Celestial masses with heads up their asses.
- special introductory paragraph!
- Yes
- Time And A Word
- Beyond And Before
- The Yes Album
- It's Love
- Fragile
- Yesterdays
- Close To The Edge
- Yessongs
- Tales From Topographic Oceans
- Relayer
- Going For The One
- Classic Yes
- Tormato
- Golden Age Demos
- Yesshows
- In The Round
- Drama
- 90125
- Leave It 12" Single
- 9012Live-The Solos
- Big Generator
- Highlights: The Very Best Of Yes
- The Word Is Live
- Anderson Bruford Wakeman Howe
- ABWH Dialogue Demos
- An Evening Of Yes Music Plus
- Yesyears
- Union
- Symphonic Music Of Yes
- Affirmative: The Yes Solo Family Album
- Talk
- Endless Dream
- Keys To Ascension
- Keys To Ascension II
- Open Your Eyes
- The Ladder
- House of Yes: Live From House of Blues
- Magnification
- Remixes
- Symphonic Live
- Live At Montreux 2003
- The New Director's Cut DVD
- Fly From Here
Nah, just kiddin'. Truth is: For most of their career, no
matter who was in the band, Yes time and time again delivered creative,
complex, often challenging, and always flaky classically-influenced pop rock
that sounded like nobody else - not even King Crimson, ELP, or Rush (three
weaker bands that they are often compared to). From the beginning, Yes
possessed three special qualities that were bound to bring them equal amounts
adoration and derision from warring rock audiences worldwide. First and
foremost, singer Jon Anderson is a high-pitched goofball elf obsessed with
mysticism, religion, and silly middle eastern philosophy. His lyrics make
little sense, and his sissyish voice annoys a lot of perfectly decent people.
I, however, love him like a brother. A GIRL brother, that is!!! Next and secondmost, Yes always followed
a philosophy of putting the music above the players, which is a nice way of
saying that they tended to replace anybody that they felt was holding them
back creatively. Musical integrity or corporate-minded cold-heartedness?
Your call. Sure did make all the albums sound different, though! Last and
rearmost, although they began as a fairly normal psychedelic rock band, they
soon developed a taste for extended pieces, at one point releasing three
albums in a row with no songs under nine minutes long on any of them. As you
might expect, this sort of behavior turned off many fans and every critic
alive. I think it's pretty cool stuff, though! And after the '70s died away,
they somehow managed a surprising Top 40 comeback that lasted about four years
before they fell apart, reunited, fell apart, reunited and replaced Jon Anderson with some guy they found on YouTube.
- Reader Comments
- lindaleed@earthlink.net (Linda Dachtyl)
Quit picking on Jon!
- sbachini@uk.mdis.com (Steve Bachini)
For me, Yes produced some of the best progressive music going. It was creative,
entertaining, and of course, at times damned difficult. Top musicians in full
flight, the music driving on with each member coming to the fore at different
times. The thing I love is that you can listen to Yes and follow one of the
musicians, then re-listen focusing on someone else.
- strider@redrose.net (David Straub)
I thought I was the only person who could claim to own most of the
discographies of both Yes and Bad Religion.
Yes were great (WERE meaning pre 1980) but personally, I feel some of
the longer (over 15 minutes) "songs" try my patience. Give me "South
Side Of The Sky" and "Starship" any day, though.
And yeah, stop pickin' on Jon! "like a girl brother" yeeeesh.
(However,) no way is Crimson weaker than Yes. KC's personnel changes and stylistic
left turns make Yes sound positively dull to me. I'd never be able to
take a Yes record seriously after a run through Red or Larks'
Tongues. Or even Beat.
Still, I like (most) Yes; I just think there's no match here.
- Blppt@aol.com
First of all, how can you possibly say that Yes are better than Rush- it
isn't even close! Neil Peart is the most talented drummer of all time. Geddy
Lee is the best bassist, and Alex Lifeson can kick the shit out of 98% of the
guitarists who ever lived, including Yes's guitarist. I will agree that
Geddy's singing voice is probably not for everyone, but it is totally unique.
Take Permanant Waves, Signals, Moving Pictures,
2112, or even
the new Test for Echo, and they will kick the crap out of any Yes album.
- lledesma@amag.edu.pe (Leonardo Ledesma)
In the introductory sermon, you pick on Jon 'bout his suave
(feminine?) manners. Maybe he's a girl brother to you, but for me he's a
master and deserves my (and everyone's) respect. I met him some four
years ago, by the way, and he seemed to me a clear and straight happy
man, though not so kind when you talk about certain matters (the Drama
album, among others). Nice guy.
- electric_nl@yahoo.com (Jeffrey Kas)
Yes is also a group I like,but the comparison with
Rush or King Crimson isn't fair, they are all doing
their own stuff and they doing it well.
Yes have their unique approach of composing songs and
the music needs more listening time then others
because of the complex material.
The personel from King Crimson and Yes has common
members like Bill Bruford who played in both of the
groups during the 70's and 80's.
I think that three of the groups: Yes,Rush,King
Crimson are good musicians who deserve a closer look
then a ridicul comparison.
- imoss@northernlight.com (Ian Moss)
Y'know, most of my favorite bands--the Beatles, Pink Floyd, Led
Zeppelin--are pretty mainstream. Time-tested, fan-approved, and
critically recognized. Then there are others, like BOSTON, Rush, etc., that I
love, but I know deep down they're kind of silly, and I will not defend
attacks on their musical integrity too loudly. But Yes--Yes is a different
story. What these guys were doing in the early-to-mid 1970s was
nothing short of revolutionary, and it is my (reasonably) firm belief that this
is the direction in which music not only should, but must go in order to
thrive as a legitimate art form. OK, that's a pretty bold statement
and let me try to explain why it makes sense to me. See, I grew up
listening to the bands that I mentioned in the first sentence there, loving rock
'n' roll and supremely disdainful of all other musical genres. Then, about
a year before I went to college, I got heavily involved in this "music
theory" business and it introduced me to a whole bunch of classical
music. Y'all have to understand that classical music, basically since
it came into being, has been an elitist sort of thing--first it was the
sole province of the Church, and then the European courts made it a
high-class-only affair. You had to take years of training in order to
even understand it, let alone perform or (gasp) write it. There was always
this huge gap between "high" art (including classical music) and "low" or
popular art (which included folk songs and what would now be called
world music). As we came into the twentieth century, the "low" music started
to receive a lot more exposure, and a form that had been driven by
word-(or song)-of-mouth became driven by commercialism. But still the
distinction remained.
The reason I think that Yes was revolutionary is that, directly or not,
they were trying to converge high art with low art. They weren't
subscribing to the elitist notion that notated, stuffy, difficult music
was the only music worth making; yet they recognized the potential held by
rock music when in the hands of well-informed, classically trained
musicians. They tried to combine, often successfully, the finesse of
classical music with the raw power of rock music. To my knowledge, no
other rock band or classical musician has had as much success as Yes
with this kind of fusion.
Their efforts came at a particularly auspicious time for classical
music, too. I took a music composition class this past year, and I got to
listen to a whole lot of 20th-century classical music. Let me tell you
something: it's not fun. These guys were into serialism, atonality, "chance"
music, all manner of far-out, weird stuff. And it sounds like shit! I mean,
it's interesting and all, and there are certainly moments and individual
pieces that stand out, but when I'm cruisin' down the highway in my 1987 Chevy
Nova, I'm not exactly achin' for some Anton Webern, ya know what I
mean? By the '60s, classical composers in America were finding
themselves locked into this ultra-intellectual, ultra-academic mentality that shut
out nearly all possibility for music that had feeling or music that had a
groove. And that's why, as far as your normal housewife is concerned,
classical music basically dropped off the face of the Earth after about
1905. There needed--still needs to be a change. It seems to me that
classical composers would do well to try harnessing the cultural power
of rock music, as well as its technological sophistication. I don't know
for a fact that Yes has influenced a new generation of classical composers,
but I wouldn't be surprised in the least if they have--they've certainly
influenced me. I do know that there's a substantial movement now
(itself divided into several sub-movements) in the composition community to
bring classical music more in line with popular music.
So that's why Yes is revolutionary. Of course, they suck now, but
that's beside the point.
- Nick.Walford@nettec.net
jon anderson sings like a guy with his nuts in a vice. geddy lee sings like
a man with his nuts up his nose.
- Dan804935628@aol.com
YES?? Gimme a friggin' break ,man! Just give me the chance to strangle their
lead singer! This is plain and simple fucking garbage,I don't see how you
could sit through an entire YES album,praise them,and not give a real rock n'
roll band like KISS the respecy they deserve.I meanreally ,are there that
many YES fans out there? I think the fact that KISS is still selling out
shows says it all! Wonder what Jon Anderson is doing these days? Gimme a
fuckin' break Mark,YES is a joke!!!!!!!!!!!!
- RAZachi@aol.com
OK- I don't really feel like spending a ton of time on this, though Yes has
always been one of my favorite bands, but I had to respond to the dumb fuck
that said Rush's Test For Echo, one of the all time worst records I've ever
heard, could possibly hold a candle to anything Yes did before the Drama
album. And no, Mr. Dipshit, Neil Peart is NOT the best drummer of all time.
You've obviously smoked too much dirty brown swag in your lifetime not
to recognize that both Bill Bruford and Alan White drum rings around his
over-rated, cowbell-playing ass. Mr. Bruford, especially.
- blppthome@aol.com (Pat D.)
Actually, i deserved that last guys comments, and i apologize for even
submitting that post. I think that was one of the days when i was arguing
with my Yes fanatic and Rush hating friend Jim and then happened upon Mark
making fun of Rush. Or it could be that i was just naturally an asshole
around that time. Geez. I am so embarrassed at that post that i cannot even
muster up a reply to that other guys' rant. But i still think that Peart was
the best rock/prog drummer who ever lived, and a lot of people (including the
editor staff at Modern Drummer) agree with me. So i beg to differ when he
says Alan White and Bill Bruford could drum circles around Peart's
"Overrated" ass. I dont believe either one of them were voted by the editors
into the top 25, while Mr. Peart was #4. Now, that is not the be all and end
all of drumming, but they sure must have more experience with drumkits than
me or that other guy. At the very least, you cannot say either one of them
would drum circles around him. Nor would i say the opposite since ive
actually listened to a couple of Yes albums since i wrote that comment (it
was a VERY long time ago, gimme a break :-) ) and was quite impressed with
Bruford's playing. But he's still no Peart in my humble opinion.. Which i
guess was what i was trying to say rather crudely before. ;-)
- jeffreykeefe@netscape.net (Jeffrey Keefe)
No problems with Jon Anderson s voice. On the contrary (or, au contraire, to take his
nous sommes du soleil lead), it works well as a musical instrument, carrying the melody in
an agreeably unpretentious and technically unimpeachable manner while the rest of the band
revel in the munificence of Apollo.
The lyrics are the thing. In no sense be it real sense, dream sense or schizoid sense -
are they any good. Nor are they redeemed by being euphonious. Compare, say, to Beefheart
(The Dust Blows Forward n the Dust Blows Back):
There s old Gray with her dove-winged hat
There s old Green with her sewing machine
Where s the bobbin at?
They re totin old grain in a printed sack
The dust blows forward n the dust blows back.
Which makes all three kinds of sense and, phonetically, responds to itself like so many
alzheimic rabbits frantically thumping the pellet-peppered turf at the approach of an
infamously rapacious fox wearing a rabbit-skin hat. In other words, it s poetry.
Now Jon Anderson:
A seasoned witch could call you from the depths of your disgrace
And rearrange your liver to the solid mental grace
And achieve it all with music that came quickly from afar
Then taste the fruit of man recorded losing all against the hour
Which reads like it s come off an arse-spewed tickertape. What s more, no Word spelling
and grammar check underlinings have appeared - a sure sign of literary mediocrity. Try
this spell/grammar check test on a little Shakespeare or Pynchon, for instance, and swoon to
the superabundance of that red-green contrast so beloved of Matisse.
One of the reasons, I think, I get up I get down is lauded (it s also a beautiful passage
of music) is that the lyrics (for the most part) actually mean something.
In the end, however, it doesn t matter. I haven t got much German only a smattering
picked up from Captain America and Nick Fury comics ( Achtung! achtung! and the like) but
I still get the horn listening to Mahler s Das Lied von der Erde. Likewise Close to the
Edge and Tales from Topographic Oceans.
Why no Beefheart, incidentally?
- FAstronaut@aol.com
YES SUCKS! I can't believe you people are serious. Prog-Rock sucks except for
some kraut rock and beefheart. This stuff really sucks. It's like the same as
Genisus and Journey and Styx. It's like they are all the same evil band. It
sucks.
- joseph2145@home.com (Joseph P. McFarlane)
I apreciate everybody's opinions, but Yes has gone through alot of
changes that pissed some people off, but also created new audiences, but
over all they have bonded new and old audiences toghether. My conclusion
is this is a very universal band and they should be treated that way
through the individual thinking of the audience listning to the band.
- Nabbs
I'm getting REALLY pissed off at all the American muzo's(?) who are
forever slagging off a band that have never hurt anyone and yet just keep
doing the things they believe in! AND playing to sold out audiences all over
the world. I get the opinion that you lot think you can slag off anyone who
isn't "hip or trendy" yet you go and vote a complete fucking nerd to run
your overblown country!
Yes are English for Christs sake! So of course their music has more
refinement and sheer brilliance than the copycat bands like KISS ( weird
shit) and those Canadian lightweights Rush.. You only get these guys over
there 'cause our tax system bleeds people dry. If it wasn't for that we
would be keeping them here and treating them with respect!
I cannot for the life of me see what ANY American band has done that's been
original ( and not copied from the UK), so if you don't like class music
then go and pester The Grateful Dead or some other dried up bunch of second
hand retards!!
- briggsh@pacbell.net (Timothy Herrman)
YES is a buncha flowing robe wearing limey buck
toothed faggotty elves. It was Rick Wakeman that was
part of the boycott against A&M records if they signed
the Sex Pistols.Geddy Lee is a ten times better
drummer than Alan White any day. Why was Bruford ever
in this schmaltz waltzing band anyway? Being at YES
concert is like being in the mall with your
mother(yours, not mine)RUSH suck too;except" Fly by
night".
Crimson shouldn't even be mentioned in the same
sentence with either of these lepruchan bands. Though
they did let that hobbit sing on one of their
records--their worst record, of course.
(later)
I meant, "Anthem" not "Fly By Night"; which sucks
buffalo dick.
- hobnailboots@hotmail.com (FC Prates)
Before I go into Yes, lemme just address this obvious piece of written
manure, which couldn't obviously be said by anyone else but a person who
actually wastes their time reading these magazines--I've used to read them
until I smelled something quite disturbing on them. No, I have TP on my
house, thank you very much. And if you're gonna consider Modern Drummer,
Bill GOD Bruford has been voted number one drummer for 34546745467454 times
before, mind you--not that he gave a shit to them.
"At the very least, you cannot say either one of them would drum circles
around him. Nor would i say the opposite since ive actually listened to a
couple of Yes albums since i wrote that comment (it was a VERY long time
ago, gimme a break :-) ) and was quite impressed with Bruford's playing. But
he's still no Peart in my humble opinion."
Ahem, I have a BIOGRAPHY of Rush where Neil Peart ADMITS that he rips off
Billy. The biography was written by the members of the band, mind you.
And let's also put forth a lil timeline in here:
1- Bill, a classically trained drummer, wants to play jazz and enters a rock
band named Yes. But he wanted to play jazz.
2- Bill, tired of the lack of challenge that Yes proposed to him, took off
and met a jazz drummer who was also millions of years ahead of his time and
played a plethora of percussive instruments on a band called King Crimson.
3- Bill, after that drummer split up with King Crimson had to take the task
of TWO drummers, therefore adding a bunch of percussive paraphernalia to his
drum kit.
4- Neil, back then in 1973 was in a WHO cover band, and when he joined Rush,
for the first two albums he played he sounded exactly like a Keith Moon/John
Bonham hybrid. Props to him, but unlike Bill, who always had his own style,
he didn't.
5- So after KC is over in 1974, two years after, there you go: Neil starts
adding lots of percussions to his drumkit. Hmmm...
6- Bill kept progressing and started adding electronic drums to his kit, not
to mention exploring different ways of playing in HIS OWN style, and thus,
he formed his own band in 1978.
7- With the return of King Crimson in 1981, Bill kept innovating, avoiding
the usage of cymbals and using boo-bams instead of a hi-hat--that being just
ONE of the new aspects of his playing.
8- Suddenly, there goes Mr. Neil Peart in 1984 adding electronic drums to
his kit. Hmmm....
I'll say no more. If you're gonna compare Bill to any drummer, do me a favor
and listen to jazz drummers like Elvin GOD Jones, but not prog rock
drummers--or any other drummer for that matter.
I'll review my fave Yes albums later on, but one thing, Mark: I PITY Yes if
you're gonna compare them to King Crimson.
Yes - Atlantic 1969.
Early in their career, the most impressive aspect
of this band was the force and talent of bassist Chris Squire. Clearly a
guitarist relegated to bass duty, he fills this album with an extremely heavy,
note-happy bottom that just pounds away at your little brother even though the
songs themselves are more folky than rocky, for the most part. Three-part
vocal harmonies are all over the joint (as are the band members, I'd bet a
dime), and the singer sounds kinda personality-less; it's obviously his first
time making an album. But the songs are fantastic - as the liner notes say,
they're full of "life, virility, and musicianship." Especially musicianship.
Even here in their first incarnation, every musician sounds like a seasoned
pro. The guitar is thick, with assured solos and jazz noodling sharing the
cabana with confident rock-heavy chord-pounding. Drummer Bill Bruford also
demonstrates a familiarity of jazz technique mixed in there with the usual
rock cliches. And the organ? Well, that's a mighty '60s-ish organ they had
there. No dazzling solos a la Rick Wakeman, but it adds a vibrant throb to
the proceedings nonetheless. And incredibly loud, strong, crisp, clear
production allows you and I, the listeners, to hear everything, and whether
it's the pretty piano balladry of "Yesterday And Today," the improvisational
jazz rock of "I See You," the mid-tempo psych rock of "Every Little Thing,"
the upbeat pop of "Looking Around," or any of the million other influences
tossed into the musical stew they've cooked up here, it all sounds alive,
exciting, and - man, you'll wish YOU were in the band! I know I did; at age
eleven, I taught myself the kickbutt intro to "Survival" on the keyboard.
Along with "The Little Drummer Boy," it's one of the very few songs I still
remember, and still enjoy playing.
Every song on here is worthwhile; the
originals mix lots of different musical styles, and the covers might as well
be originals considering how far Yes has taken the ideas. But I should warn
you. Most of the songs are pretty slow. No "Owner Of A Lonely Heart" here.
Sorry.
- Reader Comments
- Peter Bambakidis
Being a long time Yes fan, I must say that Yes is one of their worst
albums. Let's see, no Rick Wakeman or Steve Howe! Secondly, most of
the songs are written by other bands (i.e. the Beatles). It's called
unoriginality. Let's face it: the best albums by Yes were undoubtedly
from '71 to '72.
- rlewisj@ibm.net (Tom Tebalt)
"Beyond and Before" is one of their best songs, and "Every Little Thing"
and "I See You" are unique and interesting covers.
- tabasco@worldnet.att.net (BOB'S)
Hey man, don't rock the boat. Yes was a good beginning for them. I
loved the song "I See You". It has that jazz beat into it. This album is
obscure like the others. IT ROCKS.
