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Tormato
Studio album by
Yes
Released22 September 1978
RecordedFebruary–June 1978
Studio
GenreProgressive rock[1]
Length40:57
LabelAtlantic
ProducerYes
Yes chronology
Going for the One
(1977) 		Tormato
(1978) 		Drama
(1980)
Singles from Tormato
  1. "Don't Kill the Whale"
    Released: 25 August 1978
  2. "Release, Release"
    Released: 7 November 1978 (US)[2]

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 (1977), 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

[edit]

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 (1977).[3] 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.[4] 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.[5] 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.[6] The album's original working title was Eleventh Illusion, a reference to the band's desire to base their live stage sets around illusions.[6]

Recording

[edit]
RAK Studios

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.[7] 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.[8][9] The early studio sessions saw the return of Eddy Offord working with the band as their engineer and producer since Relayer (1974), but his involvement came to an end soon after.[10] 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.[7][11] 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."[12] Howe agreed with the view, and believed such tensions affected the album's sound quality and tone as a result.[13] By the end of the recording sessions, Yes had recorded enough material to fit on one and a half albums.[4] Tormato was released with nine tracks (although "Future Times" and "Rejoice" are linked together), the most on a Yes studio album since Fragile (1971).[14]

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",[12] 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".[12] 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",[15] to the point that he walked out of the studio afterwards.[16] 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.[12] 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".[13] 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.[17]

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.[18]

Howe picked out "Madrigal", "Release, Release", and "On the Silent Wings of Freedom" as the tracks he liked best.[9] 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."[19]

Songs

[edit]

Side one

[edit]

Anderson wrote the music and lyrics to "Future Times"/"Rejoice" and said his words are more explicit in meaning than his usual style.[20] It features Squire playing bass with a Mu-Tron pedal effect.[17]

"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.[21] The acoustic line was worked into the song's chorus.[22] 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.[23] 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.[24] The keyboard solo involved Wakeman adapting a sound that he had configured on his Polymoog which produced "weird sounds" that resembled a whale.[25]

"Madrigal" features Wakeman playing a Thomas Goff harpsichord. Anderson had suggested to Wakeman that they write a madrigal, a form of English evening song.[26]

"Release, Release" was developed by Anderson and White, and features automatic double tracking applied onto White's drum tracks to achieve a bigger sound.[27] 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.[28] 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.[12][27] 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.[17] 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.[28]

Side two

[edit]

"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 (1977) twice.[29] Wakeman wrote the instrumental section.[6]

"Circus of Heaven" tells the story of a travelling fantasy circus and its visit to a Midwestern town, featuring unicorns, centaurs, elves, and fairies.[30] Its direction came from Anderson's pursuit of writing songs aimed at children,[31] 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.[32] Squire thought the track was an interesting one musically as it features him playing a reggae-style bass riff.[17]

"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.[33] 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 (1975).[32] Squire later considered "Onward" as one of the best songs he ever wrote.[17] "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 (1996).

"On the Silent Wings of Freedom" features Squire playing with a Mu-Tron Envelope Shaper effect.[34]

Additional material

[edit]

Some original UK cassette and 8-track cartridges, both with vastly different track orders from the LP and later CD pressings, include a hidden track titled "Richard", a song written by Anderson, just after "Release, Release". This song was later included on the In a Word box set in 2002, but was left out of the 2003 expanded and remastered reissue of Tormato. It is not known whether the inclusion of "Richard" as a hidden track was intentional or an oversight, though the latter is more likely as later UK pressings and international cassette and 8-track releases of the album also omit it.

Artwork

[edit]
The album's title and sleeve design refers to Yes Tor, a high point in Devon.

As with Going for the One, the album's cover was designed by Hipgnosis but retains the band's logo designed by Roger Dean. Howe pitched the album's original title of Yes Tor, referring to Yes Tor, the second highest hill on Dartmoor, an area of moorland in Devon, England.[35]

During the development of the album, a tomato was thrown at the artwork resulting in its title and cover being changed accordingly.[36][37] Wakeman claimed to have done this as he recalled the band were disappointed with the initial artwork despite finding it expensive;[9] he later stated that Lane subsequently picked up the artwork with the tomato running down it, laid it down flat, and suggested the result be photographed for the cover along with a name change to Tormato.[38] Howe claimed it was a Hipgnosis employee who threw the tomato, which insulted him.[35] This was corroborated by White, who stated that the band was unable to decide on a cover and the tomato was thrown by Hipgnosis designer Aubrey Powell: "I think Po ... put a picture of a guy with divining sticks on the front. Po took the artwork home one night and decided it wasn't working. So he threw a tomato at it".[35] Yes manager Brian Lane said the band disliked the pictures that Hipgnosis had taken at Yes Tor, "and we threw the tomatoes. [...] It wasn't [Wakeman]".[21] Squire compared the tomato gimmick to the lunacy of the Marx Brothers.[23]

The sleeve includes a photograph of the band that was taken in Regent's Park, London, with each member wearing a bomber jacket and sunglasses and looking in a different direction.[35][39] Each jacket was labelled with the member's name on the front, but Squire had forgotten his and had to wear one labelled "Jim", belonging to tour manager Jim Halley. The word "Chris" was then drawn onto the final cover.[39]

