
Drifting within the glow and the after-glow of the eve

And if that firelight, I could match the inner flame

Sacred ships do sail the seventh age

Cast off your garments of fear, replace them with love
Most of all play with the game of the age
Highest of places remain all as one with you
Giving us light and the freedom of the day

And if that firelight, I could match the inner flame

Sacred ships do sail the seventh age
And have always been here

Celestial travellers have always been here with us
Set in the homes of the universe we have yet to go
Countless expansions will arrive and flow inside of us
My friend, he of fantasy, dancing with the spirit of the age


PEFORMED BY

Jon Anderson: vocals
Steve Howe: Guitar, mandolin, vocals
Chris Squire: Bass Guitar, piano (on ‘Don’t Kill the Whale’), vocals
Rick Wakeman: piano, organ, Polymoog, harpsichord,
Alan White: drums


PRODUCED BY

Brian Lane & YES


RELEASE, RELEASE

Have you heard before, hit it out, don’t look back
Rock is the medium of our generation
Stand for every right, kick it out, hear you shout
For the right of all of creation

We’ve heard before, but we just don’t seem to move
The pressure’s on is there lack of concentration

Power defy our needs, lift us up, show us now
Show us how amid the rack of confusion
Drive in thoughts of high, satisfy, in a plan
Set it out for all to understand it

We’ve heard before, but we just don’t seem to move
The pressure’s on is there lack of concentraion

Lost and wondering, maybe, how it is
Seems to me, it’s as simple as this
No matter, where you go, you’re going to find
You won’t see me in front, but you can’t leave me behind

Power at first to the needs of each others’ days
Simple to lose in the void sounds of anarchy’s calling ways
All unaccounted for in the craziness of power
In the craziness
Release all, release all, or abandon your hope for your brother
Release all, release all, or abandon your hope for your sister
Release, release, enough controllers
Show some signs of appreciated loyalties
Release, release, enough controllers
Show some signs of appreciated loyalties

Straight jacket, freedom’s march, is it all, far beyond
Our reason of understanding
Campaign everything, anti-right, anti-left
Anticipate the love of creation

Stand for every right
Kick it out, hear you shout
Further the right
Further the right
Further the right
Of all of creation

Power at first to the needs of each others’ days
Simple to lose in the void sounds of anarchy’s calling ways
All unaccounted for in the craziness of power
In the craziness
Release all, release all, or abandon your hope for your brother
Release all, release all, or abandon your hope for your sister
Release, release
Release, release
Release, release
Release, release


PEFORMED BY

Jon Anderson: vocals
Steve Howe: Guitar, mandolin, vocals
Chris Squire: Bass Guitar, piano (on ‘Don’t Kill the Whale’), vocals
Rick Wakeman: piano, organ, Polymoog, harpsichord,
Alan White: drums


PRODUCED BY

Brian Lane & YES


ARRIVING UFO

I could not take it oh so seriously really
When you called and said you’d seen a UFO
But then it dawned on me the message in writing
Spelt out a meeting never dreamed of before

I looked out, in the night
Strange and startling
Was this voice of time just saying
There’s got to be a linking of everyone
Got to be a centre
It all comes flooding back

Arriving thru eons of times immortal power of the future to behold
Vessels of a different impression, none that we could ever hope to have
known

So look out, in the night
Once they arrive
On that perennial light
Impress a bolder empire of energy
In the ships we see
The coming of outer space

You say there’s no reason to conjure
With the force as it has been known to be see
You say I’m a fool, a believer
Put your feet on the earth it is green

But look out, in the night
Wait for they arrive
To start such sciences anew
Here it is the coming of outer space
Such a pure delight
The coming of outer space


PEFORMED BY

Jon Anderson: vocals
Steve Howe: Guitar, mandolin, vocals
Chris Squire: Bass Guitar, piano (on ‘Don’t Kill the Whale’), vocals
Rick Wakeman: piano, organ, Polymoog, harpsichord,
Alan White: drums