- lledesma@amag.edu.pe (Leonardo Ledesma)
The Yes album is a hell of a good album, more so if it was the
first recorded by the band. As you said, all of the guys seemed real
pros. Kaye's now underrated playing certainly shone and Banks' inventive
guitar work (see I just said "inventive") had a sense of freedom
sometimes missed in the band's career. Someone said that with Peter
Banks and Bill Bruford in the fold a band could easily interwave rock
and jazz. I agree. Although the first single, "Sweetness", wasn't a
terrific one, the B-side and non-LP song "Something's Coming" was a
great recording. Listen to it and you'll find five very creative and
talented musicians in their prime. 9 out of 10? I totally agree with
you.
- stoo@imsa.edu (John McFerrin)
I totally agree with the 9/10. Though I don't think there's any question
that Howe is a completely superior guitarist to Banks, this album still
manages to rule. My fave, surprisingly, is Looking Around. Survival also
kicks ass.
- starostin@geocities.com (George Starostin)
I think that it's no slight accident that the question of Jon Anderson
has been raised in the opening paragraph. Now me, I don't have anything
against Yes in particular, having underwent a serious Yes-training
during the last two months, but I gotta confess: Jon's voice is the
thing that really spoils the picture for me. When I try to get something
out of bombastic, overblown prog tunes, I'm only able to do that when
the bands that do them make them outstanding - leading me on to some
kind of different world, transferring their emotions (be they fake or
genuine), maybe even 'putting a spell' on me. With his high-pitched,
emotion-free, intonationless singing, Jon Anderson isn't able to stir
even a single thread in my soul. Their overlong, grandiose twenty-minute
suites don't move me in the least - just because I don't know what is it
I'm supposed to feel about them. It all seems like robotic, mechanic,
soulless melody-making to me. You're perfectly right that Yes put music
above the players. For me, it's not a compliment. They put music above
everything that makes up true art. They made it complicated,
entertaining and awesome, but they also made it cold, meaningless, and
illusionary. And above all stands Jon Anderson's voice. That said, I
enjoy 'Sweetness' very much.
- stoo@Imsa.edu (John McFerrin)
Well ... I guess I can understand the complaint about Jon's voice. I
guess. Still, as you put it, they made the music "complicated,
entertaining, and interesting" and for me that is enough. I for one am
quite _glad_ that I'm not transported to the fantasy world where Mr.
Anderson resides, as it would probably scare the crap out of me. Besides,
I think you're making a mistake if you look for only one set thing or
things to get out of Yes music; just make up something to get out of it,
and let it work for you. Besides, the lyrics and the singing really aren't
the most important part of the music; rather, they are a fifth instrument,
a counterpoint to the guitars and keyboards, and should be treated as
such. Most of the time, I focus on the keyboards or the guitars instead,
and even when I sing along I have no idea what's being said, nor do I
really care.
Also, Jon's voice is sometimes entertaining to me. Like when he struggles
to hit the "low" notes in The Ancient, or when he sings "the preacher
travels, ASKing to be shown the same"
Whatever. I just like Yes music. It appeals to me.
- cynderelli@techline.com (TAD)
Haven't heard this whole album, just the parts included on YESTERDAYS
and YESYEARS (the 2-cassette short-version of that 4-CD best-of package
I'd like 2 grab someday), but these tracks DO have a nice fresh feel 2
them. My favorite is "Looking Around," which I think would've had a real
chance as a hit single. This early work is also a little silly --
"Survival" is pretty cool: the guitar, keyboards & vocal harmonies grow
on ya, sorta Yes at their embryo stage, if U will. But "Every Little
Thing" is a HOOT! U can tell the guys know it's all just silly fun --
the giveaway 4 me is the guitar riff from Lennon/McCartney's "Day
Tripper" that Peter Banks throws-in right at the beginning. It's like,
how DARE they cover a Beatles tune, yes? & then they wink at U & ask U 2
join in the comedy of it. The afore-mentioned (by another reader)
"Something's Coming" is equally silly & inappropriate (it's from WEST
SIDE STORY) -- & yet, the guys sound like they're having a great time
with it.
So, high marks for the fresh sound & light feel. This stuff is miles
away from the heavy, ponderous, long-winded, overly-complicated Yes
stuff some folks get tripped-up by (including me, sometimes)....
- huckcherry@hotmail.com (Xavier Fabriano)
This would be a great debut if it weren't for one thing - Pete Banks. All
over this album he fumbles on sub-Wes Montgomery jazz noodling and
electrified solos that are worthy of, say, Jorma Kaukanen. He was a three
chord wonder and Yes' music would never be this repetitious again. Forget
what you heard about the "pointless" self indulgence on Tales, the solos
here are some of Yes' longest and most boring.
He wasn't the WORST guitarist, and got in a couple clever bits here and
there, but he was still a dime-a-dozen acid rock guitarist and definately
wasn't worthy of this band. They made a wise move on the third time 'round!
That said, the rhythm section is in good form here and carry the heft of the
instrumental weight. It's definately what gives this album a "progressive"
edge. They (especially Bill) never sounded so powerful again. Jon
Anderson's vocals had a pleasant (and quite unique for the time) jazz sound.
And for the overall sound? They've outfudged Vanilla Fudge with the weighty
psychedelic sound. The covers were interesting, and not TOO predictable.
I'll give it a seven. It's just that guitarist...
- rderby@erols.com (Robert Derby)
I've waited a long time to quote anything about Yes' first two albums.
But now I'm sure where I've heard this kind of stuff before:
Prepare...and don't laugh, but Yes' harmonies sound like...The
Association"! Granted the playing is far more adventurous than anything
done by The Association, but don't those lovely vocals sound like them?
Maybe they should have covered "Never My Love" or "Up, Up and Away"!
I'm not knocking these albums mind you. Whereas I don't like The
Association as a rule, they did have wonderful harmonies. I'll bet a
million ducats the Mr. Anderson and Mr. Squire modeled the vocal
approach upon the icky sweet band. "Survival" is way cool, and the best
indication of the great things to follow.
- imoss@northernlight.com (Ian Moss)
Good but not great, worthy of an 8. If this was the first Yes album I
had ever heard, I might have dismissed them outright, to be honest. It
sounds VERY young, and while the musicians are clearly talented, they are not
a cohesive unit at all at this point. Songs like "Beyond and Before"
seem kind of all over the place. Also, their songwriting had a ways to go:
"Looking Around" and "Harold Land" are rather annoyingly poppy. That
said, there are a couple of songs on here that are precursors to later styles
and REALLY kick ass. I'm thinking mainly of "Survivor," which started the
whole "epic reflections on life" trend that would become their
trademark; and "I See You," an awesome jazz rocker that foreshadowed several songs
on the second album. Those two tracks get better and better each time I
hear them. I also like "Yesterday and Today" a LOT: its simplicity and
sincerity are very infectious, and that little against-the-rhythm piano
riff is just perfect! Anyway, it's definitely worth checking out, just
not one of their best.
- ka_lundquist@yahoo.com
i used to love this album, i was ten the first time i
heard it. they got progressively worse after this one,
prog rock sucks, if it is over three minutes long, i
dont want to hear it. stuff like this drove me into
the hardcore camp which is where i hope i stay. go
amrep r&d
oh, & mark, check out the play guitar in ten minutes
with nashville pussy thing on youtube. make you want
to play chuck berry for the rest of your life.
Add your thoughts?
Time And A Word - Atlantic 1970.
A weak follow-up. It's the same line-up as the
first one, but, in hopes of creating a fuller sound, they've added orchestral
arrangements, a rotten idea considering how talented the band members are.
Piling on strings just makes it hard to hear what Tony, Chris, Peter, and Bill
are doing, darn it! Also, I must admit that the songs are a little dopey.
The ones on the first record sounded mature; these sound like Sesame Street
singalongs ("There's a time! And the time is now and it's right for me! It's
right for me! And the time is now!"). The covers tear, though. Richie
Havens's "No Opportunity Necessary, No Experience Needed" is converted into a
bass-driven acid pop thumper, and Stephen Stills's "Everydays" is a
punk-speed free jazz smash-up (well, the middle part is)! Okay, I've never
heard the originals, but I'm confident that there's no way in Hey that they're
as rousing as Yes's versions. This isn't a bad album, but with silly
minor-key tripe like "The Prophet" and "Astral Traveller" making up the bulk
of the album, where were they gonna go?
- Reader Comments
- monkey37@localnet.com (Scott Moore)
In my opinion, however tragically warped it is, Peter Banks is
not a very unique or talented artist - at least it doesn't show on this
album. There also seems to be a lot of half-baked orchestration that
doesn't quite fit the blues/jazz tone behind some of the songs, nor does
the voice of Jon Anderson. The album seemed to lack originality, and
suffered from a critical lack of outstanding talent. However, there are
sparks of life behind the album, such as Chris's bass, and the good, but
not overly-impressive, drums of Bill Bruford. One track I like
perticularly was "Clear Days," a song that fit Jon's vocal style, and
serves as almost a preview of Yes songs to come, or in some of your
cases, a warning of Yes songs to come.
- keio@usa.net (Keio Sandvik)
Well, perhaps by making mistakes, we find out how to do it right the
next time. See following record. Really strange to hear brass on a Yes
track though.
- tabasco@worldnet.att.net
This album was also decent for Yes's beginning. I wouldn't get this album
right away. For one thing because I don't like orchestral music but I do
like pianos and organs. And another reason why I wouldn't get this album
is because copied off of other bands. "Clear Days" was a total remake of
"Eleanor Rigby". But I do like the angelic sound of Jon's voice. I also liked
Kaye's organ sound on the 6 minute track "Then". I loved the opening music of
"The Prophet", then the singing began. Enclosing my review I give this album
a 7.
- john67@erols.com (John E. Kolata)
Time and a Word is an exceptional second effort. Style is consistent
and the melodies are strong. The part writing also holds up and can be
analyzed to show how it stands up as a complete work. If you know
anything of music consider all the senses within the sense of sound.
Most would think that hearing is limited to sound but there are colors,
and other sensations that can be sensed by ear.
I believe Time and a Word is Silver. The keys used within the album
dictate this as well as guitar tones (very silver) and orchestration.
This predominant color runs through the whole record and is consistent.
All the emotions are wrapped in a shroud of Silver. The next time you
hear the album think of this.
- daniel@fhsk.skurup.se (Daniel Reichberg)
Being a Yes fan since 1990, I've had the advantage (disadvantage?) to
listen to almost all records long after they were released. I've been able
to
compare the records regardless of what state of mind or stage of life I was
in when they were released (I bought them all within a year). The only
thing mattering has been the music. Because of this, I question some of the
"truths" in Yes history, at the same time saluting some things which are
generally regarded as "flops".
One of those "flops" is Time and a Word, which in my eyes is a wonderful
record. Not a dull moment! I agree that the orchestral arrangements are
unnecessary, but they can't hide the very high class of the songs. The
chorus of the title track may seem silly, but it's a strong song, which is
still alive on the live disc of Keys to Ascension 2. My two other
favourites on the album are "Then" and "Astral Traveller", two
masterpieces of the postpsychedelic pop-rock. I can't understand how
someone can ditch "Astral Traveller". It includes some of the mosty ever heard on record!
Maybe this is blasphemy in the ears of older Yes fans, but I listen to
Time
and a Word much more often than The Yes Album and Fragile!
- tomr@ix.netcom.com (Tom *****)
Kudos especially on ""No Opportunity..." However, I disagree with your
opinion on "The Profit" and "Astral Traveller". Bruford really shines on
"Traveller". One of his finest contributions on any Yes Album.
I'd like them to try this album again without the orchestal backing. I
like the version of the title track on Keys II. So they already have a
good start. Many of these songs have been included on unnecessary
compilations. How many times do they think they can sell those songs?
Try re-mixing the whole album. Now that wood be interesting.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Time and a Word may not be the most popular Yes album, but it is
actually a good one. 7 out of 10, maybe 8, is what it deserves to me.
Sure, the orchestra didn't fit well at all (its very inclusion was a
mistake in some extent, but put Yes in the then-selected list of the
(prog) bands that recorded with a symphonic orch). But the first track,
the Richie Havens one, gave Chris much of his reputation 'cause Eddie
Offord (who didn't like Banks much in the first place) put all the
volume on the bass and ignored much of the guitar. Is not Pete's fault
that he showed little skills with the axe, it's just that between the
orchestra and the engineer he hadn't had much chance (check on "Astral
Traveller" and "Everydays" and you'll find that Pete and Tony were
second to none). Curiously, the Squire favourite "Dear Father" was
relegated to a B-side (and I can't hear Pete in there, by the way).
Another fault of this record was the presentation: an ugly paint in the
Brit edition and a ridiculous photo with Howe instead of Banks in the US
one. If you want to hear these boys playing -without the orch- then hear
the new released Something's Coming (BBC) album. It makes a
difference.
- stoo@imsa.edu (John McFerrin)
Kinda mediocre. I don't really even like the title track that much, as I
much prefer the KTA2 live version more. But MAN, that opening track KICKS
ASS. The opening organ throb is like starting up the ignition for just a
terrific song. And that bass! That song alone makes this album worth it. 7
- cynderelli@techline.com (TAD)
"No Opportunity Necessary" is ... bizarre. The orchestration is probably
the most melodramatic, overblown use of strings since an orchestra
ruined Barclay James Harvest's "Mocking Bird" (a decent little song til
the orchestra came in & thrashed all over it). But even without the
strings, Yes covering a tune by Ritchie Havens is ... pretty strange, ya
gotta admit. The Yes guys R about as far as U can get from what folks
would call "soul." & what Jon Anderson gets to sing -- "Can tell ya
mama/she'll only tell ya/that she told ya so...." It's all gotta B a
joke, I don't know how else 2 take it. But it sure gets yr attention, &
the guys sound like they had a great time ... except 4 Bing blown off
the stage by the orchestra.
As 4 "Time and a Word" itself, well, I like it. Cute, catchy chorus.
Coulda gotten em some AM radio airplay. & the cleaned-up version
included on the YESSTORY cassette doesn't make the strings 2 loud. Gives
the band a little more punch, like they shoulda had in the beginning --
& highlights the great organ work by Tony Kaye, specially at the end.
So, overall: Modest, simple, but OK. Haven't heard the live version....
- imoss@northernlight.com (Ian Moss)
Oh gosh, do I really have to disagree with just about everyone here? Yes, yes, I believe I do. When I bought this album a few years ago, I had pretty low expectations. It was my first "risky" Yes purchase (i.e., not The Yes Album, Fragile, or Close to the Edge), and I basically got it onlybecause I liked the song "Time and a Word" which I had heard on Highlights: The Very Best of Yes. I'm going to come right out and say that this
has got to be one of the most underrated albums ever put out there. The orchestral arrangements are perfect! The songs are perfect! (Well, okay, except for "The Prophet.") The playing is excellent! Let's get back to the orchestral arrangements for a sec. Everyone seems to be saying that "No Opportunity Necessary, No Experience Needed" is a kick-ass song. And I agree! But it's the orchestration that MAKES it kickass!!! I mean, come on, are you trying to tell me that your butt is tingling from the "Can't tell your mama" part? No, no, no--it's that opening wall of strings and brass that is so striking and so COOL. But that doesn't even begin to scratch the depth and wonderfulness of this record. Let's consider the
second and third tracks, shall me? "Then" is a great song that evokes equal parts mystery, bombast, and grooviness. The flow of this song is just incredible, the way it seamlessly flits back and forth between different moods. "Everydays" is even more groovy and mysterious, and another example of the orchestration helping. That string quartet at the beginning making the weird noises? Very cool. Then you got the "well well well...another day" part which is just smoother than smooth, and all of the sudden it breaks into this incredible jazz-rock-improv-craziness! More about that later. My other favorite song on this album is "Astral Traveller," one of the least orchestral and most far-out tracks. The chorus is very
exciting, and I love that doot-doot-doot-do-do guitar figure in the beginning and especially at the end when it's TOTALLY out of rhythm with the bass (I can't even figure out what the hell kind of time signature they're using there!). Even the poppy crap on this album ("Sweet Dreams," the title track) is awesome poppy crap. Aaah, it's SO GOOOD!!!
OK, here's something to think about. One reason that I love three of these songs ("Then," "Everydays" and "Astral Traveller") is that they each feature these jam-breaks. But they're not just guitar solos, see, like a NORMAL band would do. These are WHOLE BAND solos--everybody's soloing at the same time!!! Now, in modern rock music, you generally have everything pretty much moving at the same time; or most often, you have a rhythm section that plays a chord sequence, over which you hear a melody, and maybe variations on that melody. But you almost NEVER get the bass and organ and guitar and everything else acting COMPLETELY independent of each other! You only get that in two places: Baroque classical music, and free jazz. Baroque music too often sounds staid, and free jazz too often sounds like warring clans of pregnant raccoons. The very reason that I love Yes so much and that I think they were revolutionary is that they could do weird-ass, daring shit like this and PULL IT OFF! Listen to the solo in "Astral Traveller." That's THREE SEPERATE LINES going on! (I apologize for my excessive use of capital letters...) There's no way that wasn't planned out beforehand, but it's so intricate! Now listen to "Everydays" again. That might have been improvisation, but it's so tight, so cohesive that it makes me wonder.
I think I'm going to restrain myself and still give the 10 to Fragile. After all, there's nothing on here that can quite compare to "The Fish." But this record comes damn close. I mean DAMN close. Anyway, you should seriously check it out. I can see how it would maybe piss some people off, but there's no way in hell that it's "weak."
Add your thoughts?
Beyond And Before - Purple Pyramid 1998.
About three decades after he got his ass kicked
out of the band for being too shitty, guitarist Peter Banks bitterly released
this collection of awesome BBC Sessions, TV appearances and such from his
years in the band. It's got 18 great tunes (though six are featured twice,
so that really only makes 12 tunes), no orchestras and a cool song you've
probably never heard called "For Everyone". The Time And A Word tunes
minus orchestration are unfortunately not the revelation I'd hoped they would
be, but they're still really cool. Just...man, the SONGS were so cool! And
you'll get a major kick out of "For Everyone," as it features a classic Yes bit
that would later be resurrected in a different tune. Hear it for yourself!
In summation, Beyond and Before features alternate versions of a ton of
great early Yessongs, as well as hilariously scathing liner notes from pissy old Banks (who delicately
pens such heartfelt lines as "My successor, Steve Howe, may delude himself with
the myth that Yes started and ended with his involvement; I know that he
does not shake hands with people and in his case, I would certainly endorse
his policy" and the classic "With critical hindsight, I would say that most
of the early compositions were definitely group composed and I will not
pretend that this is not a sore point with me. I stupidly assumed that it was
all Yes music and the Great God of Royalties would smile benignly on us all
in equal measure"). Whatever, Pete. It was half a lifetime ago. Grow the
fuck up. And where could Yes go after tossing out the bitch?
- Reader Comments
- John Sieber
Why no love for "Something's Coming"? It's not just you, Prindle - Yes hasn't played this monster of a song in over 40 years! As I've re-discovered their classic albums, and fallen in love with this track, I've come to realize just how much of a travesty has been committed in the rock world, that this upbeat, harmony-driven showtune be thrust into the dark cellar of Yes' history and locked away forever. I mean, they started playing South Side of the Sky, Tempus Fugit and even We Have Heaven again, why not Something's Coming? I smell a conspiracy, Alex Jones style!
Add your thoughts?
The Yes Album - Atlantic 1971.
To a new guitar player, that's where! Peter Banks
was no slouch, but he didn't come close to matching the ungodly talent of
self-taught, bad-toothed classical virtuoso Steve Howe, who scatters amazing
riffs, sounds, and solos all over this here six-song release. The guitar tone
isn't as thick and satisfying as Peter's was, but man does Steve play the crap
outta that poor wooden thing! Just listen to his acoustic solo piece, "The
Clap." Recorded live? ONE guitar? NO overdubs? That's pretty darn
impressive pickin' there, homey! And the rockers? Fantaaaa! The songwriting
is much stronger than on the last album, and the emphasis is on creating
longer songs with several different overlapping melodies that complement and
contrast each other under the high-pitched flowery vocals. Grand stuff.
