Introducing the best live in Japan of “6 YES” that incorporates the young blood of Igor Koroshev and Billy Sherwood. Before we get into the details, let's first recall a little bit about the time. YES reunited as the "Golden Five" in 1995, but they did not tour, only doing studio work and three performances in San Luis Obispo (March 1996), which became the basis for "KEYS TO ASCENSION". Wakeman leaves. They produced ``OPEN YOUR EYES'' with Billy Sherwood, added Igor Koroshev, who had guested on the album, and went on tour. In this way, "6-person YES", which is rare in YES history, was born, and this tour was not only to promote the album "OPEN YOUR EYES", but also to commemorate the 30th anniversary of the band's formation. Here, let’s check out the outline of “OPEN YOUR EYES AND 30TH ANNIVERSARY TOUR”. ・October-December 1997: North American tour #1 (43 performances) ・February-April 1998: European tour (46 performances) ・May 1998: Central and South American tour (13 performances) ・June 1998- August: North American tour #2 (41 performances) October 1998: Japan tour (5 performances) In this way, we toured 148 performances in 19 countries in one year, and Japan was the final venue. Ta. These six members had the potential to become a band so great that they later created the later masterpiece ``THE LADDER'', but unfortunately they only came to Japan once. Let's check the schedule here. ・October 8: Shibuya Public Hall ・October 9: Shibuya Public Hall ・October 11: Kawaguchi Cultural Center [This work] ・October 13: Nagoya City Public Hall ・October 14: Osaka Welfare Pension Hall This is Full details of “OPEN YOUR EYES JAPAN TOUR 1998”. This work is the audience album of “October 11, 1998: Kawaguchi Lilia Performance”, which is the third performance. This work was released as "AND YOU AND SAITAMA" and was a recording that received great acclaim. What was recorded on the original DAT, which was given directly by the recording artist himself, is truly worthy of being called a "beautiful recording." To be honest, it's not exactly what you would call a soundboard, but this is not a criticism but a compliment. The clarity, thickness, and detail of the musical sounds are comparable to line recordings, but the sound with a slight venue acoustics is like falling from the sky. As I have written many times, listening to this work, audience recording really suits YES Music. However, (of course) this does not mean that anything is good for audience recording. If it's too crowded or muddy, it's ruined, and even if the music is beautiful, it's meaningless if it's covered in the uproar of the audience. In that respect as well, this work gets full marks. The Japanese audience, paying close attention to every move and listening intently as if to etch every note into their minds, maintains silence during the performance. You would think that there would be no silent audience, but that is not the case. There is a spectacle of loud applause that spreads throughout the venue between songs, but you can also feel the silent concentration during the performance. Of course, since they were silent, you couldn't tell from the "sound", but their passionate gaze and presence definitely reached the stage, tightening up the members' performance. While enjoying the crisp performance, the mood was such that he didn't allow his clothes to rub. YES music pouring down there... I wrote that ``YES suits the customer record,'' but even though the world is vast, Japan is the only place that can bring out its flavor to the fullest. This work, drawn with such a super beautiful sound, is a fresh YES with young blood. Perhaps because it is the 30th anniversary, only the title track from the new album ``OPEN YOUR EYES'' is played, and most of it is filled with classic YES masterpieces. However, Igor and Billy that are poured into it are very fresh. As they have already toured all over the world, the ensemble is well-versed, and while respecting the tradition of YES, they performed according to the original phrases, while also mixing in the neo-prog tones that were popular at the time at key points. It is colorfully decorated. The songs are original, yet fresh, and they don't sound cheap like they did in the 80s. It is a show with such exquisite balance. Igor caused a sexual harassment incident during the tour and was fired, but after that, YES struggled to find a keyboard player. To this day, no one has been able to surpass Igor. It would have been better if I had just focused on playing without doing anything unnecessary... Quiet talk. The setlist for this work is also interesting. This member officially leaves “HOUSE OF YES: LIVE FROM HOUSE OF BLUES”, but there are only 5 songs that are duplicates of this work and most of them are not overlapped. What's more, the content is deep, and in addition to all the songs from ``Kisai'' and representative songs from the past such as ``Heart Of The Sunrise'' and ``Long Distance Runaround,'' they also performed unexpected and delicious songs such as ``Wonderous Stories'' and ``Tempus Fugit.'' Furthermore, in Steve Howe's solo corner, it is a large-scale performance that includes 4 songs, ``The Little Galliard,'' ``Mood For A Day,'' ``Ram,'' and ``Clap.'' A performance in Japan with Igor and Billy that only happened once. This is one that captures the whole picture with a clear and superb audience recording full of scale. The band's potential shines just before they created the 90's masterpiece "THE LADDER", and it is a great recording that includes plenty of famous songs that cannot be heard in the official work. Live at Kawaguchi Lilia Main Hall, Kawaguchi, Japan 11th October 1998 TRULY PERFECT SOUND(from Original Masters) Disc 1(78:37) 1. Firebird Suite 2. Siberian Khatru 3. Rhythm Of Love 4. Yours Is No Disgrace 5. Open Your Eyes 6. And You And I 7. Heart Of The Sunrise 8. The Little Galliard 9. Mood For A Day 10. Ram 11. Clap Disc 2(69:53) 1. Akatombo 2. Wonderous Stories 3. Long Distance Runaround 4. Whitefish 5. Tempus Fugit 6. Drum Solo 7. Bass & Drum Solo 8. Owner Of A Lonely Heart 9. Close To The Edge 10. I've Seen All Good People 11. Roundabout Jon Anderson - Vocal Steve Howe - Guitar Chris Squire – Bass Alan White – Drum Billy Sherwood – Guitar, Keyboard Igor Khoroshev – Keyboard
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