Release

[edit]

Tormato was released in the UK on 22 September 1978.[40] Upon its release in the US, the album was broadcast in its entirety on WIOQ in Philadelphia at midnight on 29 September.[41] It reached No. 8 on the UK Albums Chart and No. 10 on the US Billboard 200. On 25 August 1978, "Don't Kill the Whale" was released as a single in the UK which peaked at No. 36.[42][43] Yes donated money for every copy of the single that was sold to Greenpeace, a charity helping to end large scale whale slaughter.[44]

The album reached Gold certification by the British Phonographic Industry on 13 September 1978.[40] It became Yes's first album to be certified Platinum by the Recording Industry Association of America for selling one million copies in the US.[45] A reception for the band was held after their gig at the Los Angeles Forum to commemorate the award and their tenth anniversary.[46]

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStar[47]
Pitchfork3.8/10[48]
Rolling Stone(unfavourable)[1]
The Rolling Stone Album GuideStarHalf star[49]

Record World summarised that Tormato brings "the Yes stamp of intriguing music" and recognised "Don't Kill the Whale" as a potential hit single.[50] Audio magazine gave the album's sound an "A" and the performance an "A−" rating. In its review, Tormato "shows the most song consciousness of any Yes has done in a long while", with its "song-sized ideas, instead of murals". The result shows Yes more economical in its song arrangements, with "exemplary" production and "excellent" sound quality. "Don't Kill the Whale" was praised for its musical power and message without sounding "heavy-headed", as was "Future Times/Rejoice" and "Release, Release" for their "progressive thrusts with solid beats". The review compared "Circus of Heaven" to the fantasy comedy film 7 Faces of Dr. Lao (1964).[51] Cashbox thought with Tormato, "Yes reaffirms its strong artistic and popular stature" and, like Going for the One, "is a welcome away from Yes' extended jamming and massive concept works of the mid '70s". The album has "intricate, sophisticated yet rocking textures" with "first-rate" riffs from Howe and Wakeman.[52]

A more critical review was published by Sheila Prophet in Record Mirror, who summarized it as "The Sunday school of rock" and "maximum pomposity, maximum pretension, maximum elaboration, all covering up minimum inspiration".[53] Steve Pond gave a mixed review in the Los Angeles Times, noting a lack of distinctive melodies and more experimental and extended instrumental sections similar to that of Tales from Topographic Oceans (1973) and Relayer (1974), which made them "distant and unappetizing". However, Pond continues to note that "eventually, it emerges as one of Yes' strongest and most important albums" with its balance of songs that display the band's traditional sound along with the contemporary progressive rock approach. He picked up on the album's "raw energy and forcefulness" which made Going for the One such a success, with "Future Times/Rejoice" as a good example of the band's new approach and praised White and Squire as a rhythm section. Pond was critical of "Arriving UFO" and "Circus of Heaven", which he considered are overwhelmed by "studio trickery and sound effects".[54] Yes biographer Chris Welch said the weakest thing about the album is the production quality, typified by a compressed and dull sound.[8] Wakeman later called Tormato "a tragedy" because of its poor artwork and production, despite the record containing good music.[9]

Reissues

[edit]
  • 1988 – Atlantic – CD[55]
  • 1994 – Atlantic – CD (Remastered)
  • 2004 – Rhino – CD (Remastered with bonus tracks)
  • 2018 – Atlantic – LP (40th anniversary picture disc edition issued for Record Store Day, limited to 5,400 copies).[56]

Tour

[edit]

Yes supported the album with a 101-date tour of North America and the UK, between 28 August 1978 and 30 June 1979. The UK dates comprised just six consecutive nights at London's Wembley Arena in October 1978. The tour featured the band performing in-the-round with a six-ton circular revolving stage placed in the middle of the arena that cost £50,000 to build, with a 360-degree lighting and sound system fitted above it.[57][58] Anderson stood on a raised platform in the middle of the stage that turned the opposite way to the band to avoid dizziness.[59] The sound crew sat beneath the stage in an area that had a drinks cabinet.[60] The stage revolved at 1 mph four times per hour; the driving motor failed during one early gig, so the band's roadies had to come out and rotate the stage by hand.[60][57] The idea was conceived by their longtime technician Michael Tait, who worked with their sound company, Clair Brothers, to develop the sound system to go with it.[61]

Yes entered the stage to The Young Person's Guide to the Orchestra by Benjamin Britten and an excerpt of the opening to Close Encounters of the Third Kind.[62] The tour marked the group's tenth anniversary, and the band performed a 30-minute medley that included excerpts from as far back as their debut album, Yes (1969).[63] The 1978 leg included four consecutive sold out nights at Madison Square Garden in New York City that sold out in three days and earned the group a Gold Ticket Award for selling 100,000 tickets and grossing over $1 million ($4.8 million in 2024) in box office receipts.[58][57] Yes performed three additional dates there in June 1979. Recordings from the tour were included on the live album Yesshows (1980).

