Tormato
Tormato is the ninth studio album by English progressive rock band Yes. It was released on 22 September 1978 on Atlantic Records, and is their last album with singer Jon Anderson and keyboardist Rick Wakeman before their departure from the group in 1980. After touring their previous album Going for the One, the band entered rehearsals in London to record a follow-up. The album was affected by various problems, such as internal disputes over the direction of the music and artwork, and the departure of engineer Eddy Offord early into the sessions, resulting in the group producing the album themselves.
The album received a mixed response from critics but became a commercial success. It reached No. 8 in the UK and No. 10 in the US, where it became the band's fastest selling album and reached platinum certification by the Recording Industry Association of America within two months for selling one million copies. "Release, Release" and "Don't Kill the Whale" were released as singles. "Release, Release" was a Canadian exclusive single. "Don't Kill the Whale" managed to reach No. 36 in the UK. The band's 1978–1979 tour was their first with concerts performed in the round on a central revolving stage. Tormato was remastered in 2004 containing previously unreleased tracks from the album's recording sessions.
Background
In December 1977, the Yes line-up of Jon Anderson, Chris Squire, Steve Howe, Alan White and Rick Wakeman wrapped up their 1977 tour of North America and Europe in support of their eighth album, Going for the One. The album marked a return to commercial success after it went to number one in the UK for two weeks and spawned a UK top-10 single in "Wonderous Stories". The 84-date tour was considerably taxing on the group, and they took a short break at its conclusion.Yes reconvened at Sound Associates in Bayswater, London in mid-February 1978 to write and rehearse material for a new studio album. The majority of the songs on Tormato were written during soundchecks and rehearsals on the 1977 tour, as the group decided to develop fresh ideas rather than using older material. The original plan was for Yes to release Tormato in two parts, with the first put out in July 1978 and the second by Christmas time. The second release was to be completed in Barbados, but this never happened and a single album was released instead. The album's original working title was Eleventh Illusion, a reference to the band's desire to base their live stage sets around illusions.
Recording
Tormato was recorded from February to June 1978, and is the band's first recorded in two different London studios, Advision Studios in Fitzrovia and RAK Studios in Regent's Park. Initially they were split where the recording should take place; Howe and Squire wished to stay in London and suggested somewhere "warm and comfortable and easy", while others preferred to return to Switzerland where they had recorded Going for the One. The early studio sessions saw the return of Eddy Offord working with the band as their engineer and producer since Relayer, but his involvement came to an end soon after. Left without a producer, the band decided to produce and mix the album themselves and hired Geoff Young and Nigel Luby, who had assisted with the production of Going for the One, as the engineers. This way of working caused internal issues as Wakeman recalled: "No one was afraid to say, 'Well, Jon, I think you should sing this part.' Or 'Steve, that's a bad guitar part.' Tempers got frayed." Howe agreed with the view, and believed such tensions affected the album's sound quality and tone as a result. By the end of the recording sessions, Yes had recorded enough material to fit on one and a half albums. Tormato was released with nine tracks, the most on a Yes studio album since Fragile.The album features the band playing new instruments that were not used on previous Yes albums. By the time of recording, Wakeman had changed his keyboard rig to incorporate the Polymoog, a polyphonic analog synthesiser which he said was used mainly for "soloing and filling", and the Birotron, a tape replay keyboard which he had co-funded during its development and manufacturing four years earlier. Wakeman reduced the number of keyboards he typically used so the tracks could relate to each other, thus creating an album that "flowed a bit more". In one incident, the band laid a prank on Wakeman while he was on a break by replacing the Birotron cartridges with a tape of Seals and Crofts. Howe said: "When he pressed the keys he went, 'What the hell is this?'" and "got quite cross", to the point that he walked out of the studio afterwards. In 1979, Wakeman looked back on the album and said he got it "60 percent right and 40 percent wrong", and wished he had played things differently. One of Howe's criticisms of Tormato was that the Polymoog and Birotron did not complement his guitar sound and noted they often "cancel each other out". Squire felt as if Wakeman and Howe tried to play more notes than the other in a single bar, which was caused after Anderson would put down basic chords on an acoustic guitar and then take it out of the mix, leaving gaps in the music.