You see, this is a band that thinks. The chord sequence to the "Speak to me of Summer..."
section of "Starship Trooper," for example - it sounds obvious, but it's
simply not! Nobody has ever played that sequence before! It's unique
but perfect! And what about that weird part near the end of "Perpetual
Change" where all the instruments start playing that same exact herky jerky
melody so it ends up just sounding like one big weird electronic instrument?
That's creativity and talent and practice and all those other important
qualities that so many bands, both then and now, sorely lack. Yeah, punk is
cool, but so is genius. And this stuff is pretty genius. Certain parts are
simple and poppy, sure, but most of it is so wonderfully unique that - well,
you don't hear of too many bands doing Yes covers, do you? No. And there's a
reason for that. Nobody can play Yes songs.
My only complaint is this. It's a little too happy? Is that okay to
complain about? I just feel like I'm dancing in Fairyland at certain points.
That's all. Maybe that's why I like the dark, jazzy, largely ignored "A
Venture" so much. Maybe that's why I like you so much, you dark, jazzy,
largely ignored cutie. So! Now that they've got Steve Howe, and their
songwriting is at its strongest ever, where are they gonna go now?
- Reader Comments
- monkey37@localnet.com (Scott Moore)
I enjoyed Steve Howe's guitar work and marveled at his live solo track.
The songwriting was excellent, and ALL the songs were great, no matter
what people say about "A Venture." Tony Kaye came a long way in a short
time. His organ solos were excellent, and his use of moog synthesizers
amazing. It's hard to tell how far Kaye could have progressed and how
good he might have actually gotten if he had stayed with the band. Jon
Anderson is excellent on this album, and the tone is NOT too light. The
lyrics take some getting used to, but can still be enjoyed. Good music,
good band, good album.
- sbachini@uk.mdis.com (Steve Bachini)
This album got me into Yes, one listen at someone's house and I had to have it.
Need I say more? It sounds so fresh, was it really recorded in 1971? The
perfect album to start with, just look at the number of tracks that remained
in the live repertoire. And I love the much underrated "A Venture."
- strider@redrose.net (David Straub)
I'm with Steve B., this is the stuff the really got me into them, or at
least the things from this on Classic Yes. The frenzy that Howe works
himself into when doing "The Clap" on the Yessongs film is a thing to
behold. And I like "A Venture" too!
- sod1995@ix.netcom.com (Stephen Odell)
This was my intro to Yes hearing these songs for the first time at
Gaelic Park in The Bronx, N.Y., in July 1971. Yes was the 3rd act to
Humble Pie and Mountain. Had never heard of them,(I was really there to
see Mountain), but never paid so much attention to a warm up act. They
played virtually the entire Yes Album and blew me away. I purchased
the album the next day, and it stayed on my turntable uncontested for 6
months.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
I agree with your review completely on this one. It's a
bit too happy, but I love it anyway.
- pcahill@eniac.seas.upenn.edu (Patrick Cahill)
This is the beginning of true Yesmusic. With the addition of Howe, I
think they really solidified their trademark sound and writing style.
I'm not a big Kaye fan, but he did what needed to be done on this
particular record, and whatever lacked in keyboards was more than made
up by Steve Howe. "The Clap" is an unbelievable performance! Good
rating. I think this album is a bit raw and jagged as opposed to later
albums, but that doesn't detract from its place as a classic Yes work.
- wallison@pnc.com.au (Warwick Allison)
I agree, "A Venture" is a good (very good) song , but everyone keeps saying
it's "under rated" so much that I'm
beginning to think it's a bit over rated.
- Glenn.Wiener@entex.com
A fine collection of progressive music. Boy that Chris
Squire could play a mean bass. And what a soprano on that John
Anderson.
- jsmartin@rocketmail.com (Jon Martin)
This has to be the best Yes album of
all. Each track is very original and shows how well
they can all play. Of all the tracks "The clap" is
slightly tedious after a while and the
overated/underated "A Venture" is outshone by other
tracks. "Wurm" in "Starship Trooper" has to be one of the
best bits of Yes music ever. Overall all the tracks
are good and you never seem to tire of them.
- tabasco@worldnet.att.net
WOW!! One of the greatest albums in early Yes. Chris really has control
over that bass. Steve Howe can really play that guitar considering the fact
he was only 23 years old. A great opening 10 minute track called "Yours Is
No Disgrace", Steve's kick ass solo track "The Clap", the awesome stereo sound
of "Starship Trooper", the spectacular sing a long of "I've Seen All Good
People", or take a mystical "A venture", I don't know why "Perpetual Change"
didn't make the Top Charts. That had a lot of good quality put into it. My
favorite bands are Yes and Pink Floyd. If anybody doesn't agree with me
speak up now.
- dembones@pond.net
A little opportunistic at times, but no one can argue its importance to
the band OR to rock music.
The cover used to freak me out as a little kid.
- CMBurns104@aol.com
The Yes Album is incredible. But Tony Kaye sucks. A lot.
- tomr@ix.netcom.com
After several (I mean like 20!) of not listening to Yes. (A much needed
vacation after 8 years of total Yes immersion) This was the first album
I re-bought. Small wonder. It has always been one of my favorites. There
isn't a weak moment on the entire record. I especially like Chris' bass
on "Starship Troopers". But so far I have seen no mention of "I've seen
all good people" The Band really jams towards the end of the song both
on the original and on the YESSONGS version.
And yes, I like "a Venture" too. I'm not sure why...
- lledesma@amag.edu.pe (Leonardo Ledesma)
The Yes Album was the groundbreaking record for the band (hence its
title). By this time Tony Kaye showed noteworthy progression as a
musician and key figure in the band, as the big central photo in the
vinyl album shows. I think the fact that all songs were original was
another sign (they left aside a cover of "Eight Days a Week" among
others). "Clap" is OK, totally unexpected between the longer and much
complex songs Yes ever produced up until then. And yes, "A Venture" is
an underrated jewel (showing again good playing by Kaye). Howe fitted
completely and Squire's role as composer is bigger this time. Is one of
the very best Yes (and rock) albums. 9 out of 10 is fine.
- markwendt@hotmail.com
Bands often name their first major label LP after themselves. But their
third? Why? Perhaps because Yes realized that not only were they still
introducing themselves to the marketplace, they were also just beginning
to discover their definitive sound and direction.
'Perpetual Change' aptly set the stage musically for what was to come in
later years. Ironically, the title forshadowed the infamous
revolving-door line-up policy that continues within their ranks even
unto today!
'The Clap' made crowds want to everywhere they went!
Wonderful record!
But too positive? No way.
Am I sure about that.
Why of course, I'm positive!
- tabasco@worldnet.att.net
Well i finally got Beyond and Before: the BBC Sessions. It's good. I
never heard Yes live in the 60's. They sound pretty good. Some of the songs
are on twice say like "Somethings Coming" and "Everydays". "Everydays" sounds
crappy without the orchestra. "Every Little thing" sounds the same. Has any
body ever heard of the track "For Everyone". Damn it's good. It surprises
me a lot. Sounds like something The Beatles would write. Plus it has the
"disillusion" part of "Starship Trooper". Plus it includes liner notes by
Peedy Banks. So Yes if you're reading this tell peedy and Tony to get back
here ok. Later men
- TwoPax@aol.com (Nathan Lowe)
Hey, buddy, we finally agree on this one! I think you gave a PERFECT review
for The Yes Album. This for me was the album that really got me started on
Yes (along with Fragile). Like others have pointed out, this album shows the
seeds that had finally sprouted in their work. Sure, their first and second
album were great, but I don't think it was the YES sound that we all think of
when we speak of the "classic" Yes sound. This album really was the first to
display the qualities that we love so much about Yes: the deep, progressive
melodies, the GENIUS chord progressions, the incredible playing of Steve Howe,
and the strange, mystical lyrics that Jon wrote when he was floating in space.
These are just some of the many; I do not need to point that one out. I may
disagree with your reviews of the later albums, but I think this one is right
on. Hey, we all have our own opinions right? That's why it is so great when
we find something that we agree upon.
- stoo@imsa.edu (John McFerrin)
Terrific, terrific album. Side one is almost perfect. All Good People
irritates me a bit, but only slightly, and is more than made up for by A
Venture and Perpetual Change. Definite 9.
Oh, and about the Kaye/Wakeman comparisons, here is my 2c. I believe that
at this point in the history of Yes, Kaye's keyboards were not a negative
effect on the band. They weren't a huge positive either, but they didn't
hurt the band, and if anything forced Bruford to grow and Howe and Squire
to do their thing. But, it was necessary for them to acquire Wakeman if
Anderson's true vision of merging classical and rock was to come true.
What truly distinguishes the next few Wakeman/Moraz albums is their
ability to, if you will, "cast a spell upon me," but that only happens for
me to full effect when the keyboardist is flaunting his stuff. And Kaye
lacked the ability to that, imo. I'm sure he had sufficient technical
chops to make it sound almost as good, but he had no _flare_, no style. He
just played what he was asked to play, rather than writing his own solos
for the most part. Now, in some bands, that would be optimal; I've
believed for a while that Kaye would have been a perfect fit for the Moody
Blues when Pinder left, as he would have been perfectly willing to stay
low key and play what was asked of him, as opposed to Moraz who would do
his flashy sleazy keyboard thing in an entirely inappropriate manner
during their shows. But Yes is another matter; Yes needs every member to
have some sort of panash in order to be its best.
- michael.blume@gte.net
I'm with you 100% on this one. THE YES ALBUM kicks off with a great
song called "Yours Is No Disgrace" and the track, "A Venture," definitely
deserves full attention from Yes fans because of the dark melody and
pretty-damn inspired lyrics that makes the song so god-damn unique, but it's
totally underrated. "Perpetual Change" serves as a loyal, perpetual closing
for the album. Indeed! This album is also one of the most sophisticated and
complex albums that tends to be pretty-damn jumpy. Oh yeah, one more thing.
This is one of the many Yes albums in which Steve Howe is at his best. This
album deserves a 9 out of 10. Superb, awesome, mind-blowing, rockin', and one
of the most fun albums ever!
- cynderelli@techline.com (TAD)
This should start an argument: "Your Move" was the 1st Yes track I ever
heard, over the radio at age 12, & it always sorta ticked me off that
they took this perfect miniature piece, a gorgeous combination of music
& not-quite-meaningful lyrics with a perfect ending ... & spent the next
4 minutes slamming people over the head with that "I've seen all good
people turn their heads each day so satisfied I'm on my way" riff. &
yes, there's some good stuff there, 2, great Howe guitar, 4 1. MayB it's
the heavy contrast with the overly-delicate "Your Move" that makes the
combination work 4 so many other people. But I always thot it was
stupid, & I own half a dozen of these guys' albums....
- dchetson@iname.com
Okay, guy. Great site, interesting reviews (if sometimes too wordy). But
what's with the Prog-rock fetish? Will we be seeing Marillion (sp?) reviews
up there soon, too? God help, if we do.
Here's my view of things, which relates to your page on Yes (and other
prog-"rock" groups). Bands should have a really compelling reason to craft
songs longer than 5 minutes and definitely longer than 9. Example: Jane's
Addiction's Three Days. They get away with it because the bass line drives
the whole song to furious crescendo that has a point.
But rambling songs filled with lyrics about dwarves, magic, evermore,
xanadu, "mystical" places and dungeons and dragons-type bullshit don't work.
And that's the problem with prog-"rock" - these guys are all dorks who
would be playing D&D if it hadn't been for corporations which in the 70s
knew they could make beaucoup bucks off these bands. (And when I was 11, I
played D&D, so I know what I'm talking about)
Now, that's not to say that Yes didn't have one or two catchy songs. But,
giving 9 stars to an album that has "Yours is no disgrace", a boring,
go-nowhere, tinny-sounding, "Battleships confide in me and tell me where you
are/Shining, flying, purple wolfhound, show me where you are"- what da?
This is dried-ice, corporate rock. This is crap. This is not what Mr.
Berry and Mr. Holly had in mind. This is why Mr. Lydon thought he was
killing rock n roll when, in fact, he was reviving it. Rock is rebellious
dance music.
Also, if you don't move up your rating on Give Em Enough Rope...
Tommy Gun? Come on, guy. The greatest post-Beatles band.
- richbunnell@home.com
You know, reading through this page, I'm getting the
impression that had Jon Anderson never written the lyric "Shining flying
purple wolfhound, show me where you are" he'd be regarded as a lyrical
genius, but that ONE lapse completely destroyed his credibility. Also,
how come people who don't like Yes absolutely despise Jon Anderson's
guts and wish his rotting carcass would be torn apart by hungry, rabid
vultures? I mean, I can understand not liking the band, but unlike when
people normally don't like a band, the dislike I've seen towards
Anderson has just been complete and utter HATRED, like the fact that his
voice is an octave higher than normal (and still about 500,000 octaves
lower than Geddy Lee's) is a crime punishable by torture or something.
Anyway, I like this album quite a bit and I agree that it's definitely
9 material. In fact, I
like every song EXCEPT for "The Clap"-- scoff at me if you will, but I'm
just not the kind of person who's completely dazzled by listening to
someone's great guitar technique; I need some MELODIES, perhaps an
actual SONG to showcase those techniques. I agree that Steve Howe can
play the thing and play it well, but I'd much rather appreciate it in
the context of "I've Seen All Good People" and "Yours Is No Disgrace"
and all of the other great complete SONGS on here. Everything else is
perfect in every possible way imaginable. I agree that "A Venture" is
excellent, even though after the praise it's gotten on here it can no
longer be called "underrated" in any way.
- matt43561@yahoo.com
Just for the record, I'm from New York....probably
whoever might read this could care less. Anyway, I am
by no means a Yes fan. In fact I don't like a single
thing thing they've ever recorded, except for "Yours
is No Disgrace". I LOVE that song. I mean I actually
own one Yes album, (The Yes Album) just to listen to
that one song. My favorite bands of all time are The
Who, Led Zeppelin, and Nirvana to give you an idea of
where I'm coming from. I think "Yours is No Disgrace"
has three great qualities: first, excellent
musicianship, second, the lyrics are strange and
mystical but not pretentious and nonsensical, like
most Yes lyrics (the few I've heard, to be fair).
Lastly, there is an earnest, very seventies/sixties
kind of soulful humanity to the song. I later read
that the band said the song was about the boys who
were forced to kill and die in Vietnam...basically it
wasn't their fault that they had to fight. They had no
choice, really. A very melancholy, soulful masterpiece
from a band I don't normally like at all. I imagine
other people have similar feelings about a song or two
from a band they normally dislike.
- RichardMelchior@aol.com
Who cares about the damn "purple wolfhound" line? I couldn't give a rat's ass
if Jon was singing the lyrics to Mr. Roger's Neighborhood - Yours Is No
Disgrace would still be the grandest, most glorious song ever written. If
this song had existed 30 years earlier, our boys would have kicked Hitler's
sorry ass a lot sooner just by being pumped up by THIS SONG.
And that's the magic of Yes, really. Yeah, the lyrics are a horrible read,
but they're really just another element to drive the song - a fantastic
journey beyond this depressing mortal coil. And if liking them makes me a
D-and-D playing (which I never have, by the way) dweeb, then send me my
patented Yes pocket protectors.
- ratkinson@epicrealm.com (Ryan Atkinson)
Man, I hate Yes and I still like this record as much as a chocolate
covered Oreo. If there's any of you folks trying to finger out where to ease
into prog rock without getting too much chest hair in yer beer (visual:
cover of ELP's Love Beach heheh) this is definitely the way to go. Very
impressive songs here, most of them rock in a real solid way, and the end of
'Starship Troopers' gets me giddy like I just won front row seats to a
Spiritualized/Radiohead double bill.
- imoss@northernlight.com (Ian Moss)
Surprisingly, half of the tracks on The Yes Album don't do very much
for me. I agree with Rich about "The Clap," "I've Seen All Good People"
has always vaguely annoyed me (and actually, before I got into Yes I
thought it was a Boston song), and "Perpetual Change" has a little too much pomp,
circumstance, and repetition for me to take it that seriously. I
remember reading a comment somewhere (I had thought it was this page, but I
guess not) that "Perpetual Change" "certainly lives up to the first part of
its name." But the other three songs are just unbelievable! "Venture" is
very cool, and the twin 9-minute epics, "Yours Is No Disgrace" and "Starship
Trooper," are exceedingly well constructed. The "Wurm" part from
"Starship Trooper" ranks as one of my favorite musical moments (well, if four
minutes can be called a "moment") in existence. The rest of the song is pretty
awesome too. And I love that bass line with the lilting melody in
"Yours Is No Disgrace." An undisputable classic, even if side 2 is a little
weak.
- poulos1949@email.msn.com (Lou Poulos)
The Yes Album is a landmark recording. Strong songwriting, muscular
rhythm section, beautiful harmonies - what more can you ask for? Highlights?
How about "Your Move?" Who doesn't love that?
Sure, Tony Kaye is no Tony Banks, but he plays solidly. Squire
redefines electric bass sound, Bruford changes the way a snare is recorded, Howe
reintroduces guitar to the rock world. I've listened to this record a
million times and it makes me feel great after each one. Sure, it's
got a happy tone to it, and that's great. Want something darker and more
serious, try Close to the Edge. And turn it up!
- tommy_chuck@hotmail.com (Tom Marshall)
In a way this is Yes in their raw brilliance: no Wakeman and no underlying
concepts (I think!): just Yes. I think this is Steve Howe's best album.
There was no really brilliant Keyboards about (Tony Kaye: wonderful organ
sound, but a joke next to Wakeman or Moraz!) and so he dominates here. I
also think that Anderson sings at his best here ("Speak to me of summer" -
beautiful!) and that 'Yours is no disgrace' is probably Yes' finest song
after 'Close to the Edge' and 'Gates of Delirium'. A 9/10 because 'A
venture' does nothing much for me.
- robchaundy@yahoo.com (Robert Chaundy)
Kind of pointless to swim against the tide, but this
one really isn't THAT good. Good naturally, but just,
well, not THAT good. Side one is indeed a revelation,
the satisfying sound of potential being fulfilled: the
two long 'uns are just brilliant, and 'The Clap' is
some well-sequenced light relief. And as for that
shining, flying, purple wolfhound chap... surely the
inspiration for the winged dog in 'The Neverending
Story'? I like to think so.
But side two is just ponderous. I may be the only
person in the world who dislikes 'All Good People',
but so be it. Likewise, 'Perpetual Change' just
refuses to stick; it would remind me of 'On the Silent
Wings of Freedom', if I could ever remember how that
goes either.
And can I say a word in support of Mr Tony Kaye? He,
like Banks before him, was not an egomaniacal virtuoso
- he was a team player, and in a band like Yes that
often makes the difference between a Starship Trooper
and a Topographic Ocean. Yes were at their most
musically dazzling between Fragile and Going for the
One, but their bouncy, heavy crunch - pretty much the
last thread connecting them to rock 'n' roll - went
out with Tony Kaye and only really reappeared with
Geoff Downes. In between there was just no one there
to lay down a groove. Such a shame the dazzle and the
crunch never really crossed paths.
- watta502@yahoo.gr (Akis Katsman)
Oh man. What an album! A highlight in the progressive genre. "Yours Is No Disgrace" and "Starship Troopers" are real gems. And great melodies, too. You won't be disappointed by this album at all, even if you aren't into 'prog' music. Sure it's a nine. Get it.
- njames@nustats.com (Nathan James)
Finally a review i agree with(notice i wont even entertain the ridiculous 'frank black was more creative in the pixies' conversation). 'a venture' completely rules and nobody is ever nice to it. im saving the remaining yes reviews for tomorrow. if you actually give 'tales from topographic oceans' the high score it deserves i will temporarily convince myself you understand good music sometimes.