Track listing

[edit]
Side one
No.TitleMusicLength
1."Future Times" (3:55)/"Rejoice" (2:51)Anderson, Howe, Squire, Wakeman, White/Anderson6:46
2."Don't Kill the Whale"Anderson, Squire3:55
3."Madrigal"Anderson, Wakeman2:21
4."Release, Release"Anderson, Squire, White5:40
Total length:18:42
Side two
No.TitleMusicLength
1."Arriving UFO"Anderson, Howe, Wakeman6:02
2."Circus of Heaven"Anderson4:28
3."Onward"Squire4:00
4."On the Silent Wings of Freedom"Anderson, Squire7:45
Total length:22:15
2004 reissue bonus tracks
No.TitleMusicLength
9."Abilene[a]"Howe4:02
10."Money[b]"Squire, Anderson, White, Wakeman3:15
11."Picasso"Anderson2:12
12."Some Are Born[c]"Anderson5:42
13."You Can Be Saved"Squire4:20
14."High[d]"Howe4:30
15."Days[e]"Anderson1:00
16."Countryside[f]"Anderson, Howe, Squire, White3:11
17."Everybody's Song[g]"Anderson, Howe, Squire, White6:48
18."Onward (Orchestral Version)"Squire3:06
Total length:1:19:03 (79:03)
Hidden track
No.TitleMusicNotesLength
1."Richard"AndersonReleased as a hidden track on early copies of the original UK cassette and 8-track. The full version was later included on the 2002 box set In a Word: Yes (1969–).[h] 

Notes

[edit]
  1. ^ "Abilene" was the B-side of "Don't Kill the Whale".
  2. ^ "Money" was released on the box set Yesyears (1991).
  3. ^ "Some Are Born" was re-worked by Anderson for his second solo album, Song of Seven (1980).
  4. ^ "High" would be re-worked by Howe as "Sketches in the Sun", an instrumental track released on GTR (1986).
  5. ^ "Days" was re-worked by Anderson for his second solo album, Song of Seven.
  6. ^ "Countryside" was re-worked by Howe as "Corkscrew" his solo album Turbulence (1991).
  7. ^ "Everybody's Song" is an early version of what became "Does It Really Happen?" on Drama (1980).
  8. ^ "Richard" was later played live by Anderson and recorded for his solo live album Live From La La Land (2006).

Personnel

[edit]

Credits adapted from the album's 1978 liner notes.[7]

Yes

Technical personnel

  • Geoff Young – engineer
  • Nigel Luby – engineer
  • Peter Woolliscroft – additional engineering
  • Pete Schwier – additional engineering
  • Sean Davis – disk cutting at Strawberry Studios, London
  • Brian Lane – executive producer
  • Hipgnosis – sleeve design, photography
  • Rob Brimson – photography (Yes Tor and tomato)
  • Colin Elgie – graphics
  • Roger Dean – Yes logo design

Charts

[edit]
Chart (1978) Peak
position
Australian Albums (Kent Music Report)[64] 22
Canada Top Albums/CDs (RPM)[65] 30
Dutch Albums (Album Top 100)[66] 17
Finnish Albums (The Official Finnish Charts)[67] 21
French Albums (SNEP)[68] 9
German Albums (Offizielle Top 100)[69] 36
Japanese Albums (Oricon)[70] 41
New Zealand Albums (RMNZ)[71] 34
Norwegian Albums (VG-lista)[72] 9
Swedish Albums (Sverigetopplistan)[73] 18
UK Albums (OCC)[74] 8
US Billboard 200[75] 10

Certifications

[edit]
Region Certification Certified units/sales
Canada (Music Canada)[76] Gold 50,000^
United Kingdom (BPI)[77] Gold 100,000^
United States (RIAA)[78] Platinum 1,000,000^

^ Shipments figures based on certification alone.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tormato

View on Grokipedia
from Grokipedia
Tormato is the ninth studio by the English band Yes, released in September 1978 by . Featuring the classic lineup of vocalist , guitarist , bassist , keyboardist , and drummer Alan White, the album marks the band's return to a more concise song structure following the expansive compositions of their previous works. Recorded primarily at and in , it runs for approximately 41 minutes across nine tracks, including singles "Don't Kill the Whale" and "Release, Release." The album's title originated as Yes Tor, a reference to a in , , depicted in the original artwork designed by ; it was renamed Tormato—a portmanteau of "" and ""—after Wakeman, frustrated during a meeting, threw a tomato at the cover mock-up, splattering it in a way that inspired the final name. Production was handled by the band themselves, a departure from their collaboration with longtime producer Eddie Offord, who left midway through sessions due to tensions, resulting in a compressed and murky sound that has been widely criticized, including by Wakeman himself. Despite commercial success in reaching number 8 on the and number 10 on the , Tormato received mixed to negative reviews upon release for its perceived lack of cohesion and overproduction. Notable for its thematic diversity, ranging from environmental advocacy in "Don't Kill the Whale" to fantastical narratives in "Circus of Heaven," Tormato proved to be the final Yes album with both Anderson and Wakeman until their returns in the and , preceding the band's temporary disbandment in 1981 amid internal strife. Later remasters in 2003 and 2013 addressed some sonic issues, enhancing its appreciation among fans, though it remains one of Yes's more divisive releases in their .

