YES / Santiago 1994 / 1DVDR

YES / Santiago 1994 / 1DVDR / Non Label

Live at Centro Cultural Estacion Mapocho, Santiago, Chile 20th September 1994 PRO-SHOT

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A full pro shot that can be an “official alternative” to the Trevor Rabin era.
This work is a TV broadcast of “September 20, 1994 Santiago performance”. It is a multi-camera pro shot that is said to be a digitized version of the Omoto Master before the broadcast, and is known as the representative video of “TALK TOUR 1994”. The quality is just official grade. In fact, the freshness and image quality that can be formalized as it is are amazing, and even if you look over the three tours of “90125 YES”, let alone the tour, it is one of the best masterpieces.
However, when it comes to “Is it completely like an official work?”, It’s a little different. I don’t know because there is no local broadcast data, but it is very raw, probably because it was a live broadcast or because it was the source of the broadcast. For example, at the start of the performance. If it is an edited broadcast or an official work, it is about to start playing early, but in this work it takes a long time from the blackout to the appearance of the members. Right now, the “pause” of the members heading to the stage is a real-time feeling. Furthermore, the mix that emphasizes “live performance” is like a live broadcast. The cheers are carefully mixed in the first song, but as the show progresses, there is no cheers during the performance and only “live performance”. In the video, the audience is very excited during the song, but it seems a little unnatural that you can’t hear the voice, but the subtleties and beauty of the musical sound overflow. With edited video, the balance between musical tone and enthusiasm can be produced after careful consideration, but in this work, elements that may interfere with “live performance” are eliminated. This area is like a live broadcast.
As you can see, this work is a little unsuitable for the presence of the scene, but the presence of the performance is perfect. The result is even more pleasing because the concert itself depicted in this work is so wonderful. The final performance of “TALK TOUR 1994” was in Japan, but South America was just before that. For that reason, the performance is as good as it gets, and there is no doubt that it is the final goal of “90125 YES”. The highly complete rock world aimed at by the talented Trevor Rabin, who was also a bandleader, is fully open, and the ensemble that is calculated to one phrase and one chorus while being catchy is wonderful. What’s more, by stepping on the number of venues, even if it is delicate, there is no danger and it will be shown with a preeminent sense of stability. In addition, there are bonuses such as “Perpetual Change” which cannot be heard on the main press 2CD which was the beginning of the tour, and Jimi Hendrix’s cover “Purple Haze”.

YES in the Rabin era when it was official and couldn’t leave its true value. However, its true appearance deserves to be called “one of the peaks of YES history.” It was sophisticated and fun, yet full of beautiful rock. This work allows you to witness the final stage of such “TALK TOUR 1994” with a special-grade multi-camera pro shot. It is exactly the final point of “90125 YES” and the top record.

トレヴァー・ラビン時代の“オフィシャル代わり”になり得るフル・プロショット。
本作は「1994年９月20日サンチャゴ公演」のテレビ放送。放送前の大元マスターをそのままデジタル化したものと言われ、“TALK TOUR 1994”の代表映像と知られるマルチカメラ・プロショットです。そのクオリティは、まさにオフィシャル級。実際、そのまま公式化してもおかしくないほどの鮮度と画質は驚異的で、ツアーはおろか“90125 YES”３つのツアーを見渡しても最高傑作たる１本なのです。
ただし「完全にオフィシャル作品っぽいか？」というと、やや違う。現地放送のデータがないので分かりませんが、生放送だったのか、放送の大元だからか、非常に生々しい。例えば、開演時。編集された放送や公式作品なら早々に演奏に突入するところですが、本作では暗転からメンバーの登場までが長め。まさに今、メンバーがステージに向かっているという感じの“間”がリアルタイム感になっているのです。さらに「生演奏」に最重視したミックスも生放送っぽい。１曲目こそ歓声もていねいにミックスされていますが、ショウが進むにつれ、演奏中の歓声がなく「生演奏」だけになる。映像では曲中も観客が大いに盛り上がっているのに、その声が聞こえないのはやや不自然にも感じますが、その分、楽音の機微と美しさが溢れ出す。編集映像なら楽音と熱狂のバランスも熟考の上で演出できますが、本作ではとにかく「生演奏」の妨げになりそうな要素が排除される。この辺が生放送っぽさになっているのです。
このように、現場の臨場感にはやや不適な本作ですが、演奏の臨場感は満点。その仕上がりが殊更に嬉しいのも、本作で描かれているコンサートそのものがあまりにも素晴らしいから。“TALK TOUR 1994”の最終公演地は日本でしたが、南米はその直前にあたる。それだけに演奏はこれ以上ないほどにこなれており、“90125 YES”の最終到達点に間違いない。バンマスでもあった才人トレヴァー・ラビンの目指した完成度の高いロック世界が全開で、キャッチーでありながらフレーズ１つ、コーラス１つに至るまで計算されたアンサンブルが見事。しかも、場数を踏んだことで精緻ではあっても危うさ皆無で安定感バツグンに披露されていくのです。さらには、ツアー序盤だった本編プレス２CDでは聴けない「Perpetual Change」やジミ・ヘンドリックスのカバー「Purple Haze」のオマケまで付いています。

ついぞオフィシャルで真価を残せなかったラビン時代のYES。しかし、その真実の姿は「YES史のひとつの頂点」と呼ぶに相応しい。高度で楽しく、それでいて美しいロックに溢れていた。そんな“TALK TOUR 1994”終盤を特級マルチカメラ・プロショットで目撃できる本作。まさに“90125 YES”の最終到達点にして頂点記録。

1. Intro
2. Perpetual Change
3. The Calling
4. I Am Waiting
5. Rhythm Of Love
6. Hearts
7. Real Love
8. Tony Kaye Piano Solo
9. Changes
10. Heart Of The Sunrise
11. Make It Easy
12. Owner Of A Lonely Heart
13. Rabin Piano Solo
14. And You And I
15. I’ve Seen All Good People
16. Walls
17. Endless Dream
18. Roundabout
19. Purple Haze

Jon Anderson – Vocal
Trevor Rabin – Guitars
Chris Squire – Bass
Tony Kaye – Keyboards
Alan White – Drums

PRO-SHOT COLOUR NTSC Approx. 147min.