- alexmortland@hotmail.com
"I've seen all good people turn their heads each day so satisfied I'm on my
way":
I think that this lyric is about how relieved the rest of the band are when
Jon leaves the room.
7/10
- munsey3@comcast.net
Um, just as a side note here, as to "nobody can play Yes songs" One of the bands I was in back in my college days -- a band called Snydus -- did actually play a few Yes songs, and we did so reasonably well. You know it was reasonably well by the great success we eventually attained. Wha? you never heard of Snydus? Anyway, Roundabout comes immediately to mind cuz it was a bitch to play for all involved. For anyone attempting this in the modern age please be advised we did have a female singer who sang most of the Anderson vocal parts...
- Preston Camp
This is my favorite album by Yes. I think it's the perfect mixture of complexity and melodies. Also, it's possibly the best "guitar album" I've ever heard. What's so amazing about Steve Howe is not his skill, but his tastefulness. People go on and on about how technical "The Clap" is, but the real amazing thing is the composition. Think about it: I bet you only had to listen to the song twice and you could remember most of the melodies, right? I can conjure them up in my head right now, and I haven't listened to "The Clap" in like a year! That's the definition of a good song, innit? One of them, anyway.
I really like that you mentioned the chord progression in the "Speak to me of summer..." part. You are right, and I never would have noticed it without your help! You just deepened my appreciation of this song. Cheers, sir!
P.S. "Wurm" is probably my favorite piece of Yes music ever.
Add your thoughts?
It's Love - Bootleg 1971
Announcer : Hi there and welcome to Gaelic Park. We'd like to welcome some
very unique talent from Britain, please welcome Yes.
(*band performs "Yours Is No Disgrace"*)
Steve Howe : Thank you!
Jon Anderson : Thanks a lot, thanks a lot. We'll do a little bit of change
of scenery. Steve's going to do a quick tune-up and then get on with the
vachalia, which is like a Portuguese monstrosity for thrashing with your
bare hands and uhh, we're going to do a song - it's a song for that young
lady that I was speaking to before, bless her. Right on. It's nice to be
here. Our..our light man's got a real easy job tonight. Yes, beautiful.
We're happy to play outside -- we haven't played outside for so long.
Here's a song called "Your Move" and the second part is "I've Seen All Good
People".
Mark Prindle : You just used the phrase "Right on" in your stage patter.
(*band performs "I've Seen All Good People"*)
Jon Anderson : Thank you! Thank you.
Steve Howe : We've really got some competition tonight with the wind here.
Mark Prindle : From the sound of it, it blew your drummer and organist
clear off the stage! Are you sure this whole set isn't just you, Jon and
Chris having a jam session in a closet?
Jon Anderson : Uh, we've been thinking about this next few minutes where -
for the last couple of hours in fact, and, uh - it's just about the time
that we're going to introduce Steve to you here. Yeah, the twelve minutes
past eight train is going to back up here, gotta do and uh... Steve's going
to play some acoustic things for you. So, alright. Yeah, here's Steve.
Yeah. Here's a few things called "The Clap".
Mark Prindle : You're high, aren't you?
(*Steve Howe performs lengthy guitar solo incorporating "The Clap" and
Mason Williams' "Classical Gas"*)
Jon Anderson : There you go folks.
Steve Howe : Thank you!
Mark Prindle : That's awesome that you played a live rendition of a song
that appears on The Yes Album in a live rendition. Having
said that, "Classical Gas" was a nice surprise. You won't find THAT
anywhere in the legitimate Yes catalog!
Jon Anderson : There you go. Steve Howe.
Steve Howe : Well, we might have one more to do this evening. It's bit of a
long song, so hopefully it keeps you satisfied. This is another track.
Right on, yeah. We're just checking a few, uh, funny things like this
synthesizer deal. It really is nice to be playing like, you know, this kind
of side of the country again - really fine. Thanks especially to Howard
Stein, somebody we like very much; he's promoting us tonight. We'll carry
on with... uh, another track from our current Atlantic album we've got
going tonight. This is the last track on the whole album, if you've, uhh,
bought it. If you haven't, you should do and listen to this particular
track on the record. This one's called "Perpetual Change".
Mark Prindle : Okay, now both of you have used the phrase "Right on" in
your stage patter.
(*band performs "Perpetual Change" and then launches into a stultifying
'jam' and boring-as-dick drum solo*)
Jon Anderson : Thank you. Take it easy! Have a nice time!
Steve Howe : Thank you very much. We have to go now so we'll see you soon.
Thank you very much. And thanks for coming to the capital too. So long.
Chris Squire : Yeah, thank you all.
Mark Prindle : Where'd you come from?
(*band goes backstage and makes the crowd wait for an encore*)
Mark Prindle : "Starship Trooper"! "A Venture"! "Teakbois"!
(*band comes back onstage*)
Mark Prindle : "Time And A Word"! "Man In A White Car"! "Dangerous (Look
In The Light Of What You're Searching For)"!
Jon Anderson : Thank you! I don't want to give you any bullshit, but we've
had fucking good time while we've been over here. Yeah, we hope to see you
all very, very soon. We're gonna do a boogaloo and get up and rock 'n roll.
We're going to do something called -- an old Rascals number, do you like
The Rascals? Whoo! It's called "It's Love."
Mark Prindle : No no, cuss some more. It's hilarious.
(*band performs a muffled, rhythmless funk rocker that ultimately gives way
to the jaw-droppingly stupid spectacle of Chris Squire performing a bass
solo while scat singing all the notes he's hitting -- for like FIVE
MINUTES!*)
Mark Prindle : Do you realize how many more actual songs you could
have performed had you not wasted half an hour on shitty jams and solos?
Tony Kaye : Hey, lay off fagit.
Mark Prindle : You're about to get fired.
Tony Kaye : FUCK!
Add your thoughts?
* Fragile - Atlantic 1972. *
To a new keyboardist, that's where! (Read a few reviews back to find the question I'm answering here. Sorry about that) Long-haired
classical virtuoso wizard Rick Wakeman takes over and suddenly the keyboard
isn't just for background noise anymore! This guy can dang play. I mean,
that beautiful middle piano bit from "South Side Of The Sky"; Tony Kaye
couldn't have played that thing on a record!!!!!??? Sure, Tony had a groovy
'60s vibe goin', but if Yes wanted to enter the '70s as an unstoppable
superforce, it was time to move on. And how! And Howe! This is the best
album Yes ever made. All the giddy cheer of The Yes Album has been
condensed into one minute-and-a-half multi-tracking vocal celebration called
"We Have Heaven," and the rest of the album is darker than Hell. A Hell with
no fire, that is. A dark Hell. And it's impossible to ignore the
individual talent of these guys now; in addition to the four perfect group
efforts, each band member gets a solo piece here. Jon's is the aforementioned
positiver than goodness itself "We Have Heaven," Wakeman plays some Brahms on
a sizzling organ or four, Bruford contributes a super jaunty 35-second
eruption than should have been 35 minutes, Howe kicks out the heavenly
acoustic piece "Mood For A Day," and Mr. Chris Squire gives us the unspeakably
amazing "The Fish," which begins as a harmonics piece sprouting from the
guitar echoes at the end of the FM classic "Long Distance Runaround," and,
over the course of two-and-a-half minutes, develops more and more until by the
end of the song, he has piled six completely different bass melodies on top of
each other! There is no lead guitar in the song; it's ALL bass! Do you
realize how friggin' cool that is????? Am I the only one??????
And what about
"Heart Of The Sunrise" and "Roundabout"??????? Listen to those weird breaks!
Listen to how tight this band has become! Ladies and fellas, it's now 1996
and there isn't a single band alive, including Yes in its current incarnation,
that comes close to matching the brilliance exhibited here on this
forty-minute slab of shellac.
Okay, it's not shellac. It's really good, though. See how good you can be if
you fire people? Buy this album today, and listen to it three or four
times so it all sinks in and you can appreciate why Alanis Morrisette just
doesn't interest me very much. Complexity + sensitivity = Yes at their best.
Or some crap. Great melodies. God, I'm bleeding admiration.
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
Although I agree that this is one of Yes'greatest albums I think
it's also the start of that what I dislike the most ....
the soloing stuff.
You could see it again in 1991 during Union.
As far as I'm concerned I would have rather liked it if they
would have done more songs such as "South Side Of The Sky" or
"Long Distance Runaround".
Never the less, "The Fish" is still a classic piece and then I'm
not even talk 'bout "Mood for a Day" which I think is even better
than "Clap".
Therefore I still have different feelings 'bout this album and
I wouldn't certainly rate it with a 10 but maybe with a 7!
- monkey37@localnet.com (Scott Moore)
Huh! Fragile a dark hell? One word: "Roundabout." The most annoying
radio
heavy, piece of light-hearted garbage YES ever made. I have heard the
song so many times, it has driven me to insanity, and pushed me to hold
elven people hostage in a radio station for three days with a rifle. How
can anyone say that this is the best Yes song? Rick Wakeman hadn't even
begun to display the talent he had at the time, and everything about the
song was mediocre compared to how good Yes was on the remaining tracks on
the album. "Heart of the Sunrise" was superb with a combination of great
Jon Anderson vocals and excellent music by the band. Each member was
good, and some, like Bill Bruford and Jon Anderson, made their best music
ever.
- candle@wax.com (The Candle Master)
Fragile definitely is a great album with songs like "Heart Of
The Sunrise," "Mood For A Day," "Roundabout," and "The Fish," but IMHO,
it doesn't carry a strong conceptual theme like some of
their other albums (Relayer and Close To The Edge come
to mind). This is probably due to the members' individual
contributions. Still, I wouldn't give this album a 10; more
like an 8.
BTW, I think bands like Rush, Pink Floyd, and Miles
Davis' group have several great albums simply because they
were able to bind their songs together, while retaining
the freedom to explore new musical boundaries. Maybe if
Yes didn't change their lineup so much...
- eef@acsu.buffalo.edu (Erin Ferguson)
Excellent review. I wouldn't give it "10" - but I see why you do. I'd switch this
rating with CTtE's (below, a"9"-what's with you people?-FRAGILE
is only
worth SEVEN!? Come on!). And,yes, I do understand how difficult (and
utterly amazing) "the FISH" is. ALL parts are ALL bass! Sometimes, after tons of
listening, I still find it hard to believe (but I still believe it). Again-it's worth a
"9" or "9+1/2".
- sbachini@uk.mdis.com (Steve Bachini)
Can't fault the marking so far. Another stupendous effort with the great idea
of letting each member try something of their own. I wonder what Alan White
would've done if he was there then? Another album of 'hits' which went into
the live listing but I've seriously heard "Roundabout" and "Heart Of The Sunrise"
enough times now. And we've never had the pleasure of Yes on radio over here
in the UK (except for one weekly rock show years ago). If there's one thing
that I would criticise, it is the predictable live track listing, same with
Pink Floyd though.
- strider@redrose.net (David Straub)
I'd say "Roundabout" has survived heavy heavy rotation better than
"Stairway To Heaven" or "Won't Get Fooled Again." The place to be on
this record, though, is the final 2 or 3 minutes of "South Side".
Howe's little fills during the verse and the outro jam help this song
end perfectly.
- fermitl@geocities.com (Ryan)
I can totally see why you gave this album a 10. "Mood For A Day"
rules!!! "Heart Of The Sunrise" kicks ass!!! But the best song has to
be "South Side Of The Sky". I only wish that some more modern-day bands
could show the musical influence we all have because of YES.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
DARK!! I wouldn't have quite given it a ten. I think the "We
Have Heaven" bit is kinda dumb, and I don't too much care for Bruford's solo
thing, but I love everything else on this album. "Roundabout" and "Heart Of
The Sunrise" are cool. I think that "South Side Of The Sky" sounds a lot like
the sick weird stuff that Queensryche puts out. Especially the piano part
in the middle. I think it'd fit in perfectly on a horror movie
soundtrack.
- pcahill@eniac.seas.upenn.edu (Patrick Cahill)
Of course this record will receive high marks as it is the hallmark Yes
album. Of the nine tracks, I can't say I dislike any of them (How can
you hate something that's 35 seconds long??). But the cohesion of the
album suffers because of the 'solo piece' idea. I mean, what would
Fragile be like if it were an album consisting solely of group pieces of
the caliber of the ones that appeared on the album? "Roundabout," despite
the incessance of playing, is a great song. "South Side of the Sky" is
absolutely amazing, "Long Distance Runaround" is catchy (Squire provides
one of the best bass lines ever here, you have to admit!), and "Heart of
the Sunrise" is both powerful and beautiful. However, I would take it
down a notch to 9, because, like others have said, it lacks the
thematic/conceptual unity that would make the next three albums
masterpieces.
- Peter Bambakidis
Let's face it, "Roundabout" is definitely overrated. It really doesn't
do anything for me anymore. Here's a song that the first time I heard
it, I loved it!!! But after 4 or 5 listens, it really starts getting
annoying. It's basically a melody being repeated over and over again.
That isn't Yes' STYLE!!!! Take a good listen to "AWAKEN" and you'll never
be bored!!!
- James@jpb-s.demon.co.uk
A tad overrated and it sounds really dated now.
- TempsFugit@aol.com
In response to YES fans who feel that "Roundabout" is misrepresentative of
Yes's work--although it is not my FAVORITE YES song, I think it's arguably
the best rock song EVER. By that I mean that if you sit someone down to
listen to it (someone who is a "rock" fan) i think it would be impossible NOT
to like it. Even tho' it's been played a million times, there is so much
going on that every listen offers something new--from the classic guitar
intro, pumping bass line, "rockin" chorus, progressive bridge, Wakeman's
solo, end vocal harmonies, etc.)
- keio@usa.net (Keio Sandvik)
Any elaborate waffle from me would be superfluous. This album is an
absolute classic, whatever genre you are into. Try the Mobile
Fidelity re-mastered version. It's amazing!
- gbittar@ix.netcom.com
I couldn't give it a 10, because it is emotionally vapid.
- First_last@studio.disney.com
Well it's certainly clear that this is a special album. I was converted
one rainy Saturday (1972) after listing to this album and have been a
loyal fan up to today (1997). I do think "roundabout" is/was played too
much, but that is a fact that radio should accept the blame for. Oddly I
don't really mind hearing it on the radio but if I heard those harmonics
sounding for a Yes encore, I was on my feet and out the door. My gripe I
guess is that I would have preferred a more obscure song for an
encore (how about that nice rework of "America" for example?). This
record does have a very atmospheric effect though possibly amplified by
the rainy day but still it vastly outdistances its contemporaries in
technical skill. This is a "rock" band I kept asking myself!
- daniel@fhsk.skurup.se (Daniel Reichberg)
I agree with those people who say that Fragile is a bit disoriented. The
only solo thing which really works is "The Fish", being sort of a second
part of the brilliant "Long Distance Runaround". I like "We Have Heaven"
and "Mood for a Day" too, but they seem to be a little out of place. "Cans
and
Brahms" is not very exciting, and 35 MINUTES of "Five Percent for
Nothing"!!! What a nightmare!
The "real" songs, though, are great, but "Roundabout" is very overrated.
All the other songs are better, especially "South Side of the Sky". Few
other Yes songs paint such pictures as "South Side of the Sky".
- tabasco@worldnet.att.net (BOB's)
Another spectacular job of another Yes album. "Roundabout" is a really good
song if you haven't heard it before. Wakeman and Howe open the track with
the Mellotron and the acoustic guitar. "Cans and Brahms" was a good symphony.
I have never heard an E Minor symphony before. "We Have Heaven" was not even
a song, it was noise, Jon goes tell the moon dog, tell the march hair
constantly. That really started getting annoying. Then the closing of the
song, someone closes a door and runs away, that was very exciting. Then the
blizzard began, it was now time to enter the "South Side Of The Sky", a great
8 minute track performed by the band and Wakeman with his grand piano
symphony, and the bands La, La, La, La, then the song was more exciting at
the end. The song kicked ass okay. "Five Per cent For Nothing", I didn't like
it, but "Long Distance Runaround" was cool, it even made the top charts, then
"the fish" came on with Chris's bass solo which was also cool, then another
great, great, great solo with Steve Howe's "Mood For A Day", I know someone
who can play the song backwards and forwards, it was cool as "The Clap". Then
"Heart Of The Sunrise", the 11 minute rocking, exciting, butt kicking song of
the album. It opens with the bands hard rock extravaganza, then the soft
music of Jon's voice, when the songs over do not shut it off, wait for a
minute, and the conclusion of "We Have Heaven" comes on. Enclosing my review
I give his album a big 10.
- dembones@pond.net
It was hearing "Long Distance Runaround" as a 12 year old that inspired me to
become a bass player. Genius stuff, but in agreement with other comments,
the lack of cohesion makes this an album in which the whole was much
greater than the sum of its parts. 9 of 10.
- tomr@ix.netcom.com
Once again, after 20 odd Years, I can finally listen to "Roundabout". No
it's not the best song on the album but I really like Rick's performance
on this one. Yes it's a bit "Popish" but everyone's entitled to go for a
hit every now and then. I've seen the band many times over the years and
I have yet to hear them do a good live perfomance of this song. Any
suggestions.
The rest of the album is excellent. I could listen to it a thousand
times and I always come away with something I hadn't noticed before. And
I do like "We have heaven"
So there!
- lledesma@amag.edu.pe (Leonardo Ledesma)
Fragile is one of the classic Yes albums, but I don't give it the
"best one" spot. It lacks something of a big bang!, maybe 'cause the
solo experiments are uneven. Bill's interesting but its shortness is the
main part of its strength, though ("Five per cent For Nothing" was its
original title). Wakeman had to store "Handle With Care" for his first
solo album (renamed "Catherine of Aragon") and put instead an arrange of
a Brahms Concert that appeals to some but is a definite filler. Now,
Rick was excellent but not in top form yet. As for "South Side of the
Sky" being the true gem I respectfully disagree but I like the song
anyway. As for Tony not being capable of playing (or creating) the piano
part in the middle of that song I remind you that much of the songs on
Fragile were composed, rehearsed and recorded when Tony was in the
group, Chris teaching Rick the keyboard parts when the blonde virtuoso
was rushed in for the final sessions. I give this album 9 out of 10
(never on top of The Yes Album).
- tabasco@worldnet.att.net
I'm calling to talk about Yes Fragile. Damn I love that cd. It kinda sounds
like the soundtrack to a horror movie such as the Wall. It all starts out
with a great top chart song called "Roundabout". I loved that tune. I'm telling
you it has a lot of fun music and a lot of fun lyrics in that song. I hear
it on the radio a lot. Next is "Cans and Brahms". I love it. Wakeman can
really play that keyboard well. He should have made a cd like that as soon
as he was done with Fragile. All E Minor symphonies that sound like mozart.
Next is a very weird Anderson song called "We Have Heaven". I bet some Yes
fans don't even know that song exists. Very weird with Jon saying tell he
moondog now tell the march hair constantly, Steve paying the same guitar
note all the time over and over and remixed with some sound effects do u
know if n the backround u know when it sounds like girls singing right if
thats girls or Jon Anderson. An old man saying here is here, a girl saying
Yes, another girl saying he is here, anothewr woman saying to look around,
brudford banging on those snare drums, then at the end was a good way to
close the song by closing the door, i pocture me closing that door and
running away. You know what it sounds like someones lost in a castle than
when they get out a huge snow storm begins. Then it's time to enter the
"South Side Of the Sky". A great hard rock Yes song with some painful lyrics
but very adventurous. Than in the middle was a cool piano symphony by
Wakeman what did u think of that then comes the band practicing their vocal
notes with the La La part. Then after that u can here the angry fan of that
synthesizer then the real part of the song starts again. And part 2 is even
angrier. DAMN GREAT SONG. After the best song on the cd is a crappy brudford
solo called "5% for Nothing". Sux. Than comes another top chart song called
"Long Distance". I hear that song on the radio. After that is a Squire song
called" the Fish", he can really play that bass a hell of a lot. COOL!!! Than
afer that is a beautiful guitar solo performed by howe himself. I know
someone who can play that song backwards and fowards. He played it at a
talent show at my summer camp. Than the next best song "Heart of the Sunrise".