Production

Background

Following the ambitious progressive rock epics (1972) and (1973), Yes entered a period of lineup changes and individual pursuits, with keyboardist departing after Tales due to creative differences, leading to joining for (1974).https://www.loudersound.com/features/yes-going-for-the-one-tormato-album-story The band then took a hiatus, during which members released solo albums in 1975—such as Wakeman's The Myths and Legends of King Arthur and the Knights of the Round Table and Jon Anderson's —reflecting personal artistic explorations amid growing internal tensions over the band's direction and commercial viability.https://www.loudersound.com/features/yes-going-for-the-one-tormato-album-story These solo efforts highlighted diverging interests, with Anderson delving into spiritual and mystical themes inspired by his personal experiences, including family life and esoteric philosophies, which would later influence Yes's lyrical content.https://www.loudersound.com/features/yes-going-for-the-one-tormato-album-story By , Yes decided to reunite its classic lineup of Anderson, , , Wakeman, and Alan White (who had replaced in 1972) following and the solo phase, convening in , , to recapture their collaborative spirit after years of fragmentation.https://www.yesworld.com/discography/tormato/ Wakeman's return was reluctant, driven partly by financial pressures from his solo career and a desire to reconnect with on more mature terms, as he later noted that the group began "relating to each other again."https://www.loudersound.com/features/yes-going-for-the-one-tormato-album-story This reunion built momentum from their 1976 U.S. tour supporting , which drew massive crowds and reaffirmed their popularity despite the shifting musical landscape.https://www.loudersound.com/features/yes-going-for-the-one-tormato-album-story The emergence of in 1977, with its raw energy and emphasis on brevity, pressured Yes to adapt their expansive progressive style, prompting a conscious shift toward shorter, more accessible songs to broaden appeal while retaining complexity.https://ultimateclassicrock.com/yes-tormato/ Anderson found punk "very interesting," viewing it as a vital to prog's excesses, which aligned with his spiritual inspirations for themes of renewal and introspection.https://www.loudersound.com/features/yes-going-for-the-one-tormato-album-story Internal tensions persisted, including debates over recording locations—some favored for tax benefits, while others pushed for —exacerbating strains after the success of Going for the One (1977).https://www.yesworld.com/discography/tormato/ Songwriting for the follow-up began in early , setting the stage for a project marked by both reunion optimism and underlying discord.https://ultimateclassicrock.com/yes-tormato/

Recording

The sessions for Tormato spanned seven months, with recording taking place from February to June , primarily at in and in , both in . These sessions followed initial plans to record abroad, such as in or , but logistical and creative debates led the band to stay in familiar surroundings. Eddy Offord, Yes's longtime engineer and producer since (1971), returned to oversee the early stages, employing his signature methods of multi-tracking and extensive overdubs to capture the band's complex arrangements. However, creative clashes prompted Offord to depart midway through, after which the band self-produced alongside manager Brian Lane, resulting in a more fragmented process where each member influenced the direction. The sessions were fraught with internal tensions, including disagreements over song structures and lengths as the band navigated a shift toward more concise material amid punk's rising influence, though some tracks extended beyond six minutes. Keyboardist , in particular, grew dissatisfied with the production's compressed and overly dense sound, later criticizing it as "faulty" and lacking clarity, exacerbated by competing sonic elements from guitars and keyboards. Practical jokes among members, such as tampering with equipment, further strained the atmosphere. Guitarist experimented with diverse tones, incorporating , acoustic, and electric guitars—including a on several tracks—to add textural variety, often layering parts that sometimes clashed in the mix. Wakeman contributed with his for string and choir simulations alongside , organ, and Polymoog, focusing on orchestral swells but lamenting the final blend. Drummer Alan adapted his style to support tighter rhythms, emphasizing precision over the expansive fills of prior albums. Mixing occurred at , where the band refined overdubs and addressed balance issues, though the result retained a "tonally difficult" quality due to the lack of a unifying . Additional orchestral elements, such as strings on "Onward," were arranged by Andrew Pryce Jackman.

Artwork

The cover art for Tormato was designed by the renowned studio , founded by and Aubrey Powell, featuring a of the Dartmoor hill Yes Tor with the band members' faces superimposed into the , evoking anthropomorphic figures emerging from the like rooted vegetables in a field. A vivid splattered dominates the foreground, symbolizing the album title's portmanteau of "tornado" (referencing a stormy motif in the background) and "," while underscoring earthy, pastoral themes aligned with the record's organic sound. The Yes logo, created by longtime collaborator Roger Dean, appears in yellow for continuity with prior releases. The design process involved Hipgnosis working closely with the band, drawing from guitarist Steve Howe's suggestion of a tornado-inspired concept tied to Yes Tor, but it took an unexpected turn when a member of the studio (or, per conflicting accounts, keyboardist Rick Wakeman) threw a tomato at an early artwork proof in frustration over the direction, prompting its incorporation into the final image as a humorous yet raw element contrasting the polished prog aesthetic. This incident highlighted tensions, as the band sought a fresh visual identity amid punk's rising influence, though the result leaned into photographic realism rather than abstraction. The inner gatefold and sleeve featured additional Hipgnosis photography, including expansive landscape shots and band portraits that reinforced the album's motifs through surreal, nature-infused compositions with subtle otherworldly undertones. Lyrics were printed alongside these visuals, enhancing the immersive, thematic package. Original vinyl pressings adopted a format to showcase the extended artwork, with variations limited to regional manufacturing differences such as pressing plants in the UK, , and , but uniform design elements across editions. Critically, the artwork was lambasted as a jarring shift from Roger Dean's earlier fantastical, floating-island landscapes for Yes albums like Fragile and , with fans and reviewers decrying its "bizarre" and "famously bad" photographic approach as tonally mismatched to the band's epic style.