PRODUCED BY

Brian Lane & YES


CIRCUS OF HEAVEN

The day the Circus of Heaven came to town
Local folks lined the streets in a Midwestern town
Waiting anxiously for the parade to begin all around
On the very last day

A unicorn headed the mystical way
Surrounded by what seemed a thousand golden angels at play
Behind were Centaurs, elves, bright fairies all in colours of jade
On the very final day

For what seemed only just a moment in time
Seven solemn flying silvered regal horses rode by
Seven golden chariots in tow, a wonder to behold
The Seven Lords of the Mountains of Time
There then arose where nothing really stood there before
A giant tent rising one thousand feet high from the floor
Towns people flocked inside with their eyes all amazed
To greet the Seventh Lord of the seventh age
A fanfare rang out in an incredible sound
Bringing out the strangest visions perfect harmony round
Any dreams he asked would they like to have seen
From historical or mythical scenes

Then there above their heads just as vivid as life
Each vision transported multitudes inventing light
Grecian galleons, the sack of Troy, to the Gardens of Babylon
A play of millions roared along
The gigantic dreams of Alexander the Great
Civil wars where brothers fought and killed their friendship with hate
All seen by Zeus performing scenes in the magical way
The day the circus came to town

Outside great animals as tame as the trees
Angels high in starlight dancing streets
Turning their colours with indigo and gold
Dropping violet, red and emerald snow
As the circus finally changed its invisible course
A new world to be found

On the dreamy ground we walked upon
I turned to my son and said
“Was that something beautiful, amazing, wonderful, extraordinary
beautiful?”

“Oh! It was OK!! But there were no clowns, no tigers, lions or bears,
cand-floss, toffee apples, no clowns.”


PEFORMED BY

Jon Anderson: vocals
Steve Howe: Guitar, mandolin, vocals
Chris Squire: Bass Guitar, piano (on ‘Don’t Kill the Whale’), vocals
Rick Wakeman: piano, organ, Polymoog, harpsichord,
Alan White: drums


PRODUCED BY

Brian Lane & YES


ONWARD

Contained in everything I do
There’s a love, I feel for you
Proclaimed in everything I write
You’re the light
Burning, brightly
Onward through the night
Onward through the night
Onward through the night of my life

Displayed in all the things I see
There’s a love you show to me
Portrayed in all the things you say
You’re the day
Leading the way
Onward through the night
Onward through the night
Onward through the night of my life

Onward through the night
Onward through the night
Onward through the night of my life


PEFORMED BY

Jon Anderson: vocals
Steve Howe: Guitar, mandolin, vocals
Chris Squire: Bass Guitar, piano (on ‘Don’t Kill the Whale’), vocals
Rick Wakeman: piano, organ, Polymoog, harpsichord,
Alan White: drums


PRODUCED BY

Brian Lane & YES


ON THE SILENT WINGS OF FREEDOM

On the Silent Wings of Freedom
(Jon Anderson/Chris Squire)

On the silent wings of freedom
Where I offer myself midst the balancing of the sun
On the winds of celestial seasons
That would carry me on, midst the balance of being one
On the dream of our love eternal
That will eventually bring our living once more with you

Where we are coming from
Or where we go
We only know e come with sound

Where we are coming from
Or where we go
We only know we go around and around

On the back of your forty-second scream down
Do you choose to be lost midst the challenge of being one
On the flight of regardless feelings
As you hurtle to fear midst the challenge of everyone

On the darkest night so painful
Do you hunger for love midst the torture of being one
On the passing light of easing
Have you seen you inside midst the being of everyone
To the common goal of freedom
Where we offer ourselves midst the balancing of the sun

Where we are coming from
Or where we go
We only know we come with sound

Where we are coming from
Or where we go
We only know we go around and around


PEFORMED BY

Jon Anderson: vocals
Steve Howe: Guitar, mandolin, vocals
Chris Squire: Bass Guitar, piano (on ‘Don’t Kill the Whale’), vocals
Rick Wakeman: piano, organ, Polymoog, harpsichord,
Alan White: drums


PRODUCED BY

Brian Lane & YES



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