COOL HARD ROCK EXTRAVAGANZA. Then it goes into a soft calm Anderson song. 11
minutes of pure exitment. I love the artwork also they should make a weird
movie on this cd. Just call it Fragile. Email me ur opinions and tell me
what u think ok. LATER!!!!!!
- seo@total.net (Stephane Ouimet)
I would'nt put a ten on this one, but it sure is a hell of a record. The 10
would go for, say, Close to the edge or Topographic oceans: in
these albums, the band really push those brilliant musical ideas to the
fullest. But "South side of the sky" and "Heart of the sunrise" are still
fresh and surprising. I personnally don't see why everybody picks on
"Roundabout" so much though: the vocal harmonies at the end still have put a
chill down my spine when I saw Yes in Montreal, on the 19th of june, 1998.
"Five per cent for nothing", a crisp, jazzy and fun snippet, is far more
interesting than "cans and Brahms" (or: "Listen! I know my classics to the
rote and I can play 4 moogs and 3 mellotrons at the same time") . Wakeman
is such a friggin showoffy, ten notes a second, classically trained
bastard... But he's really nice to listen to. I like Patrick Moraz better,
but hey...
That's right, Mark, you hit the bullseye when you said that Yes music is
impossible to play. Me and my mates have tried, in those garage days, Gawd
knows we tried, but failed miserably, managing to fiddle around the easy
bits, and then being down and depressed about that whole music thingie...
I suppose these guys are specially endowed and it's fine with me. I still
find new interesting things everytime I play the records.
- ssvsoft@online.no (Snorre Serigstad)
Great! Superb! Some of the best things Yes ever did. What else is
there to say?
- WyldLash@aol.com (John)
A fine album. Overplayed though "Roundabout" is, it contains the single most
meaningful/hilarious snippet of zen perfection I've ever heard. "Mountains
come out of the sky and they STAND THERE!" 'Cause, that's what they do, man.
Take that Donovan.
- michael.blume@gte.net
I beg to differ. It's less consistent then THE YES ALBUM, and there's a good
reason why, the solos. Yes sir, some of the solos are not for me, BUSTER!
They should have work more on group songs like the fantazzimo "SOUTH SIDE OF
THE SKY", the boppin' and sockin' "ROUNDABOUT", or the lengthy, but pleasant
"HEART OF THE SUNRISE". They should have made the solos a minute longer too
by the way. However, I just love how that Jonny Boy jam-packed a bunch of
overlapping tenor harmonies of his own voice for "WE HAVE HEAVEN". That's
pretty damn mind-blowing, for a solo! I just wish it should have been
combined with "SOUTH SIDE OF THE SKY" as an intro as well. That would have
been cool. Plus I love that really wicked Chris Squire solo ("THE FISH").
Dig? How the fuck can you beat that kick-ass bass vibe kinda shit!? Huh?
With no lead guitar added to the mix? COOL!!!! I dig it a lot! Finally, I
love that spanish-style acoustic playing of Steve Howe's "MOOD FOR A DAY".
Just lovely! Even lovlier than "THE CLAP" (or is it just "CLAP"). Awwwww!!!!!!!! FUCK!!!! I still like the album a lot, though.
I just wish that Bill Bruford's "FIVE PERCENT FOR NOTHING" and Rick
Wakeman's "CANS AND BRAHMS" were a bit longer, but they're too damn short
to do the album a bit of justice. Rick Wakeman's solo track was interesting
enough, but still should have been either dropped, or been re-worked. That's
all. Overall, it's an 8/10. Their next album would be their best work of
all-time. No doubt about it, or should I say "No Doubt" about it (Get it?
No doubt, the phrase? No Doubt, the band led by Gwen Stefani? Awwww,
man!!!! You're missing a pretty damn impressive joke I just came up with.
DAMN IT!!!!).
That's the end of my review, but I should go on for a lil' while, at least.
"ROUNDABOUT" is one of their finest lead-off tracks of any Yes album,
starting off as a fine, normal rocker, and then that jungle-like drumming
excerpts erupts with the line: "Along the drifting
cloud/The eagle searching down of the land", and along with the rest of the
verse. Then, it's peaceful for a few seconds with it's wonsplendid acoustic
arrangement that was used for its 30-second intro, and out erupts an
impressive solo break courtesy of Rick Wakeman and Steve Howe. The end of
the song becomes normal again, and you have those "do-dah"'s done nicely in
perfect harmony. Finally, the song ends well with a very quick acoustic
chord sequence. All that done in 8 minutes. That's dang magnificent!
"SOUTH SIDE OF THE SKY" begins silently w/ winds creeping in, slighty
blowing peacefully for less than 20 seconds.
And out erupts one hell of a rocker that seems similar to "A VENTURE" in
some ways, but much better, due to the moody "la-la-la-la-la-la"'s, Steve
Howe's idiosyncratic, bitchin' guitar work, Rick Wakeman's darkest,
fast-playing piano break, and Jon Anderson's boastful, confident , and
feisty vocal outcry that sounds more like singing than an outcry.
I should probably stop for now. Pheww!!!
- richbunnell@home.com
Not to be confused with the Nine Inch Nails album of the
similar title, as if it's possible to mix up Reznor and Anderson. A bit
too fragmented to get a 10; more like an 8 for me, like many of Yes's albums.
I really love the four complete songs, and I don't care at all about the massive
airplay which "Roundabout" has received. "The most annoying radio-heavy
light-hearted garbage Yes ever made"? Excuse me Mr. Moore, but have you
heard of a certain song called "Owner Of A Lonely Heart" produced by the
band known as Yes?
The individual pieces besides the bass-driven frenzy of "The Fish" are
less interesting but they're all really short and tolerable, even "Five
Per Cent For Nothing." Good album even though I can't call such an
incoherent album a "masterpiece."
- j.bornhofen@worldnet.att.net (John H. Bornhofen)
For those interested, "Heart of the Sunrise" is used frequently and to great
effect in a movie w/cristina ricci called "Buffalo 66". Check it out. Made
me pull out all my old Yes.
- imoss@northernlight.com (Ian Moss)
Ahhh, yes. Yes! So I asked for this album one Christmas, and much to my surprise
I got the "gold" collector's edition which featured a really
weird and badly-designed jewel case, among other things. But anyway, it also
had a very long set of liner notes that were written by some guy
named Bob Mack. Mack offers nuggets of wisdom such as "[Roundabout's] salsa-fied
percussion break prefigured arch-rival Led Zeppelin's 1979
track, 'Fool In The Rain,' by years" and "The only difference between
['Heart of the Sunrise'] and Metallica is that Jon Anderson can sing."
Anyway, just thought I'd share.
As for the album itself, there's very little not to like. Even the
solo pieces, with the exception of "Cans and Brahms" (I was never a big Brahms
fan), are wonderful. I agree with the general opinion on "Roundabout,"
though--a good song, but undeserving of the disproportionate exposure that
it has received. "South Side of the Sky" is much cooler. I also think
the return of "We Have Heaven" at the end of the album is cooler than words
can express.
- guppyslayer@msn.com (Ben Henderson)
I looked up schindleria praematurus one time, and it's a tiny
prehistoric fish. Just thought some of you might like to know that little piece of
useless trivia...
- hijinks@utarlg.uta.edu (Thomas Rickert)
Well, Mr. Prindlesticks, we had an email exchange about Yes
a couple of years ago, and here I am, back at your site, to
yak more about Yes. And why? Because they STILL remain
originals, nobody has done what they have, no one has copped
their sound, and hiphop bands still aren't stealing their
shit. Which, at this point, is probably a good thing. Or
maybe not. I don't know. Do you?
ANYWAY--Fragile is overrated. Classic rock radio has
absolutely killed, and I mean killed, Roundabout for me.
It's not Yes' fault, I know. But still, facts are facts, and
when we have those facts, well, Fragile is overrated. South
Side is absolutely killer, yes (um, er, Yes!), and Heart of
the Sunrise is better on the live album, and The Fish is
totally rad, but the rest is, well, I dunno, how do you say,
something like, you know, overrated! Overrated? Overrated.
CTTE is a ten, or if not that one, then GFTO is a ten.
Relayer is better than Fragile, too.
I'm surprised that after all these years, you haven't
revised this rating. I mean, foockahontas, you should be
seeing the light by now!
BTW, glad to see you are back to writing reviews: your Neil
Young reviews are good, much more insightful than your Pere
Ubu reviews, which are good, but not as inspired.
- tommy_chuck@hotmail.com (Tom Marshall)
Wakeman makes this a much more exciting affair than the Yes album and his
virtuostic talents finally balance out Howe, but there's something in this
record's feel that just doesn't match up to its predecessor. Still, it's THE
Yes album to buy first if you're new to them and no one can fault Heart of
the sunrise or Roundabout... 8/10
- robchaundy@yahoo.com (Robert Chaundy)
Fragile is not worth ten. The actual songs are fine,
but the solo pieces, whilst perfectly fun and
listenable, just don't cut it. Too easy. They're
closer to 9012Live than truly classic Yes (1972-80),
and drag this record down to a seven or an eight. Why
didn't they write a few more SONGS when they were this
creative?
And doesn't the fellow in the CD booklet look
suspiciously like a certain Metallica frontman we all
love so well? Come to think of it, have YOU ever seen
Rick Wakeman and James Hetfield in the same room? Very
suspicious...
- benalto@benalto.com (Rocket Robin Hood)
I really do like the classic Yes trilogy, but this is the only album that
really leaves me wanting more. If there was a bootleg featuring outtakes from
these sessions, I'd get it in a second. Oh, and anyone notice the amazing
thudding riff from "Heart Of The Sunrise" was shamelessly ripped off by Rush
for the instrumental section in "The Necromancer"?? Mark's dead on - 10/10!
- munsey3@comcast.net
First things first, Fragile is about as good as it gets, anytime, anywhere, with the possible exception of Close to the Edge being even better.
Now here's a little story for you all: So it was uh 30 years ago and I was in college and we happened to go to Denver to see Yes, who happened to be opening for the Allman Brothers. Now who the fuck thought up that pairing? Well it was early '72 so it must have made sense to someone, but jeez loooeeez could you pick a worse double bill, not just musically but for the SOCIALLY dissonant crowd it would attract? I mean, let's get a bunch of drunken stoned Confederate flag-waving bikers together with a bunch of acid-addled rock-opera going folks and see what happens. How about a Motorhead/Pavarotti double bill anyone?
So I run into an acquaintance at said concert, who sez yo boy have a little orange sunshine, which I promptly ingest, it being a Yes concert and all. Then he sez by the way, that's a 4-way hit. Oooo jeez, now I'm in some trouble cuz it's down the gullet. No prob though, cuz in about 45 minutes Yes takes the stage and starts just flat out rocking. The albums do not do these guys justice by the way. Steve Howe KNEW distortion. Yeah Wakeman was kinda a wimp (compared with E of ELP). Jon Anderson is tolerable. Then there's the rhythm section of Squire/Bruford, best in the bizness at the time. So we're left with a fine power trio (Howe,Squire,Bruford) the likes of which t'aint been heard since. Said sunshine is starting to kick in and Yes becomes pretty much a religious experience, as in I've never heard anything like this in my sorry life to that point, and then the sunshine REALLY starts to kick in, I'm not sure where I am, not that it matters, and here comes Yours Is No Disgrace and Roundabout and Long Distance Runaround and the absolute finest song ever recorded by anyone, i.e., Heart of the Sunrise. Listen to the first two or three minutes of this song, and you will understand why there has never been nor ever shall be a finer drummer than Bruford. Shit, he totally revivified Fripp's career for a couple decades! Just listen to him and Squire totally lay down the rules for what a rhythm section should do. In any case, concert-wise, at this point my mind was actually outside of my skull, where it remained for the rest of the evening. What a band.
So then Yes is done, sorry to say, and we gear up for the Allmans. They eventually take the stage and whip into Statesboro Blues, which gets said Confederate-flag waving bikers up in the aisles. Did I mention we're sitting in row 11? And some biker chick is up dancing some southern-fried boogie directly I mean directly in front of my boy Wolf, blocking his view, and he's had just about enough and brings his knee up squarely into her crotch and sez 'sit down bitch'. And I'm still hearing SHARP DISTANCE etc being not entirely aware that Yes have decamped but I did wonder what that offal noise coming from the stage was. Neither she nor her squeeze is happy about the crotch shot, fer sher, there is offense taken. But we manage to get outta there with no external bleeding anyhow. No loss in missing the rest of the Allman's set, the point being, after Yes, the Allman Brothers sounded flat-out pedestrian (and this was in their heyday, before Duane squished hisself ona truck).
So Fragile is a 10 outta 10. Anyone who was lucky enough to have seen them during this time knows this to be a fact.
- watta502@yahoo.gr (Akis Katsman)
A great album, although the solo pieces are sometimes annoying and "South Side Of The Sky" is really overrated. A nine.
- AgnesAyres@cableone.net (Melanie)
Munsey3, I must be schizo,because I love both YES and the Allman Bros,LOL.But then I love the Clash too.It's all about the music-what sounds good to my ears.I don't invest my life into it or draw my design for living from it. YES are progressive rock geniuses,and Allmans are blues/country-rock geniuses. To everything there is a season,turn turn turn.
Anyhoo,from what I understand, Rick Wakeman had to record the somewhat mundane if pretty "Cans and Brahms"(or some variation of music other than his own) because of some previous contractual obligation of which he was awaiting the end.
The much-maligned Roundabout was the first YES music that I ever heard,and from there I jumped in head first to CTTE,and then TFTO,with nary a breather.I loved everything that I heard so much,that I had to hear more. I'm a firm fan for life,and "Fragile"is a little gem of an album,to me,solos included.It's interesting to hear the different and varied parts of the sum that was YES,and hear where each guy's head was at when making his contribution(ie, Bruford's decidedly jazz orientation-not to mention the fact that the song was titled in honor of a former manager who was somehow still entitled to 5% of the band's royalties or something,even though he no longer had any responsibilities to the band. I might make a short little ironic-sounding jazzy ditty about that too, if I was Bill Bruford and immensely talented on percussion-he considers himself a percussionist,as in jazz,rather than a drummer-and had a chance to express myself musically regarding it).
I give "Fragile" a 10,also-it was great in its heyday,and it's stood the test of time.I'd say that calls for a 10.
- spacebutlerxiii@hotmail.com
"Roundabout" and "Long Distance Runaround" are among the best
of them, and the individual pieces are all great in their own individual
ways ("Tell the moon-dog, tell the march hare" is a lyric that gets stuck in
my head all the time), but I cannot condone this awarding of a 10. For one
thing, "South Side of the Sky" and "Heart of the Sunrise" both bog things
down. I dunno, maybe I need to listen to the LP more, because a CD playing
all the way through without having to stop after "South Side..." doesn't
have the same feel to it. But that doesn't change the fact that "Heart of
the Sunrise" is blemished at around the 3:40 mark when the vocals kick in
and the song kinda sucks for a couple of minutes before getting back to the
awesomness displayed during the song's opening movement. The other problem
is the fact that these 9 songs don't flow together as cohesively as, say,
the 6 songs on The Yes Album, or even the 3 on Close To The Edge. The way an
album flows from start to finish means the world to me. Apparently I make
good mix tapes.
- thedude37@hotmail.com
You know, when I first read your review of Yes' "The Fish" I thought you were an idiot because you raved on and on and on and on and on about its' awesomeness. But I was wrong - it is aweome, and you're still an idiot.
Psych!
Now I get why you love that track so much - I finally listened to it on a pair of high-end Koss headphones, and it just sprang to life! Every one of those bass lines has a life of its' own. While one is panning left to right, another will pan the opposite way. Also, each line has its' own role - like classical counterpoint for acid freaks.
Damn I love these headphones. Okay I'm out - gonna enjoy Heart of the Sunrise now
p.s. Got to see them last December on their recently canceled tour in St. Louis. Never thought I'd hear Yes play Tempus Fugit AND Astral Traveller in the same night!
- Ben
Not to be Benny Buzzkill or anything, but I think this album is overrated. Sure it's good, but not only is there better prog, but better Yes. To get the bad things out of the way, "Cans and Brahms" and "Five Percent of Nothing" do nothing for me and "We Have Heaven" (which is on this album twice unfortunately) is too repetitive. On too the good things (which end up overshadowing the bad). "Roundabout" and "Heart of the Sunrise" rank among my favorite Yes songs, while the majestic "South Side of the Sky" ended up becoming my second favorite (after "The Gates of Delirium"). As much as I like "Long Distance Runaround" and "The Fish", the live versions on "Yessongs" are better.
Add your thoughts?
Yesterdays - Atlantic 1974.
A dumb release. Half of Time And A Word,
1/4 of Yes, a ten-minute mostly boring Paul Simon cover, and a pretty
good B-side called "Dear Father." I guess they were assuming that nobody
wanted to buy the first two albums. Dumb. It's still good, of course, but
why does it exist?
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
Couldn't agree with you more as I still hate sampler albums!
- sbachini@uk.mdis.com (Steve Bachini)
Hmm, what is the point of this album you ask. "America" is the point. Maybe I
love it so much because I heard it before the original version (well I was
young). It just rocks, Chris, Steve and Bill blast away for a very memorable
ten minutes.
- keio@usa.net (Keio Sandvik)
Mystery compilation. Perhaps a flash of record company genius (!?!)
Lights went on in some Atlantic execs head. Well, the bulb must have
been faulty. But who's to stand in the way of making a dollar, eh? Sounds
like the boys had fun putting together "America". This has to
be the definitive re-interpretation of any song. Ever. "Dear Father"
is great too. Look at the cover though...is someone taking the piss?
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
A greatest hits album with no hits on it? What a novel
idea.
- rderby@erols.com (Robert Derby)
ummmmm, "America" is great (my wife has an amusing viewpoint on this
song I'd like to share: she says, "Paul Simon sounds like he got off a
bus in middle america wrote and played this song on a street corner
whereas YES got off that bus, hired an orchestra and played it at the
nearest arena!) the rest of the album gives us highlights of the Peter
Banks era which are not real high. I think Peter is a good guitarist and
I think it would be interesting if he had the chance to record with a
much more mature Yes. Jon's worst performance is here in the person of
"Dear Father"!!!!ughhhhhhh.
- tabasco@worldnet.att.net (BOB's)
It was just a sampler of Time And A Word and the full version of
"America". I
bought this album before I got Time And A Word, I did wrong. I should have
gotten Time And A Word first. At first I liked "Sweet Dreams", "Astral
Traveller", and "Then". They were cool, with orchestral moments they are okay.
"Dear Father" rocks too, what happened to Jon's father, did he write this song
for him? Who Knows!!!
- dembones@pond.net
I once foolishly bought a maxi-single in the bargain-bin called
"Close2theHype," a creation of Jon's son Damien, and featuring Jon Anderson
himself. After hearing the crap contained on this disc, I was then
convinced that there was indeed an album that had less reason for existence
than Yes' Yesterdays. Nice Roger Dean, though.
- tomr@ix.netcom.com (Tom Russell)
Lets see.
Take two albums, pick a few songs from each, and then throw in a couple
of extras. What a novel idea. I wonder if they'll try this idea again?
Were they under some contactual obligation to release an album every so
often? I think the blue boy is trying to make a statement...