Music and lyrics

Overview

Tormato features a return to more concise song structures compared to the expansive compositions of Yes's previous albums, with tracks averaging around 4-5 minutes in length. The album blends elements with accessible, radio-friendly arrangements, incorporating acoustic passages, synthesizers, and orchestral touches. Lyrically, it explores themes of , spirituality, , and personal reflection, reflecting Jon Anderson's poetic style and the band's interest in unity and cosmic wonder. Production choices, including self-production and Eddie Offord's partial involvement, resulted in a sound noted for its density and occasional murkiness, though later remasters improved clarity.

Side one

The opening track of Tormato's first side, "Future Times/Rejoice," forms a multi-part suite that establishes a sense of renewal and through its evolving . Beginning with ethereal keyboard washes and building to a rhythmic, anthemic chorus, the transitions from verses to a triumphant, layered vocal climax, emphasizing themes of unity and future hope as evoked in lines like "The wheel of life keeps turning / To remind us of our duty / To live life to the full / And rejoice in the future times." Steve Howe's prominent lines underpin the pastoral opening, providing a delicate to the choral-style backing vocals that swell in the "Rejoice" section, creating a harmonious blend of introspection and celebration. Following this, "" shifts to a more urgent, bass-propelled groove co-written by and as an explicit environmental anthem protesting commercial . The track's driving , anchored by Squire's forceful bass, combines with punchy horn accents and a funky to deliver its message of ecological preservation, highlighted in direct pleas such as "Why kill the ? / Who gives us air to breathe? / ." This concise piece underscores the 's move toward shorter, radio-friendly compositions while maintaining progressive elements through its layered instrumentation. "Madrigal," an instrumental track composed by , provides a brief, melodic interlude with delicate and lines evoking a , Renaissance-inspired mood. Clocking in at 2:35, it serves as a gentle transition, showcasing Wakeman's classical influences amid the album's rockier moments. "Release, Release," co-written by Anderson and , closes side one with a lively, upbeat rocker featuring playful about emotional liberation and . Driven by White's energetic drumming and Howe's jangly guitar, the song includes a memorable chorus and horn sections, blending pop sensibilities with progressive flair in its 5:10 runtime. Collectively, side one tracks create a thematic arc from optimistic renewal in "Future Times/Rejoice" to environmental advocacy in "," serene reflection in "," and exuberant release in "Release, Release," highlighting the album's blend of and . Production elements, such as expansive that places instruments across the soundfield, enhance this cohesion, with Wakeman's keyboards often panning to accentuate spatial depth and movement. Tormato reflects Yes's stylistic evolution toward more accessible, shorter songs while retaining intricate arrangements.

Side two

The second side of Tormato opens with "Arriving UFO," continuing the album's exploratory tone with a science-fiction inspired by extraterrestrial encounters, featuring dynamic shifts from ambient, atmospheric synth passages to full-band rock . Rick Wakeman's leads mimic otherworldly signals and effects, driving the song's progression from quiet, mysterious buildups to explosive crescendos that evoke a UFO's descent and ascent. The paint a vivid tale of cosmic arrival and wonder, aligning with the era's fascination with space themes. "Circus of Heaven," written solely by , presents a fantastical tale of a mythical circus arriving in a Midwestern town, featuring unicorns, centaurs, elves, and visions of historical figures like and , delivered through Anderson's narrative vocals in a theatrical style enhanced by bell sounds and layered harmonies. The track's whimsical arrangement builds a dreamlike atmosphere, clocking in at 4:43 and emphasizing Anderson's penchant for spiritual and imaginative lyrics that echo the album's broader themes of wonder and unity. Following this, "Onward," composed by , offers a minimalist centered on themes of enduring love and emotional commitment, inspired by Squire's feelings for his then-wife Nikki during a cold winter stay in , , where he composed it at . The song's introspective depth is conveyed through sparse piano accompaniment, Squire's own backing vocals, and a subtle arranged by the band, resulting in a 4:21 piece that stands out for its raw vulnerability amid the 's denser prog elements. Squire later regarded it as one of his finest compositions, highlighting its simple yet profound emotional resonance. The side continues with "On the Silent Wings of ," a collaborative effort by Anderson and that runs 7:47—the album's longest track—and explores motifs of personal and collective liberation through soaring melodies and dynamic shifts. It begins with a prominent bass from Squire using a Mu-Tron effect for added bite, building to an epic structure that includes a standout organ solo by , adapted from a custom keyboard sound he developed during sessions, evoking a sense of release and transcendence. The track's climactic energy, driven by Howe's intricate guitar work and White's propulsive drums, provides a powerful resolution. Side two closes with the instrumental "Teak Bolero," composed by and arranged by the band, a 4:43 piece that fades in as a coda to "On the Silent Wings of ." Featuring Wakeman's rich keyboard textures and a rhythm, it offers a serene, atmospheric close, blending ethnic influences with progressive to evoke a sense of quiet transcendence. The second side shifts from imaginative storytelling and interstellar themes to intimate reflection before culminating in an expansive anthem and tranquil close, creating a narrative arc of whimsy, introspection, and triumphant release that contrasts the more urgent energy of side one.