In 2013, engineer and producer Brian Kehew, who has worked on the remastering of other Yes albums, explained that the album sounds "thin, flat and terrible". He said that Offord usually incorporated Dolby A, a type of Dolby noise-reduction system, in his production work, but upon examination of the original tapes Kehew could not locate any sign that Dolby A was used. After applying Dolby A to the tapes, Kehew said "everything – except for some of the later overdubs – sounded amazing". Kehew then realised that the engineers who replaced Offord may not have known that the Dolby reduction had in fact been used.
Howe picked out "Madrigal", "Release, Release", and "On the Silent Wings of Freedom" as the tracks he liked best. Howe has been quoted as saying that none of the band can possibly remember how to play most of the songs on the album. He confirmed this in his 2021 memoir, All My Yesterdays, noting that Yes has not performed much from Tormato since the ensuing tour, and even then some songs from the album proved unworkable. "'On the Silent Wings of Freedom' was actually often tried at tour rehearsals but it would just fall apart. 'Future Times/Rejoice' was similarly unsuccessful" he recalls. Howe attributes this failure to the songs bringing back memories of the emotions their recording aroused. "The improvised sections didn't jell and the songs somehow didn't sit comfortably enough."
Songs
Side one
Anderson wrote the music and lyrics to "Future Times"/"Rejoice" and said his words are more explicit in meaning than his usual style. It features Squire playing bass with a Mu-Tron pedal effect."Don't Kill the Whale" originated from a bass line and a passage on an acoustic guitar that Squire had devised which he presented to Anderson, who proceeded to write lyrical ideas off it using a poem that he had written on the subject as a basis. The acoustic line was worked into the song's chorus. Squire had the idea while the group were in Switzerland working on Going for the One, and the lyrics were inspired by a television program that Anderson saw about saving tigers, which prompted him to write words for a song about saving whales. The song was also inspired by the band's friendship with Terry Doran, who had invited Yes to perform at a benefit concert for the whale movement, but they were too busy working in the studio. The keyboard solo involved Wakeman adapting a sound that he had configured on his Polymoog which produced "weird sounds" that resembled a whale.
"Madrigal" features Wakeman playing a Thomas Goff harpsichord. Anderson had suggested to Wakeman that they write a madrigal, a form of English evening song.
"Release, Release" was developed by Anderson and White, and features automatic double tracking applied onto White's drum tracks to achieve a bigger sound. Its original title was "The Anti-Campaign", referring to the political and social changes at the time before it was changed in favour of the lyric "Release, release" that is sung multiple times at the end. The instrumental section includes a crowd cheering with the guitar and drum solo, which Wakeman reasoned was added because it "sounded a bit dry" on its own. He claimed the crowd was taken from an English football match. Atlantic Records president Ahmet Ertegun visited Yes in the studio and heard "Release, Release", which he liked and suggested the whole album sound like it. The song was difficult for Anderson to sing on stage as the many high notes in the song strained his voice, and it was dropped early into the tour.
Side two
"Arriving UFO" is based on a tune that Anderson had developed, inspired to write a science-fiction song having seen Close Encounters of the Third Kind twice. Wakeman wrote the instrumental section."Circus of Heaven" tells the story of a travelling fantasy circus and its visit to a Midwestern town, featuring unicorns, centaurs, elves, and fairies. Its direction came from Anderson's pursuit of writing songs aimed at children, and gained inspiration from a book by Ray Bradbury ten years before which he subsequently told to his son Damion, who speaks at the end of the song. Squire thought the track was an interesting one musically as it features him playing a reggae-style bass riff.
"Onward" is solely credited to Squire, who had produced a demo version of the song on vocals and piano and presented it to the band. It features orchestral arrangements by his friend Andrew Pryce Jackman, who had worked with Squire as members of The Syn and on Squire's solo album Fish Out of Water. Squire later considered "Onward" as one of the best songs he ever wrote. "Onward" was performed live in 1996 and features an acoustic guitar introduction from Howe entitled "Unity". This was released on their live/studio album Keys to Ascension.
"On the Silent Wings of Freedom" features Squire playing with a Mu-Tron Envelope Shaper effect.