Having said all that, "America" is one fine recording.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Yesterdays came after Relayer but maybe you didn't know. Now its
release seems an unworthy idea but in those days this record (a) gave
Yes something to put on the market amidst the solo stuff craziness and
(b) reminded the US people that Banks and Kaye ever existed in the group
as well as the two first albums. It's a fine compilation, actually, but
I would rather put "Something's Coming" as the opener instead of
"America", sticking to tracks recorded by the original lineup. Even now
I don't know why they included a photo of Alan White (if there was a
reason, why not include one of Patrick also?). It deserves 6/10 (could
be a 7, but "America" is a point down). The sleeve (that included a wink
of the Time and a Word English cover) made Dean target for dumb
critics just for showing nude kids.
- cynderelli@techline.com (TAD)
The "America-Looking Around-Time and a Word-Sweet Dreams" side is solid
entertainment, mayB 1 step down from Yes at their very best, but still
no slouch. & "Survival" definitely grows on U. Guess I'll have to wait
on the rest.
"Something's Coming," "Every Little Thing" & "No Opportunity Necessary"
might have been nice additions, but then it woulda been a 2-record
set....
I've Cn worse best-of or here's-R-early-stuff packages. Back in the days
when this came out, 1 good side was nothing 2 sneeze at....
- bigfunchy@databasix.com (Russell B)
A "ten-minute mostly boring Paul Simon cover"? A "ten-minute mostly
boring Paul Simon cover"? That's all you have to say about Yes's
reworking of Simon & Garfunkel's "America"? A TEN-MINUTE MOSTLY BORING
PAUL SIMON COVER?
Erm...sorry. My keyboard is a little dirty at the moment, and it causes
me to type in all-caps from time to time, and to repeat myself
excessively for emphasis. That's called "epizeuxis," by the way;
epizeuxis, epizeuxis, epizeuxis. I can't emphasize this enough. I
really, really, really can't.
Really, though--"America" was the bomb-diggety if for no other reason
than that the Yesmen took a three-minute-long, strummy acoustic folksong,
embellished that three-minute-long, strummy acoustic folksong with
wonky-ass jazz noodling/countryesque fretboard sliding/weird military
drumbeats/a bunch of other trippy shit until it became a ten-minute-long
nonacoustic prog pileup, and...in the course of building this epic
remake, somehow managed to...(wait for it)...to DISPENSE WITH THE THIRD
VERSE OF THAT THREE-MINUTE-LONG, STRUMMY ACOUSTIC FOLKSONG ENTIRELY. On
PURPOSE, man, on PURPOSE.
Sorry. Dirty keyboard. Dirty, dirty, dirty keyboard. Dirty.
rindle@nyc.rr.com">Add your thoughts?
Close To The Edge - Atlantic 1972.
The Fragile line-up tries their paw at
epic-length songcraft. Although there are only three songs on the record, all
three are gooder than a mason bee. Every flabby pound of skill and cleverness
that went into the last two are back again with something like a kickboxing
vengeance. I'm about to use the word "although" again, even though I just
used it. I just wanted to warn you. Although the "short" tracks cover
well-trodden territory in wonderful and novel ways ("And You And I" is a
pleasant, mostly acoustic happy song that keeps erupting into an orchestral
celebration like some guy named Bruce, and "Siberian Khatru" alternates
between silly nerd groove and really messed-up bass-heavy drug music), the
nineteen-minute title cut creates its own territory. It's the cut
creator - the master of rap. When it walks by, homeboys tip their hat.
Easily the least accessible song they've ever done (before or since), it opens
with a burst of guitar racket and doesn't go much further for about three
minutes, until the mean and entirely unpleasant "melody" finally reveals
itself. Later, of course, some pretty bits pop up ("I Get Up I Get Down" is
positively majestic with those vocals-on-vocals and that throbbing church
organ and all - like most men, I generally don't much enjoy throbbing church
organs, but at least I don't wear sweatpants any more), but the main melody is
not something that you and your special girl will probably be itching to
slowdance to. By 1996 standards, it's not that strange, but this is pre-punk
1972 we're talking about; loud free-form electric guitar acid rock was not at
the top of everybody's salad menu. But you're bright and American; you can
handle it.
A swell record, this is. It's not as mind-blowing as
Fragile, nor should we expect it to be, but it's still complicated,
beautiful, and very smart. Enjoy it now. This was the best line-up Yes ever
had, and Bill Bruford was about to quit.
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
I'm not going to argue 'bout this album.
For me it's one of the best Yes' ever made so, 10+!!!!
- Limbeck@sprynet.com (Cody Barrow)
I agree that was drug music, but no music has ever painted a picture for
me like that album! It was like traveling through a fantasy, even a
visual experience without drugs! I don't see how anybody who even likes
Yes can't think this is their best album! Just because Fragile was so
groundbreaking, doesn't mean they could never outdo it!
- monkey37@localnet.com (Scott Moore)
This is the true groundbreaking album, and I agree that it is an
excellent visual experience that captures the listener and places him
in a virtual fantasy world, and yes, no drugs involved. It was a step
that was almost too much for top 40 radio heads hooked on Yes from the
catchy "Roundabout" tune. This is what I meant when I said Rick Wakeman had
not even close to have reached his height with Yes in Fragile.
Steve Howe
was excellent, and Jon Anderson's vocal experience combined with
excellent drums from, possibly, the BEST YES DRUMMER EVER. The best work
from the best Yes band up that time and possibly up till now.
- ZTHW56A@prodigy.com (Donald T. Cassidy)
This is the best Yes album ever!!! 5 musicians working as one
creating au unbelievable album. The title track is the best cut the
band has ever recorded. "And You and I" is a majestic masterpiece.
"Siberian Khatru" is so good they opened up with it for years in
concert. Wakeman and Squire at their best!!
- fcrane@idirect.com (Frank Crane)
Close To The Edge is by far and away the very essence of what Yes was
all about. For anyone interested in checking out this great band, CTTE
would be the very first album I would recommend they add to their
collection. It's the most Yes sounding album they have ever recorded.
- yancyd@pacificnet.net (Yancy Duncan)
It is the MasterWork of the 70's. A band in near disarray, joining
together to produce a work that has never again been matched. Oh, the
splendor and the glory. I never tire of it, not a single track ever wore
on me (like "Roundabout" eventually did). To misjudge it as anything but
their best is a tragic mistake. Listen again my friend and the power shall
be yours. Bill left because in his own words, "I'd played my ace up my
sleeve. I couldn't imagine myself playing any better. That was all I had
to offer."
- DougS@aol.com
Bill Bruford did leave because he felt he couldn't do any better than he did
on Close To The Edge. He joined King Crimson, or rather, was allowed to join. He once
said that he was talking to Robert Fripp and Fripp told him "I think you're
now ready to join us". There's a great documentary that aired on PBS about
the Union shows and it does a great job discussing the history of YES in
detail. A must see for YES fans....
- sbachini@uk.mdis.com (Steve Bachini)
I can hardly fault this album, a 9 or a 10 surely. The title track is about as
close as you'll get to a musical religious experience. I can remember a painful
week's holiday away from it. I admit to tiring of "Siberian Khatru" over the
years - could be live overexposure of course. I think it's the weakest track
as well though.
I used to mourn the leaving of Bill. But then he went on to work on the three
most stunning King Crimson albums (Larks' Tongues, Starless and
Red); three more
favourites. Coincidence? No way. Funny how they went from a drummer that used
a metal biscuit tin to one that sounded like he was playing next door.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
Bought this one after reading your review. I really
like it. The opening track is unbelievable. "Siberian Khatru"? What kind
of title is that? I think the song's a bit cheesy, but it's still fun to
listen to.
- aomurphy@braznet.com.br (Ayrton Murphy)
What means "Khatru"?
- pcahill@eniac.seas.upenn.edu (Patrick Cahill)
When I was about 13 years old, The Yes Album and Fragile
were the only
records I owned by Yes. I was impressed with their sound, so I bought
what I thought were their most "accessible" (and famous) records. I
wanted to delve deeper into the Yes sound, so I bought Close To The
Edge. It absolutely blew me away. It was the beginning of my love for
epic-length tracks, as it was for Yes creating them. You can really
lose yourself in this album; it takes you to other worlds and dimensions
and sometimes you never want to leave. I won't discuss details of the
individual tracks: listen to the whole album in one sitting and let it
all soak in. An unbelievable musical journey.
- ata5d@virginia.edu (Arthur T. Andrews IV)
The essence of progressive rock and a showcase for some of the greatest
rock technicians. The most impressive compositional talent blends
classical elements with incredible rock intrumental passages. The album
is actually in classical Sonata-Allegro form, with three movements: fast
- slow - fast. And take the title track fits the mold:- thematic
material - development - recapitulation. This is Yes. Distinctive
vocals, fluid scalar guitar, rumbling bass, precision percussion, and
ethereal synths. It doesn't get much better than this.
- acetes@layer4.com (Archeocetes)
Close To The Edge is by far my favorite YES album. The title track
and "And You And I" are absolutely brilliant, both musically and lyrically.
The harmonic phrases of "Close To The Edge" are so subtle, yet lead perfectly
into the haunting chorus. The soft-sung,
inspiring break, "I Get Up I Get Down" is so lifting I wish it would
go on for at least another 5 minutes. If only YES had made other
recordings like this. Fragile and Going For The One are great
albums, but this is their definitive work. "Heart Of The Sunrise" would fit
perfectly in this album. A solid 10.
- James@jpb-s.demon.co.uk
This is Yes at its creative peak and there is nothing quite like it. Just
the bass and drums
on the title track set it in a class of its own. "And You And I" is also
magnificent. The best album
ever.
- TempsFugit@aol.com
Two quick points: "I get up, I get down"--the most beautiful few minutes of
rock and roll EVER.
and--Confirms my belief that YES recorded this album on another planet.
- mortimer@unbsj.ca (Paul Mortimer)
The album rates an 11. Absolutely a trancendent work of art. The
first time I heard the song "CTTE", (in 1973 at the age of 16) I was
stunned. I had heard birds chirping and then all the world changed and I
was left with the birds chirping. I wasn't sure what had happened,and I
didn't even know what the plants on the cover of YESSONGS were.
- keio@usa.net (Keio Sandvik)
A crowning triumph. Uncategorisable and beautiful. Has aged
well..and so have I.
- First_last@studio.disney.com
All I remember is that tingling sensation during "Close To The Edge". Not
too many pieces of music can do that to me anymore (just turned 40 oh my
gosh!) but a recent relisten did just that. I wish I could explain it to
those twenty-somethings but I guess you had to be there. . .
- stever@empower.com.au
Further evidence that the 70's was the greatest decade for popular music as
far as originality, musicianship, showmanship and emotion are concerned.
- akdxmy@hotmail.com (Andrew Davis)
The digitally remastered versions of Fragile and Close To The Edge
are essentially 'perfect!' Close To The Edge, though (after several
listens) now outranks the five other favorites. Although Tales is
still my favorite Yes studio cd, Close To The Edge is the best
sounding cd, therefore it gets the 10/10 rating! Fragile,
Tales,
Keys To Ascension, Yesstory, and Going For The One are close
behind, anyway all 6 cds should get a 5-star rating!!!!
- fossil@iol.it
CLOSE TO THE EDGE IS ALCHEMIC MUSIC BOTH MASTODONTIC AND COMPLEX
IT KEEPS NOWADAYS THE STRENGTH OF IT IDENTITY AND OF IT FASCINATION
IS A BLEND OF CHAOS WELL ORGANIZED AND ARCHITECTED AND MUSIC DANGEROUSLY
PLAYED. PROBABLY "CLOSE TO THE EDGE" BEGINS WHEN "SIBERIAN KATHRU" ENDS.
FOR IT OWN PROPERTIES IT CANNOT BE FREQUENTLY PLAYED.
- rlewisj@ibm.net (Tom Tebalt)
Add me to the long list of peple for whom this is the ultimate Yes
album. I've been listening to this album for 20 years, and it still
moves me. If "Awaken" had been on this album, it would have been the
best album ever. PERIOD!
- dajones@bigtex.ci.dallas.tx.us (Doug Jones)
Both FRAGILE and CTTE are so core to an appreciation of Yes, the band
that defined progressive rock, that it's very difficult to choose one
over the other. FRAGILE is obviously more accessible, primarily because
of the musical sampling allowed by shorter and more numerous songs. The
abstract nature of Yes lyrics is well represented on both albums ("Call
it morning driving through the sound and in and out the valley,"
indeed). This is a central beauty of Yes, indeed of most effective art,
that for every person that experiences it, the music may take them to
different places and mean dramatically different things. In this
regard, however, CTTE holds a slight advantage for Yes purists. Whereas
FRAGILE takes the listener on a series of wonderful jaunts, CTTE packs
you up and takes you on an extended trip that doesn't return you until
the end of Khatru. It is a perfectly planned vacation, you can bet
you've never been to a place like it each time you go, and no aural
provision has been left in the closet at home. You are covered. And
it's not a trip like TOPOGRAPHIC OCEANS where, quite honestly, you kind
of begin to miss home after a couple weeks. No, CTTE is the perfect
getaway. After over 20 years, I never tire of going. Twenty years from
now, I can't imagine saying that about anything released in the past
couple of years.
- daniel@fhsk.skurup.se (Daniel Reichberg)
In general I agree, but "Close to the Edge" is NOT the least accessible Yes
song. The least accessible one has to be side three of Topographic Oceans
or the middle "battle" part of "The Gates of Delirium".
There are a few live versions of "And You And I" which surpass the studio
original, and the ultimate version of "Siberian Khatru" can be found on
Keys to Ascension.
- tabasco@worldnet.att.net (BOB's)
My thoughts of this album is a good thought. Very well done, very, very
exciting. "Close To The Edge" is my favorite, a good 19 minute track, four
parts to it so it doesn't get boring, "I Get Up I Get Down" had a nice pipe
organ into the melody and the synthesizers. "And You And I" was good too, two
10's for two tracks, enclosing the album was a cheesy song called "Siberian
Khatru", I didn't even know that song exsisted on the album at first. But on
the other hand it was very mildly okay. I give this album an 8.
- rderby@erols.com (Robert Derby)
In a word, MAGICAL! I've recently been listening to the album again
and I wonder how anyone could construct anything as PERFECT as CTtE!
Check the title opening, the interlude of "Siberian..." and the absolute
grace of the "Eclipse" passage( I actually transcribed this piece to
organ for my wedding!).
- dembones@pond.net
Oooo... Close To The Edge, a beautiful, beautiful album. "Siberian Khatru"
almost grooves, while the majestic "And You And I" runs the gamut of
emotions. Words can't describe "Close to the Edge," although I can't help
but feel that the studio version is indeed the weakest version, the finest
of which is found on the new Keys II, beating the Yessongs version mostly
because of Yessongs' horrible production. The Live ABWH rendition is great,
but Jeff Berlin, while technically superior to Squire, is certain no
replacement. Squire's voice is also sorely missed.
- tomr@ix.netcom.com
Aaaaaaaaaaaaaaaaaaaaaaaaaaaaah
What more need I say?
- lledesma@amag.edu.pe (Leonardo Ledesma)
Close to the Edge is one of the (if not THE) best albums ever made
by a (prog) rock band and arguably Yes' finest. The title track blows
any mind now as did it before. And the melody you disdain so easily
(introduced by Steve's guitar) is simple and beautiful, as any worthy
melody must be. Rick is at home this time with the keys. But regardless
Chris' excellent job on the bass, I prefer the live version by ABWH. The
other two tracks are also classics, including the now underrated but
clear 70's favourite "Siberian Khatru". The simpler sleeve was another
plus, though Eddie Offord's picture must have puzzled many people not so
familiar with the band. I missed anyway a booklet as the one included in
the original Fragile package. I give this album 10/10. Need no say
more.
- wlucas.robinson@utoronto.ca (Lucas Robinson)
It is now 1998, I'm 19, and "Close to the Edge" has to be the greatest
song I have ever heard. I should have bought the record today so I
could hang it on my wall. That keyboard solo coming back into the
action has to be one of the best musical moments anyone can have. This
is the best YES album. Screw FRAGILE.
- trailer@mail.essex2.com
Without a doubt, Bill Bruford's drumming on this particular album is
nothing short of spectacular. It has taken me almost three months of
intense listening to each song on the album to properly learn Mr.
Bruford's chops. The way he incorporates the odd timing to the rest of
music is very creative and exciting. This album is my favorite. I just
wish Yes would pretend it was 1972 all over again and make another album
of that genre.
- dolphin@vfr.net
This is one of the most creative albums. Very intelligent lyrics and
a lot of complex arrangements and I think that "close to the edge"
is the best song on it. Rick Wakeman s playing is very smart and
great. I especially love the organ solo in "I get up,I get down". "Khatru"
is a guitar masterpiece. I also like the harpsicord solo on it. All in
all, it is up there with Topographic Oceans and Relayer. I hope they can do
another album just like this.
- academy@cyberus.ca (Bob Deeks)
Close To The Edge is the definitive soul of YES music to date. As for
earlier comments in this section, regarding Yes music being directed to
the drug-induced,... I most respectfully disagree (although there might be
a certain satisfaction for those drug-inclined). YES music was creativity
at it's finest.
YES music, especially CTTE is, as I see it, virgin music. YES speak of
basic truths and emotions, via complex melodies, rhythms, and lyrics - a
true and honest reflection of life itself.
As far as "CTTE" (the track) is concerned, I believe it to be a very prolific
piece of music/lyric, with many references to Christ's crucifiction and
ressurection. IE. "I get up... I get down...", a most remarkably emotional
piece of music. This recording is one of the best. I'd recommend it to
anyone with an open ear... and heart.
- TwoPax@aol.com
It seems that SOME sort of appreciation has been given by our reviewer, here,
to this amazing album. However, like several of the others whose views are
represented here, I would not have given CTTE anything less than a 10. And
the first two songs on the album alone are enough to warrant that ten. I do
not understand how he calls it "not as mind-blowing as Fragile." To me, it's
the opposite. Close To the Edge, a nineteen minute masterpiece marrying
progressive rock with devastatingly beautiful and haunting
symphonic/electronic instrumentation, has more complexities alone than the
entire Fragile album. Don't get me wrong, I am a TREMENDOUS fan of
Fragile,
but I fail to see how it can even compare to this one. It was 1973, when
bands like Pink Floyd were doing things like Dark Side of the Moon, which WERE
incredible, but not for their REVOLUTIONARY qualities, rather for their sheer
captivating melodic power, that Yes did CTTE. A song like Close To the Edge
was simply unable to be classified. It was NOT rock and roll, by any
standard, and not really anything else. Instead, Yes went out of the popular
boundaries to create what THEY felt to be real music, a direct product of
their combined musical talents and taste. Not until the 80s did Yes turn to a
writing style that was based more upon it's public audience, sadly enough.
These are reasons why Yes is still so HIGH on my list of GREATEST ALL TIME
BANDS. Because they transcended rock, pop, and everything else to create a
new kind of music that NO ONE has been able to copy since, not even Rush,
Phish, or any of the other progressive rock bands. THIS is why I see
CTTE as
such an incredibly bold, revolutionary album, because it was with THIS album,
in my opinion, that their true musical genius began to surface, and not
before. I believe that this and Tales From Topigraphical Oceans are the best
things this band has ever recorded, and I sincerely hope that one day they
will abandon their current 80s influenced, cheesy pop sound that has been
around since 90125, and go back to the music that came from their soul, and
not from the public's expectations for them.
- gwu.edu (Steven A. Sullivan)
"Khatru", says Yes, is supposedly a Yemeni word for "as you will",
according to Yes biographer Dan Hedges, but even he doesn't seem very
convinced.
- stoo@imsa.edu (John McFerrin)
Man, this is a tough call.