Additional material

The single release of "Don't Kill the Whale" in August 1978 featured the full album version at 3:55, backed by the B-side "Abilene," a 3:57 instrumental composed and performed by Steve Howe during the Tormato sessions at Sarm East Studios. Several outtakes from the Tormato recording sessions emerged in later compilations and reissues, including "Money," a track written by , , , and Alan White and recorded on March 31, 1978, at in . The 2004 remastered reissue of Tormato, released by Elektra, included a selection of bonus material from the album's sessions, such as the previously unissued instrumental "Picasso" (2:12), the song fragment "Some Are Born" (5:42), "You Can Be Saved" (previously unissued), and "High" (previously unissued), providing insight into unfinished compositions explored during production. "Money" appeared on this edition as an alternate take, differing from its later appearance on the 1991 compilation .

Release and promotion

Initial release

Tormato was originally released on 22 September 1978 in the United Kingdom by , with the edition following shortly after on 20 September 1978. The album launched in vinyl LP and cassette formats, marking the standard physical media for the era's releases. In the UK, the vinyl pressing carried the catalog number K 50518, while the US version used SD 19202; corresponding cassette numbers were K 450518 and CS 19202, respectively. Promotion centered on the "," which garnered radio and highlighted environmental messaging to engage audiences. Atlantic distributed press kits incorporating the album's Hipgnosis-designed artwork, featuring a splattered that visually echoed the title's on "tor" (from the band's studio) and "," amid a that referenced the previous album's momentum. Band interviews in publications like emphasized the record's eclectic sound, while Atlantic pushed the release vigorously against the surge, which media outlets framed as a generational shift labeling prog bands as relics. Initial sales saw Tormato enter the on 8 October 1978, climbing to a peak of number 8 over an 11-week run, and debuting strongly in the to reach number 10 on the 200.

Critical reception

Upon its release in September 1978, Tormato received mixed reviews from contemporary critics, who noted its shift toward more accessible song structures amid the rising punk movement. Melody Maker's hailed the album as a "happy musical event," emphasizing its vibrant energy and strong songcraft, particularly in tracks like "Future Times/Rejoice" and "On the Silent Wings of Freedom." In contrast, the production was widely criticized for its muddiness and overcrowding, with keyboardist later lamenting that the album "suffered from appalling production" and represented unfulfilled potential due to a poor final mix, which he attributed to the band's own oversight in switching producers mid-recording. Band members expressed ambivalence about the record, reflecting internal tensions during its creation. Guitarist described Tormato as "very overplayed and under-produced," with excessive notes and a lack of clarity in the tonal , leaving the group "a bit lost at sea." Vocalist , however, recalled the era positively in terms of creative continuity, stating that punk influences "didn't affect us" and viewing the as an extension of Yes's established style without external pressure. Retrospective assessments have often positioned Tormato as an underrated entry in Yes's catalog, particularly for its melodic highlights amid production flaws addressed in later remixes. awarded it 3 out of 5 stars, praising its focus on concise songs over epic suites while acknowledging dated progressive elements. Reappraisals in the and beyond have spotlighted tracks like the poignant "Onward" for its emotional depth and "Circus of Heaven" for its whimsical narrative and orchestral flair, arguing the album's strengths shine through when evaluated apart from its era's expectations.

Reissues and formats

Tormato was first reissued on CD in 1994 by Atlantic Records as a remastered edition, featuring digital remastering by George Marino at Sterling Sound from the original master tapes and an expanded 12-page booklet with additional artwork and liner notes. The album received a more extensive reissue in 2004 by Rhino/Atlantic, also remastered (with the core work completed in 2003 from the 1978 master tapes), this time as an expanded edition with nine bonus tracks totaling nearly 35 minutes, including the previously unreleased outtakes "Picasso," "Some Are Born," "You Can Be Saved," "High," and an early version of "Run Through the Light," alongside the B-side "Abilene" and the non-album track "Money." In terms of formats, Tormato became available for digital download in 2009 through platforms like in standard quality, with high-resolution versions (24-bit/96kHz and 24-bit/192kHz) following in via HDtracks, sourced directly from the analog masters. Streaming availability expanded in the , with the album accessible on services such as , , and by 2022, typically offering the 2004 expanded remaster in standard digital quality. As of 2025, it remains available on these platforms. Vinyl reissues include a limited-edition 180-gram released for on April 21, 2018, limited to 2,800 copies worldwide and reproducing the original 1978 gatefold artwork. Later editions, such as the 2004 CD, featured restored artwork based on Hipgnosis's original designs. Expanded editions were reissued in 2024 by Rhino/Elektra.

