Alright...Now then. I had specifically asked DaKillerWolf a question in regards to 'Tormato" and you unmannerly interrupted. O.K. Fine and dandy...by all means. You stated your thoughts and opinions on the question that was intended for DKW. Since I'm such a nice guy, I decided to let it slip by. I will say you made a couple of good points and I acknowledge as such, however when I stated a couple of my opinions and observations you indirectly implied that my statement of "selling out" was political. Nothing but both baffling and baffoonery along with trying to be evasive. So, I'm going to ignore it and put it my back pocket.
To the subject and matter at hand. Some people tend to associate the term "selling out" to financial gains and some people equate it to more than that. Here's a link to a discussion on the very subject awhile back:
http://www.classicrockforums.com/forum/f4/term-selling-out-18640/
My definition/description is on page 4 as I don't like doing things twice. With that in mind and taking 'Tormato' into the equation I will elaborate to corrobarate my claim of Yes selling out on this album.
1976-77-78 saw the likes of Genesis, Supertramp, The Alan Parsons Project and Camel and other prog bands start the transition to more of a prog-pop indictative of the mainstream sound at that time which was dominated in the top of the charts by new wave/art punk/synth pop/power pop/AOR artists like Kraftwerk, Talking Heads, Blondie, Devo, The Jam, The Cars just to mention a few and I place 'Tormato' trying to emulate that sound to stay relevent and even rival and compete with Genesis and the other prog-poppers. I don't hear anything remotely similar to that style and sound on 'Going For One' and even on that matter, though not as apparent as on, 'Drama'.
I don't think Yes had any intentions in "selling out" for financial gains at this particular time as they already had big album sales and successful concert tours. I'd think all members were pretty well off. With 'Going For The One', Yes had it's biggest hit, somewhat surprisingly with "Wonderous Stories" up till that time and gotten the "taste" of a hit single. "Don't Kill The Whale" from 'Tormato', their first single from the album, from what I hear, it's a hit single inspired track.
Suppossedly thier record label had put pressure on the band to release the album in a furry and Yes surely having some clout could have thwarted off the A&R department to allow them more time putting together album thus somewhat not adhering to their high standard of musical integrity.
I will also add that some members tried experimenting with new instruments/equipment on 'Tormato' but from I hear only added to the pompous/lush/lame sound, all be it, I do give some merit for them trying something new.
As far as the sound on 'Tormato', I hear a trite approach as compared to the power from 'Going For The One' and the "heavy" and sometimes metallic edge of 'Drama'. A lush and a poppy "happy-go-lucky" ambient approach that seems uninspired, unconvincing, weak and even as go as far as being painful to listen to. Stereotypical, dreamy, syrupy sound of the trend of the top 40 from 1978.
The band's basic structure is still there though faint and feeble and brings really nothing new to the table. Actually that's not true as they bring a boring, tiresome arrangement and Jon Anderson vocals fall short as compared to 'Going For The One', his best performance on any Yes album IMO.
With inflated egos and alcoholism raging with some of the members it can't but impair judgement, deprive skill and coordination and strip inspiration. With all the hands of the members producing the album it is apparent to some members in retrospect that the production was a mess, compressed and dull and Steve Howe admitting that the band was musically unsure of themselves and that is obvious to me when I listen to this album. A bamboozle.
...have to check.