I mean, if you could give more than one ten, both Fragile and Close to the
Edge would get them hands down.
However, and just barely, I'd have to give the nod to Fragile. When I
listen to CTTE, I marvel at these spectacular sounds we call music, and
wonder how any band could produce such a magnificent album. When I listen
to Fragile, though, the question is answered, thanks to the solo work.
They sounded so good together cos they all had such ridiculously good
chops.
What a band...
- Melodie83@aol.com (Joe)
The best Yes album of the 70's.great singing,playing,songs.And You And I is
one of the best love songs ever written,the title track has incredible
singing by Jon and Chris and the final song has great druming and guitar.A 10
rating If your a Yes fan a must!
- michael.blume@gte.net
Make no mistake, dude. This is THE BEST YES ALBUM OF ALL-TIME!!!!!!!! No
doubt about it, and for five reasons: Complexity + Sensitivity + Consistency
+ Beauty + Diversity = YES AT THEIR BEST!!!! Don't get me wrong. I like
FRAGILE a lot, but it mainly lacked some consistency, diversity, and
some sheer beauty CLOSE TO THE EDGE always maintained, and always
will. This
record was Yes' highest peak indeed. Anyone should buy this record for it
was very, very different from all other Yes albums.
TALES FROM TOPOGRAPHIC OCEANS was very different too, but it lacked
some consistency too, not to mention a lot of sensitivity. For those who
think TALES is the best Yes album, they should realize that
CTTE can kick the crap out of TALES anyday, anyyear, anytime.
'Nuff said. BUY IT TODAY.
- John.Holmes@Hayssen.com
Without a doubt..the best of Yes. I've read this list over and over, and
I am amazed that nobody has mentioned the incredible energy and life
that Siberian Khatru adds to this album, and it's perfect placement
following And You and I. A perfect opening for a concert. One more
note...I was lucky enough to see CTTE performed live. One BIG problem.
This was ABWH, and as you all know..this was minus Squire. I can only
imagine how good it might have been.
- mphl@cts.com (Z)
How else could a song open that tells you "A seasoned witch could call
us from the depths of your disgrace," and that "A dewdrop can exalt us
like the music of the sun," but with a burst of guitar racket . This
part of the song is very tense and is aptly reflected by the transition
from the sounds of tranquil nature to the explosion into the burst of
guitar racket that leads us to the opening verse that tells us man is
following a misguided path.
" assessing points to nowhere, leading every single one."
No this is not a song to enjoy in a romantic setting. The mean and
entirely unpleasant melody (which I do not find entirely unpleasant) is
appropriate for the piece. While what is played is some of the least
euphonic of Yes music, this is warranted by the edginess (no pun
intended) of the message of the song.
This piece of art named Close To The Edge, is a sonic and poetic
expression of human existence as reasoning animal with transcendent
soul. This tune is chalk full of ism . And like most isms it is
interpretation friendly as to the exact semantics. The opening movement
(that s right, the one with the burst of guitar racket) The Solid Time
Of Change starts off by telling us how screwed up we can be (the dewdrop
that can exalt us is a symbol of misguided value). And also takes us
through the change where "We relieve the tension only to find out the
masters name."
Close To The Edge is about the difficulty and joy [I get up, I get down]
of being human [There s you, the time, the logic, or the reasons we
don t understand.] and that it will always be this way [Seasons will
pass you by]. But that there is a way to the truth [All in all, the
journey takes you all the way.] and that this is not the common way [A
constant vogue of triumphs dislocate man or so it seems.]. And that even
for the enlightened, there is no getting totally around the human
condition:
Now that it s all over and done,
Called to the seed, right to the sun.
Now that you find, now that you re whole.
Seasons will pass you by,
I get up, I get down.
I get up, I get down.
I get up, I get down
Ps. To aomurphy@braznet.com.br (Ayrton Murphy). Khatru is a Yemeni word
meaning: as you wish.
- richbunnell@home.com
This one I'd give an 8, since I absolutely LOVE the
title track, which is half of the album, and "Siberian Khatru" is really
catchy too, but "And You And I" is, at best, ponderous and boring, and
that's all I have to say about that. Regarding the "I get up, I get
down" section of the title track, what is WITH the utter worship that
this section of the song gets? Sure, it fits the song perfectly, but I
wouldn't go calling the band "aural geniuses" for creating it or the
melody "the most beautiful four minutes ever created" since "I get
up.......I get down!" could've been written by a three-year-old, both
lyrically and melodically. However, it's not bad at all; in fact, it
sounds pretty darn cool against the sparse organs, but I wouldn't go
rating it above the equally great other under-recognized parts of the
song! The jumbly guitar mess at the beginning punctured by Anderson's
"AAAAAAAH!"s sounds really really cool! For a three-track album, this is
really great, though it helps that the one song which is a length that
Yes hadn't attempted as of yet is so darned perfect.
- michael.blume@gte.net
Wha!! I gotta respond to the part about "And You And I". Mr. Bunnel, you
described the actual song as "ponderous and boring" at best, but that's
false. "And You And I" is one of the most thought-provoking and complicated
love songs ever written. I'm distressed that you totally disliked it. Come
on, let's face it. 1998 was a godzilla-load of crap that had no other
purpose than to irritate about more than 3/4 of my brain, mainly because of
bubblegum pussies like Backstreet Boys, talentless bitches like Sarah
McLachlan, and so on. What does this all have to do with CTTE, you
ask? Well, not a whole lot, but my point is that CTTE as a whole is
a jillion times better than what was on the radio in 1998. You, however,
underrated it as an 8/10. Now for my point on the album itself: IT IS THE
GREATEST ALBUM OF ALL-TIME, AND IT DESERVES MORE PRAISE THAN YOU HAVE
GIVEN IT!!!!
Sure, Abbey Road was the Beatles' finest hour, and
To Our Children's Children's Children features some the most excellent
and awfully original material the Moodies had even written, but none of
these albums (nor any other) can come close to the
melodic invention, thematic elaboration, and harmonic perfection of
Close To The (CUTTING) Edge. No one. Thank you, Yes. Thank you.
- richbunnell@home.com
Well, first off, my name quite
clearly has two L's... Anyway, perhaps I was mean to
"And You And I" and under-rated the Close To The
Edge album as a whole. Perhaps it actually
deserves a nine (not a ten, sorry) and I was just in a
non-prog mood at the time of writing that
comment...it's really a good album, trust me!
- Paul.Corcoron@rbwm.gov.uk (Paul Corcoron)
I am 25 and had never heard a Yes album until last Saturday. I was in
the record shop and just got a strange impulse to but Close to the Edge
at the knock down price of 6.99. It is quite simply one of the best albums I
have ever heard.
- imoss@northernlight.com (Ian Moss)
Indeed, while not the most accessible of albums (that opening was
pretty damn hard to get into at first), it certainly grows in stature with
repeated listenings. I'm not quite ready to put it at the same level
as Fragile...not quite sure why...perhaps because I feel that the "other"
two songs are not quite as strong as the title track. Frankly, I had
expected more out of "And You and I" after all I had heard about it. Not a bad
song by any means, but it just wasn't as mind-blowing as, say, "Heart of the
Sunrise" (few things in this fleeting life are). "Siberian Khatru" is
pretty damn good though.
On "I Get Up, I Get Down": Yeah, when I first saw the title to that
section I was somewhat nonplussed--has there ever been a dumber title
for anything? Sounds like a frickin' Monty Python song or something, or
like it's maybe about erectile dysfunction. But of course, the music is
utterly ethereal in its majesty and sheer spiritual power. Which just goes to
show ya that lyrics don't matter for shit. I personally feel that the
guitar solo that immediately follows the "I Get Up & Down" section is even
more climactic.
I think Yes would have been a very different band if they had called
themselves "Yeah." Just a thought. Now back to the album.
No, just kidding, I'm done with my review. HAH! Had you fooled there,
didn't I? Thought I was actually going somewhere with this
rambling? Well, that's egg in YOUR face, Mister (or Ms.),
because....oh dear, this isn't funny at all....I mean AT ALL....well, nothing to be
done about it now. bye
- poulos1949@email.msn.com (Lou Poulos)
Lucas: I can't tell you how great it makes me feel that guys your age
are discovering this stuff. A few months ago, I was driving around and
was stopped at a light, and I heard "Perpetual Change" coming from a nearby car,
and I look over and there's a couple of teenagers totally getting into it.
Wow. Congratulations on your musical taste and your open mind.
Close to the Edge is a masterpiece. The title track is like an
orchestral work, And You and I is haunting - check out Bruford's sparse, powerful
drumming at the end, the way he pounds those punches during the last
statement of the theme. Incredible. And the way the bass and kick lock
together in that pulse in the beginning, like on "Your Move."
It's their best work in that it's expansive yet concise. It's adventurous
without noodling. It would be the last time they'd show this kind of
restraint. It's hard to imagine an album with only three songs on it being
called concise, but it is. I give it a ten - one of the seminal recordings
of the rock era.
- bjones04@tampabay.rr.com (Benjamin)
Gee kids I was 19 when CTTE was released. It is indeed T H E Yes
album. My comments on both the band and CTTE would only mirror my fellow yes fans'
thoughts. Yes has no peers. And yes I too wondered if they were
from another planet. And no I had never even smoked my first joint yet. LSD and cannabis is
not required in order to journey upon the magic paths which Yes
music leads one upon. Its been 29 years now since CCTE for me and in my old age and
wisdom. whenever anyone attempts to compare Zepplin. Rush or anyone
else with Yes, I no longer get angry or frustrated, or call them ignorant....nope ..I just
smile and go on my way knowing that they have never been to 'THE PLACE'
- tommy_chuck@hotmail.com (Tom Marshall)
Quite simply the pinnacle Prog moment. Brain Salad Surgery, The Lamb lies
down on Broadway and Yes' own Relayer come close but this is just the
best. A perfect balance of pomposity and great writing, 'Close to the Edge'
itself is the ultimate 20 minute prog venture. The opening, free-form
passage and Wakeman's church organ swamping Jon's ascending voice are
probably my favorite Yes 'moments' of all. All in all, Yes' definite
statement, musically and lyrically. My one gripe: Howe is a bit quiet in the
mix, whereas Wakeman is everywhere. Fragile is probably the LP where they
got the balance perfect. Still, a full blown 10/10.
- pedro_andino@msn.com
1.CLOSE TO THE EDGE: the cosmic journey begins with the sound of birds or pajaritos with a waterfall and glistsening water drips then suddenly KAPOWWWWWWWWWWW! bill buford, chris squire, steve howe, rick wakeman, jon anderson. kicks your ass into high gear
1.THE SOLID TIME OF CHANGE. IT DOES BEGIN WITH A SORT OF JAZZ JAM LIKE MANY SONGS YOU HEAR LIKKE ROUNDABOUT ALL GOOD PEOPLE AND THE CLAP
2.TOTAL MASS RETAIN. JON WANDERS ABOUT ALIENS OR WITCHES BUT THAT'S COOL WITH ME
3. I GET UP I GET DOWN. YES SPACES YOU OUT AGAIN THIS TIME WITH A MELLOTRON AND SOME DRY ICE AND DRIPS EFFECTS IN CONCERTS THE BAND'S HARMONIES RULE!!!!!!!!!!!!!!!!! FUCK YOU BEACH BOYS! THEN THE ORGAN IT'S JUST LIKE HEARING BACH UNTIL.........
4.THE FINAL CLIMAX A WEIRD JAZZ SYNTH SOUND THAT REMINDS ME OF WATCHING JOSIE AND THE PUSSYCATS IN OUTER SPACE WITH THE SYNTH PLAYING VILLAN WITH ODD AVANT GARDE SOUNDS IF YOU LOOK FOR MELODY DON'T!
THE SUITE ENDS IN A CALM WAY BIRDS AND WATER DRIPS. IF JON ANDERSON WRITES STUFF LIKE THAT HE WILL WRITE LIKE POISON ARROWS AND GLUED DOWN PENNIES.
2.AND YOU AND I: BEGIN WITH A LONLEY GUITAR INTRO THEN JUMPS YOU INTO A JAMES TAYLOR-ISH INTRO WITH A HAPPY SYNTH SMILING AT YOU AND JON ANDERSON SINGS LIKE HE IS FREE! HEY! HEY! HEY! IMAGINE IF YOU SEE THE POLYPHONIC SPREE THAT'S WHAT IT SOUNDS LIKE THEN CAME PAH.... THE MELLOTRON SECTION LOVELY SOUNDS WITH SYNTHS COMBINING AND THE VOCALS! MAN THEN IT SENDS YOU INTO THE LONELY GUITAR INTRO AGAIN THIS TIME IT'S FASTER THEN CAME JUMPY INTRO NUMBER 2 THERE WILL BE NO MUTANT ENEMY LIKE JAR JAR BINKS! HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA! THEN CAME THE ENDING. THAT IS LIKE A LOVE SONG WITH SOMETHING NEW TO IT
3.SIBIEREAN KHATRU: IT STARTS AS A FUNKY GUITAR ROCK LIKE JAMES BROWN OR SLY STONE
WHO KNEW THAT PROG BANDS CAN BE FUNKY: FLOYD'S HAVE A CIGAR. THEN CAME THE DA DO DADO DA VOCALS WITH THE POUNDING DRUMS.
4.AMERICA: THE COVER OF A PAUL SIMON TUNE WITH A PROG MAKEOVER
5.TOTAL MASS RETAIN: THE SINGLE VERSION NOW IF I KNOW CORRECTLY THE LABEL AND RADIO STATIONS NEED A SINGLE BECAUSE THEY THOUGHT THAT THE SONGS WERE WAY TOO LONG
6. AND YOU AND I PART 2: SAME THING BUT AN ALTERNATE VERSION
7.SIBEREA KATRU PART 2. AGAIN SAME THING BUT LIKE A REHERSAL
PRINDLE, YES FANS, I LOVE THE FUCKING CD!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I NEVER HEARD YES EXCEPT OWNER OF A LONELY HEART BUT THIS RULED I HOPE I GET MORE!
- watta502@yahoo.gr (Akis Katsman)
Except for some moments for "And You And I", this has to be a perfect album. 9.5/10 from me.
- alexmortland@hotmail.com
"River running right on over my head"
This lyric is about Jon's fondness for golden showers.
8/10
- steve.robey@mindspring.com
Although it seems pointless to add my own comments to the vast sea already submitted to this site, I was reminded recently of a funny/stupid revelation a couple of friends and I had about the song "Close to the Edge" about 15 years ago, so I couldn't resist sharing this wisdom learned. I was 22 years old at the time, which is old and wise enough to have such revelations, but young enough for them to be pretty stupid all the same.
As a prelude, let me refer to a reader comment above:
alexmortland@hotmail.com
"River running right on over my head"
This lyric is about Jon's fondness for golden showers.
That realization pertained to "Siberian Khatru"... I have similar insight into the title track.
Simply put, "Close to the Edge" is AN EPIC ABOUT TAKING A SHIT. The four movements (HA! Pun intended) of the piece illustrate this quite amusingly:
I. "The Solid Time of Change" - A rather poetic euphemism for a bowel movement. There's a time...
II. "Total Mass Retain" - Seems our protagonist is having some trouble getting the job done.
III. "I Get Up, I Get Down" - With that obstacle overcome, our protagonist keeps having to "go" just when he thinks he's finished. He gets up, and then....
IV. "Seasons of Man" - Seasons pass... and he's still there.
All right, that was stupid and gross. But it still cracks me up whenever I think of it. Seriously though, I count this among my favorite long songs of all time - up there with "Atom Heart Mother". And the other 2 tracks are great too.
- spacebutlerxiii@hotmail.com
The thing about an album that consists entirely of
3 songs is that you don't need much of a flow between songs, so long as the
three songs each have their own identity. But Yes made sure to put in the
extra effort and made sure the songs had a reason for being where they were.
All three songs are just absolutely amazing. They're really really long, but
they still leave you craving more. If ever I had to go somewhere far away
and had a limit on how many CD's I could bring with me, this would be one of
them
- iekamede@yahoo.com.ar (Laureano Lopez, 24, composer and dark chocolate addict from Cordoba, Argentina)
I think the first track on this album could have really used some developmental procedures. For the construction of big forms, this band solved a very important issue that ELP, for example, couldn't (at least consistently): a coherent flow between ideas, especially at connection points. Most prog bands used sound tricks for this matter; Yes, usually, preferred logical transitions.
Now, the last tracks are short enough to avoid the band from running out of resources to maintain the energy level, but the first one is not only longer but more rhapsodic, and I think they couldn't fully sustain it. The introduction (I mean the first of the two instrumental sections before the voice enters), though intense and intriguing, stays too much around the same without a significant element indicating a direction: it's a little plain. The energy is at a constant high level throughout, so it becomes inertial to me. But this is a small problem compared to what happens in the first sung part.
This is where I think they could have used some development. The first element ("a seasoned witch...") is very static, both in melody and harmony; the third one ("crossed a line...") is adequately more dynamic, and works as an effective vector to "seasons will pass you by, I get up I get down". Now, the first thing I tend to consider an error is the plain repeat in "my eyes convinced...". The little energy gained by the refrain is thrown down, in a way that makes the repetition look just dogmatic. If this whole part would have been a complete song, it could have worked - in this context, it makes the piece drag. They could have made the repetition shorter and less predictable by cutting some phrases, they could have changed the harmonic or rhythmic context to make it look as a consequence of the level achieved by the refrain; in fact, all procedures by which they constructed the last track, with perfect results. So the repetition, as it is, starts to contradict the frenetic push of the introduction by slowly losing its impulse.
The second moment I consider an error is, predictably, the repetition of the first one. Two times we hear a growing process up to "I get up I get down"; two times the consequence is... nothing. When the minute of plane time (I mean the pulseless section before the part actually named "I get up I get down") comes, the suspicion becomes a fact: the previous part was a long roundabout and, following a general energy curve, it's as if the piece never really took off. It's a letdown: I feel the song starts again, with the first half being a failed attempt. And this has nothing to do with the actual ideas being good or not - I like all the ideas they use; the problem is how they build a whole with them.
All the rest of the song is brilliant, even if the end is a clich : it's a perfectly exploited clich , I have nothing to say.
I decidedly don't think they should have used more ideas. The real goal of this album is constructing a convincing wholeness out of the development of three single ideas. When the climax of And You And I is achieved, the effect of greatness is provided not just by orchestration: the weight of the whole song is discharged there - that's why it feels (for me at least) much broader than the final section of Supper's Ready needing much less artifacts to become evident. Most long songs by prog bands deserve the usually given name of "suite": they're rhapsodies with little more interconnection than local transitions (and sometimes even without them). Albums like Selling England by the Pound or Animals use another kind of extension, mainly sustained by long melodies, by continuous lines. Yes and King Crimson attempted an extension sustained by texture, by polyphonic construction on short elements, and this album, even with its defects, is a great achievement in that direction.
(several months later)
oh i'm getting old.
for example, i'm still having opinions about this album when everybody is listening to... hmmm
yes' 70s albums (bar tales) are among the music to which i come back regularly. i mean, every year at least. i have yes phases. i'm on a yes phase right now. just fragile and close to the edge. maybe i'll try relayer again. it's a little messy for this season. and going for the one a little cheesy.
