
Circus of Heaven captures Yes at a fascinating crossroads, recorded during their 1979 tour in Quebec.
Unlike their polished studio efforts, this live document feels alive with the grit and unpredictability of the era. The sound is thick with the characteristic growl of Chris Squire’s bass and the shimmering, often chaotic textures of Rick Wakeman’s keyboard rig. It is a recording that values the kinetic energy of the performance over the sterile perfection of the studio, offering a window into the sheer volume and scale of their symphonic rock vision.
How does Circus of Heaven sound next to the rest of Yes's catalogue?
The production is built around live recording than this artist usually allows.
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