Touring

Overview

The Tormato World Tour was the English band Yes's promotional effort for their 1978 album Tormato, spanning from 28 August 1978 to 30 June 1979 and encompassing 101 shows across the , , the , and . The tour marked the band's first use of an "in-the-round" format, featuring a central that allowed for immersive audience experiences, complemented by elaborate visuals designed by longtime collaborator Roger Dean, including motifs inspired by the album's tomato-throwing imagery and dynamic lighting effects evoking UFO themes. The lineup remained stable with the core five members—Jon Anderson on vocals, Steve Howe on guitars, Chris Squire on bass, Rick Wakeman on keyboards, and Alan White on drums—with no personnel changes during the run. Opening acts varied by region but included contemporaries. The set prominently featured tracks from Tormato alongside staples from prior albums, adapting to the era's evolving musical landscape. Despite facing challenges like logistical issues such as stage equipment malfunctions and resistance amid the rising movement, the tour proved financially profitable, grossing significant revenue even as the album received mixed .

Setlist and performances

The Tormato tour featured a core setlist that balanced approximately six tracks from the album with staples from Yes's catalog, emphasizing extended improvisations and solos to engage audiences. Typical shows opened with "Siberian Khatru" from (1972), followed by "Heart of the Sunrise" from Fragile (1971), then transitioned into Tormato material like "Future Times/Rejoice" and "Circus of Heaven." Mid-set highlights included "Don't Kill the Whale," often performed with heightened energy to spotlight Chris Squire's bass lines, and a medley of older tracks such as "The Big Medley" incorporating elements from (1971). The main set closed with "Starship Trooper," showcasing Steve Howe's intricate guitar work, including rapid arpeggios and harmonic overlays adapted dynamically for the stage. Encores typically featured "Awaken" from (1977), with its soaring choruses and Wakeman's keyboard flourishes, sometimes preceded by "Roundabout" from Fragile. Setlist variations occurred primarily across the tour's phases, with early North American dates in 1978 incorporating rarer Tormato cuts like "Release, Release" and "Arriving UFO" before they were dropped in favor of classics by the European leg and 1979 extension. For instance, the , 1978, show in Rochester included "Release, Release" after "," reflecting an initial push to promote the new album, while later performances like the , 1979, concert streamlined to seven core songs for tighter pacing. Regional differences were minimal, though U.S. shows occasionally emphasized ballad-like segments in "Circus of Heaven" to suit larger arena crowds, as noted in fan accounts from the summer 1978 leg. No major encores beyond "Awaken" were consistent, though occasional reprises of "" bridged solos. Notable highlights included the live performances of "On the Silent Wings of Freedom" during early 1978 U.S. dates, such as the New Haven performance, where its fast-paced rhythm section and Howe's elicited enthusiastic responses for its energetic contrast to denser epics. Audience reactions to new material were generally positive, with reviewers praising the "dazzling" execution of Tormato songs like "Circus of Heaven" for their theatrical flair and integration with classics, though some noted initial hesitation toward shorter tracks amid the prog-heavy bill. A standout event was the April 18, 1979, show, where "On the Silent Wings of Freedom" featured extended jamming, capturing the band's peak interplay. Recordings from the tour consist primarily of unofficial bootlegs and fan tapes, with high-quality audience and soundboard captures circulating widely; the October 28, 1978, Wembley Arena BBC broadcast remains a prized source for its clarity on tracks like "Don't Kill the Whale." No full official live album was released contemporaneously, but selections appear in later compilations such as The Word Is Live (2005), which includes the October 1978 Oakland performance of "Future Times/Rejoice", "Circus of Heaven", and "Heart of the Sunrise." Technically, Alan White's drum solos, often positioned after "Heart of the Sunrise," incorporated tympani and rapid fills to build tension, as heard in the June 21, 1979, Philadelphia Spectrum recording, providing a rhythmic anchor for Wakeman's keyboard interludes. Steve Howe's guitar adaptations shone in "Clap," his acoustic solo from expanded live with influences and audience call-and-response, enhancing the in-the-round stage setup used in many venues.

Personnel and credits

Band members

Tormato featured the lineup of vocalist , guitarist , bassist , drummer , and returning keyboardist following Wakeman's departure after . served as on all tracks and contributed 10-string guitar to select songs, such as "Future Times/Rejoice" and "Arriving UFO," while also co-writing compositions such as "Future Times/Rejoice" (with Squire, Wakeman, and Howe) and "" (with Squire). Steve Howe played a range of guitars—including , Fender Broadcaster, and Spanish guitar—along with backing vocals and on "On the Silent Wings of ," and co-wrote tracks like "Circus of Heaven." Chris Squire handled bass guitar (often using models) and backing vocals on every track, with additional on "Onward" and co-writing credits on "Future Times/Rejoice," "," and "On the Silent Wings of ." Rick Wakeman provided keyboards and synthesizers, including the on "Release, Release," on "Madrigal," and Polymoog on multiple tracks, while providing the original string idea for "Onward" and co-writing "Future Times/Rejoice." Alan White performed drums and percussion across the , contributing to its rhythmic foundation on songs like "On the Silent Wings of Freedom." Damion Anderson provided additional vocals on "Circus of Heaven."

Production personnel

The production of Tormato was credited to the band Yes, with manager Brian Lane serving as executive producer. Recording took place primarily at in , with mixing and additional sessions at in the same city; the engineering team included and Nigel Luby as principal recording engineers, assisted by Peter Woolliscroft and Pete Schwier. The album's visual elements were overseen by the design collective , who handled the sleeve design and photography alongside photographer Brimson, while Roger Dean contributed the Yes logo and Colin Elgie provided graphics. Additional contributions came from arranger Andrew Pryce Jackman, who provided string orchestration for "Onward" and string arrangements for "."

Commercial performance

Chart positions

Tormato achieved moderate commercial success upon its release in September 1978, peaking at number 8 on the and spending 11 weeks in the top 100. In the United States, the album reached number 10 on the , marking a slight decline from the peak position of its predecessor, , which had topped the UK chart and reached number 8 in the . The album charted for approximately 14 weeks on the . Internationally, Tormato entered the Dutch Albums Chart at number 17 and remained for 6 weeks. The lead single, "Don't Kill the Whale," peaked at number 36 on the UK Singles Chart and spent 4 weeks there.
CountryChartPeak PositionWeeks on Chart
811
1014
Dutch Albums (Album Top 100)176
(single)UK Singles Chart ("Don't Kill the Whale")364

Certifications and sales

Tormato received Gold certification from the (RIAA) on October 10, 1978, for shipments of 500,000 units in the . The album was upgraded to Platinum certification by the RIAA in November 1978, recognizing shipments exceeding 1,000,000 units. In the , it earned Gold certification from the (BPI) on September 13, 1978, for sales of 100,000 copies. Estimated worldwide sales for Tormato reached over 1 million copies by 1980, with aggregated figures indicating approximately 1.1 million units across key markets including the , , and Netherlands by later counts. In the , shipments surpassed 1 million as per RIAA standards, though actual retail sales estimates hover around 500,000 to 1 million units based on certification thresholds. The 2004 remastered CD reissue contributed to renewed interest and additional sales, bolstering the album's long-term commercial performance. By 2025, digital equivalents included over 14 million combined streams on for the standard and deluxe editions, reflecting ongoing consumption in the streaming era.

Legacy

Reappraisal

In the and , amid Yes's turbulent lineup changes and internal conflicts following the album's release, Tormato was often dismissed by critics and fans as mere filler material lacking the ambition of prior works. publicly disavowed the album, particularly criticizing its production as a key factor in its failure, stating in a 2015 reflection that it "was potentially one of the best Yes albums but it was ruined by the production." This sentiment aligned with the band's dramatic phase, including Wakeman's departure shortly after, which overshadowed any potential merits. From the 2000s onward, Tormato underwent a positive reevaluation in circles, with publications highlighting its role as an accessible bridge to the band's more commercial sound on . Prog Archives users have rated it an average of 3.02 out of 5 (as of November 2025), praising tracks for their melodic accessibility and experimental brevity amid Yes's evolving style. Reviews in this period often noted its underrated qualities, such as the concise song structures that contrasted with the sprawling epics of earlier albums, positioning it as a transitional work worth revisiting. Among fans, Tormato maintains a , particularly for introspective tracks like "Onward," lauded for its orchestral beauty and emotional depth as a standout in Yes's catalog. Fan polls and rankings consistently place it in the mid-tier of the band's , often between 10th and 15th out of 20-plus studio albums, reflecting a divide between those who appreciate its quirks and others who rank it lower due to production issues. Band members have offered reflective praise in later years, viewing Tormato as a transitional gem that captured the end of Yes's amid creative tensions. In a 2019 Louder interview tied to his Prog God award, described it as signaling "the end of the era" due to the group's "differing needs," yet acknowledged its tonally challenging innovations as a pivotal shift. In the , podcasts and reviews have increasingly highlighted Tormato's environmental themes—such as in ""—resonating anew amid global discourse, framing the album's ecological messages as prescient advocacy in Yes's lyrical . This perspective fills previous gaps in analysis, emphasizing how tracks like "Future Times/Rejoice" blend cosmic and planetary concerns in a way that aligns with contemporary discussions.

Cultural impact

Tormato represented a transitional point in progressive rock, with its comparatively shorter song structures and incorporation of more accessible, pop-influenced elements foreshadowing the genre's evolution toward the 1980s pop-prog sound exemplified by bands like Asia, which formed from key Yes alumni shortly thereafter. The album's emphasis on concise compositions, such as the energetic "Release, Release," aligned with emerging trends in radio-friendly prog that blended complexity with melodic hooks, influencing the band's own shift in subsequent works and the broader scene's adaptation to post-punk commercial pressures. The track "Don't Kill the Whale" stands as an early example of environmental activism in , directly addressing practices amid the 1970s Save the Whales campaign and urging preservation of . Its message of ecological urgency has endured, appearing in modern compilations of environmentally themed songs and discussions of music's role in climate awareness. Within the band's history, Tormato marked the conclusion of Yes's classic 1970s lineup featuring and , whose departures due to creative differences paved the way for the abrupt personnel changes on the 1980 follow-up , introducing and . This shift signified the end of the group's signature symphonic prog era and initiated a period of lineup flux that reshaped Yes's trajectory into the 1980s.

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