(see, i'm becoming a complainer, sure i'm getting old)
i still think tracks two and three of this album are perfectly round and solid like a new bowling ball. my ideas about the first track have changed a bit. yes they might have developed the reggae/rap/whatever idea. but they didn't. so it's a little long. just a little. formally it's like a song, with longer verses than refrains. but it's not a song. it's a main theme repeated with no variations between little breaks of growing menace. an energetic, pushing plateau. every time the refrains go back to the repeating ideas, i get a sense of restraint. it's not a music that doesn't take off: it's a music that refuses to take off. so when this part dissolves into atmosphere, i've been deceived twice, and i'm a little nervous about it. the idea has grown from cool to insistent. like that scene in family guy where peter takes his foot once and again and again until it gets annoying... and that's why it works. if they did nothing after the middle part, i would be pissed at the end. but they do. the resolution is great, and it can't be isolated: its greatness comes from its relation to the first part - it's a matter of proportions. so the whole... works. i still think: man, they really could have developed that thing a little. but it would be a different work. very different maybe. as it is, the global structure is pretty simple, and it uses the insistent character of the first part to achieve its goal. i still find the first half of the instrumental introduction a little too repetitive or messy or both, and of course the atmospheric break could be shorter for nobody's damage. but these are minor complaints. after listening to the other two pieces, i think: "ok, to go from 10 to 18 minutes they needed over-repetition". if they did because they couldn't do "better" or because they actually wanted it that way, it's not mine or anybody's issue. they did it this way and it works but it's a little insistent and that's all.
great album, by the way =D
hugs!
Add your thoughts?
Yessongs - Atlantic 1973.
Overkill. A triple live album featuring only
songs from the last three LPs, plus two Wakeman fiestas. Of course the songs
are amazing, but we've heard them already. Yes doesn't change when they play
live, so what's the point of releasing this record? Just to prove that they
actually could play like this? Who ever doubted it? There sure ain't no
session musicians that can play this way! There's no need to buy this album.
Buy the studio ones instead. Unless you've never heard the band, I guess.
Lots of great songs here.
- Reader Comments
- student@lib.siu.edu (Brian)
I must disagree. To fully appreciate this album, you must have a
sensitive ear for live music. Personally, I love to hear a great band
like "YES" perform live. One aspect of this album that stands out to me
is the performance of "Perpetual Change." The energy that "YES"
produced in the live performance far surpassed the mellow beauty created
in the original production. Although most of the songs were performed
the same as their original recordings, there are intense moments which
can't be experienced from any other "YES" album; like Chris' ominous bass
solo. If you like live recordings that are a bit misty but open, you'll
enjoy this one. I recommend vinyl.
- monkey37@localnet.com (Scott Moore)
If you hate the live experience of Yes, and doubt this album's excellence,
listen to "And You And I" for Rick Wakeman's keyboards. Listen to the
guitar on "Yours Is No Disgrace," which is better than the orginal. And
listen to the end of "Starship Trooper." Yes does not get any better than
that.
- thutley@e-z.net (Thomas Hutley)
Ask any band, past or present, to stay so true to their original
recordings just for one night, and they'd probably pass out from mental
exhaustion! It's all fine and good to have each band member blow their
own horn in a solo shot or two, but I don't go to concerts to hear new
renditions of classic--or even contemporary--tunes. I go to concerts
because I liked the original sound so much I was willing to fork out an
extra $50 bucks on the band to see them live, and wear them on my chest
for about three months until the T-shirt fell apart. You want to extend
the bass playing in "The Fish" for a couple ten minutes or so, go ahead.
One of the best bass solos I've ever heard, but don't revamp entire
songs simply for the sake of making something new. Just hearing it LIVE
is change enough for me. I'm still amazed they could create their sound
in the first place! So bravo to a band that can at least stay fairly
true to it's original musical concepts...
- sbachini@uk.mdis.com (Steve Bachini)
Ah, the musical excesses of the 70's. Triple live sets from Yes and ELP. This
album is surely a fan's dream come true, excellent live versions from The Yes
Album, Fragile and Close To The Edge. Bill's only on a
couple of tracks sadly.
But most importantly, what about the crap bootleg sound quality? This then
brings my star rating down to 6-7/10.
- egalvao@brnet.com.br (Enzio Galvao Diniz Torreao Braz)
It is the Yes standard record. I used to recommend it to people who want
to taste the band and didn't "venture" to be delighted by the particular
type of music the band have been playing for all these years!! I have
been listening to it in the last 16 years. I picked it in a Yes shelf
after have listened to the Yesshows records (and being captured by)!
- pcahill@eniac.seas.upenn.edu (Patrick Cahill)
This is a great collection of songs, but the sound really leaves a lot
to be desired. For the money I shelled out for this, I was really let
down by the quality. I don't care if it was 1973; I own plenty of '76
live sets that are worlds better soundwise. Still, a must own in my
book, because, like others have said, some songs really shine, perhaps
better than the originals. I think most Yes Album pieces fit this
description. And Wakeman's "Six Wives" performance? AWESOME.
- keio@usa.net (Keio Sandvik)
Great playing. Yes really fire up live, don't they? Tasteful and
spontaneous improvisational bits. It contains the version of
"Starship Trooper" that everybody loves. Rick's mellotron bits with
that amazing moog solo is a classic. And it hasn't even been
quantized (muso talk). Jon stuffs up the lyrics but who cares. What
did they mean anyway? I understand there is a university graduate somewhere who actually
majored in Yes-music, or should I say Yes-concepts.
Well, now you know what it really takes to appreciate this stuff. What hope
do the rest of us mere pleboids have? I don't know.
A word about the audio quality: Crap. Remastered version is
marginally better. A kind of high-fibre crap. However, the
performances make up for any deficiencies.
- wallison@pnc.com.au (Warwick Allison)
I disagree, yessongs is tremendous. How can you say it's the same as the
others. "Perpetual Change" has a drum solo, "Yours is no disgrace" has huge
amount of improvisation and every time Yes play "Starship Trooper" they
change "WuRM".
- First_last@studio.disney.com
Wow I'm doing a lot of responding today. I bought this record
immediately when it was released here in L.A. and played it till my
parents were ready to have me committed. By far the best version of
"Starship" and "Yours Is No Disgrace", clearly blowing any later bootleg
versions I have heard out of the water! Too bad about that sound though.
One think I've always remembered about the band live was: 1) the cool
lights they used (Close To The Edge mirror disc remember that?) and 2)
the good sound. Not a bad album graphically I might add. Still have my
original 1973 copy!
- tabasco@worldnet.att.net (BOB's)
I thought it was okay at first then I realized it had very poor sound
quality, and this was the same year Dark Side Of The Moon came out. This
album was bad, it sounded exactly the same as the originals, and I wasted 27
damn dollars to buy it. I give this album a 4.
- tomr@ix.netcom.com
Regardless of the poor quality and the fact that Yes can never properly
reproduce the harmonies on a live performance, I really like this album.
Listen to Steve at the close of "Siberian Khatru" and his solo with the
slide on "And You and I" Astounding!
However, I don't care for Chris' rendition of "The fish" Nor do I like
Rick's "Six Wive's" monstrosity.
Otherwise it's a definite must.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Yessongs is the recording of great shows with terribly awful sound
quality. A pity and a shame. The jacket this time was the most
elaborate ever, showing Dean's continuity concept at its best. The
original version had a booklet even bigger than the Fragile one. Some
of the performances had to be different in sound to their studio
counterparts (i.e. the acoustic intro of "Roundabout" became electric)
but the band stuck loyally to the original arrangements. What's wrong
with that? Bill is missed in most tracks, but Alan was a true newcomer
in that tour (don't blame it so hard on him). Some arrangements are even
better than the studio ones. Although it was a triple-vinyl it only
really had two-record time. I give it 5/10 due to the poor sound. The CD
sounds even worse!. One final note: the compositions credit for
"Siberian Khatru" include Squire this time but actually Chris did not
share the credits in the CTTE album.
- hijinks@utarlg.uta.edu (Thomas Rickert)
Yeah, excessive, sure. The Wakeman solo pieces are now unlistenable,
but, to give credit where it is due,
the live version of "Heart of the Sunrise" here is better than the one on
Fragile. Hard to explain why: feel, intensity, mood. All that. And
more. Much more.
- walrath@gene.com (Erich Walrath)
Better band then the "weaker" King Crimson?!!!
I can't imagine Fripp and company tossing off a line like:
"A seasoned witch could call you from the depths of your disgrace,id mental grace..." c'mon!
That said, I love everything about Yessongs - and consider it to be
superior to the studio work that preceeded it. It's pretentious as
Hell; the Roger Dean graphics are gaudily surreal; the choice of songs
are illustrative of the band's excesses and consumate musical skills -
which simultaneously places them beyond caricature and makes them
supremely listenable.
I even like the (lack of) sound quality - it gives the project a
strangely quaint feeling...
- PHREEBERD2@aol.com
this and yes shows are probably the two best live albums i have ever heard i
dont like you
- Donald.Downs@co.orange.fl.u
I don't think I'm alone in thinking that Yes's studio discs, while superb,
are somewhat clinical and cold. Despite the lousy sound on Yessongs, you can
almost see the joy on the bands face as they played these songs. It's the
little things that do it for me, the way Jon holds some notes longer, the
way Steve puts a little more bend in a note. The imperfections make it more
enjoyable for me.
- robchaundy@yahoo.com (Robert Chaundy)
This is quite literally the heaviest album in the
world. The thing weighs a bloody ton! Although I don't
usually like live albums, Yes is one band whose shows
really translate well to vinyl, and Yessongs, although
spitefully long, is a classic.
- pedroandino@msn.com
I am really glad you loved it but let me ask you. I have now 7 yes albums!
FRAGILE: the single classic. you do not miss out on that one!
CLOSE TO THE EDGE: a towering symphony of sound!
RELAYER: hard deadly heavy metal attack!
GOING FOR THE ONE: MESSY BUT BEAUTIFUL.
TORMATO: BASHED ABOUT BY FANS I SAY IT IS UNDERRATED.
DRAMA: UNDERRATED.
90125: the big sellout!
f like I was sayin' you are funny! ha! anyway yessongs is so long I give tis a ten!.
- pdermody@twcny.rr.com
I think the songs really stand out from the originals are Siberian Katru, Prepetual Change, and Yours is no Disgrace. Just listen to the cool drum solo at the end of Prepetual Change. And listen to Howes groovy solo in Yours is no Disgrace.
Add your thoughts?
Tales From Topographic Oceans - Atlantic 1973.
A double-album with four songs on it, this record
is considered a joke by most music fans who've heard of it. Bill Bruford quit
during the Close To The Edge tour, so weaker drummer Alan White is in
the mix, not adding much to a collection of slow murky dreamy songs that you
can either (a) relax and meditate to, secure in the knowledge that if it gets
a little dull, you can always throw on some Ray Lynch Deep Breakfast,
or (b) scoff at and throw the album at a passerby. I choose (a) regardless of
my deep-rooted abhorrence of Ray Lynch and all his sick Windham Hill buddies,
and I enjoy the album just fine, thank you for asking. Yes, it's a hilariously "deep"
album (based on a lengthy footnote on page 83 of Paramhansa Yoganada's
"Autobiography Of A Yogi," the four tracks are supposed to celebrate the
knowledge of God, all of our thoughts and memories, the ancient treasure of
knowledge, and the ritual of life, through which pure love defeats evil - and
ooh does that come across), but darn it, the music is perfectly pleasant. Not
GENIUS by any means, but still well-played and nicely arranged. Better than
most other dentist office muzak, anyway. Most people consider it overbearing,
but it's really not. The songs are lengthy, but very welcoming - not
bombastic. It's peaceful stuff. Take a nap to it if you want to. I prefer
to stay awake and enjoy some pretty melodies. Nous Sommes Du Soleil! And the
album cover is beautiful. Roger Dean can get a little samey, but that dark
blue is just lovely, I think. What do you think, kind sir?
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
I think your review from this album wouldn't do much good for
those fans who were at San Luis Obispo in March and freaked out
when Yes played "The Revealing Science of God" after 22 years.
By the way, what makes you think Alan White is less good than
Bill Bruford?
This album is a statue for Yes throughout the years but just
because it was different from that what people were used to hear
from them it suddenly isn't good.
As we say over here in the Netherlands; GELUL!
In my point of view it's just a masterpiece which was obvious
that it would be released if you read some old interviews
with Jon Anderson in that period.
- rjohnson@jax-inter.net (Richard E. Johnson)
Tales should have been a Single Album. It just is too much blowing,
not
enough tight arrangements. Some great melodies are in there and it is
worth listening to, but not really a worthy follow up to Close To The
Edge.
As for the White/Bruford Question ... White was still getting used to Yes
and vice-verse, and hadn't quite gelled. Relayer and especially
Going For
The One are a different story. He was very good on those....
- monkey37@localnet.com (Scott Moore)
Okay, brace yourself, because I feel that this is the best album Yes made
up to this time. Anyone who can appreciate the feeling of fantasy, and
being placed inside a different world with the clever tunes and vocals,
like so many say they were in Close To The Edge, has to be captivated
in
this album. I don't know what it's about, and I refuse to find out,
because I can run any stories I wish through my mind as I listen to the
music. Wakeman reached his greatest talent with the band, and finally,
shades of his excellent solo projects showed through in his Yes work. This
was the album that set Wakeman up for Journey, and the same talent is
expression. Jon Anderson's lyrics were excellent, and I don't really
care what they mean. I see the album as a whole piece, forming endless
stories in my mind, with all the elements of a great tale. The best
guitar Steve Howe had ever done, and the best bass Chris Squire had done
since his early albums. The White/Bruford issue, after "The Ancient" it is
very hard to tell, but Bruford will later show them all up.
- DougS@aol.com
This album was Jon Anderson's "fuck you" response to the critics who
considered YES' albums too long and too self indulgent and too biblical. His
basic feeling was "Oh yeah, you thought that was long? I'll show you long!".
- sbachini@uk.mdis.com (Steve Bachini)
This is certainly an album to lose your street cred. "You like Yes, but they did
that awful pretentious double album with side-long tracks. You don't like that
shit surely?" Go on, stand up for yourself. You love this album. It has
parallels with Genesis' Lamb, it's a double with plenty of mellotron and it's
completely incomprehensible. But hey, who cares what it's about?
I have to admit that they wouldn't have produced this with Bill on the team!
It's packed with ideas that come and go which you could argue could have made
great 'songs'. It's pretty laid back overall and 'murky' as you say Mark.
Sorry to harp on about sound quality but what the hell happened to the master
tapes? (Any hope with the CD re-master anyone?) I heard an almost decent LP
version once. When you've got talented guys like this you really want to hear
what they're up to! 8/10
- pcahill@eniac.seas.upenn.edu (Patrick Cahill)
I'm with Scott Moore. Look, first of all consider the sheer balls of
the recording. 4 side-long tracks intertwined thematically and
conceptually? You'll not see the like ever again. Agreed, it's hard to
spend 80 minutes at one pass to get the feeling for the album, but the
individual tracks can actually stand up. "Revealing" and "The Ancient"
are the most beautiful Yes songs I've ever heard, and "Ritual" can rock
as hard as anything they've ever done. Even though Wakeman couldn't
deal with this album, he was brilliant; they all were absolutely
brilliant. (I also think Moraz kind of hacked up "Ritual" on Yesshows).
- James@jpb-s.demon.co.uk
Side 1 and 2 are magical and I can't help but singing along even if I
still don't know the words! They are up there with CttE. However,
the amount of shamless padding in side 3 and 4 lets the LP it down a bit.
- twonoahs@aol.com (Steve)
I've always wanted a place to spew my thoughts about this album; now I found
one!! Here goes:
This is an album that you can't just enter into thinking you know it all.
People whine about it being only four songs on four sides. Why do people
have to only think of it in song numbers? In all honesty, it's more like
many little songs inside four anyway? I mean, the little Jon solo in
"The Ancient" and the climaxes in "The Revealing Science..."? They're
incredible run-on-sentence-songs from a brilliant band. My favorite of their
albums. You find something new every time you listen...and no, I'm not Jon's
pansey brother :) Tales from Topographic Oceans is an album whose
name is the only thing that comes close to catching its essence. Excellent.
- Olias@webtv.net (Justin Strohm)
I believe this to be THE best album ever in history. Well, either
this or CTTE. I realize that *a lot* of people don't agree w/me at all,
but you know something? I DON'T CARE!! My only complaint on this album
is the poor sound quality. I've never heard the original discs, but the
remasters are of pretty poor, muddled sound quality.
- TempsFugit@aol.com
I love this album. I don't care what anyone says about it. I don't
care if the band didn't understand it. I don't care if every copy of it
in the world was destroyed, EXCEPT MINE! Jon's vocals are beautiful and
inspiring. I can't make them out for shit, but I sing along anyway. I
just make up my own lyrics. The music itself is wonderful. As far as
the length of the tracks goes, I only care if a song is short if it
sucks. When I have finished listening I don't know if it's been five
minutes or five hours. That is the beauty of music.
- seo@total.net (Stephane Ouimet)
I won't argue. I guess it's not the best Yes album ever, since one can spot
a few Mahavishnu Orchestra ripoffs here and there on some tracks (by the
way, they kick ass and they go ten times further than any "progressive"
band of the mid 70's). But it's my favorite Yes record. Maybe I spent too
much time in my basement, maybe I had too much imagination, maybe there was
too much reefer. Go figure.
As for Yes, I kinda despised them for a few years, their reunions, unions
and ABWH reformings bore the Jesus out of me. What's more depressing than a
fortysomething art rock musician, wearing a 1000$ Armani suit, babbling on
about how good his old band was back in the old days? (see Moody Blues,
also). But I listen to Oceans once in a while and there are some good
ideas in there. It's interesting and weird. Take away the new-age oriental
metaphysical sleeve notes and you've got yourself a perfectly good art rock
album, full of quirks and bizarre developments....I still like it a lot.
- rderby@erols.com
hey, i love YES music but the guys missed the mark on this one. i agree
that this could have been a strong single album because some of these
passages are YES'S best! i also realize that without TALES there
probably wouldn't be GOING FOR THE ONE.
P.S. the live version on KEYS was breathtakingly superb!!!!
- keio@usa.net (Keio Sandvik)
An album a lot of people will find (to paraphrase F.Zappa) "difficult to
approach due to its statistical density". This is the
proverbial. It's a piece of work that surely gave birth to punk...or
rather added fuel to the argument. It annoyed the hell out of rockn'
rollers everywhere. But could they ever learn to play it? No way. Above
their heads, I'm afraid. If it were a dessert, it would be a
sperm-whale sized, Black Forest (chocolate & cherry) cake, with
sprinklings of unidentifiable granules of something or other. I
love it.
Please use remastered version for fuller flavor.
- Godranek@aol.com
This album has really great conceptual ideas, but I don't think it quite
succeeded musically. Sure, the liner notes are interesting, and the artwork
beautiful but man does it really drag, especially on the first half. "The
Revealing Science of God" and "The Remembering" sound almost identical.
Anderson seemed to be at the front of the mix while the other instruments
are just plodding away in the background. Where's the instrumental
prowess? Where's the melodic consiousness as displayed on the previous
albums? The first half is just Anderson rambling on and on about god knows
what! Again, this album could have done without the first disc. The second
disc picks up much of the pace though. There are some interesting
instrumental fluorishes here and there. I like the weird intro on "the
ancient" and the awesome drum solo and some great folk guitar on "Ritual".
Then at some point, the musicians go ballistic with a big wall of noise for
15 seconds! COOL! I agree with the reviewer, it's great music to sleep to.
I like long conceptual albums but here, the whole thing sounds as slow as
pouring peanut butter.
- wallison@pnc.com.au (Warwick Allison)
You fool, Tales is one of the best Yes albums.
- akdxmy@hotmail.com (Andrew Davis)
The issue is over which is the greater album,
Tales From Topographic Oceans or Keys To Ascension?
Personally, I
have enjoyed Tales immensely, in one form or other for the past 16
years. I enjoy "The Revealing Science Of God," the outstanding keyboard
work on "The Remembering," the out-of-this-world guitar work
on "The Ancient" and the beauty and interesting rhythms of "Ritual."
It's a tough choice, Keys makes some of Yes's best music sound even
better. "Siberian Khatru" is wonderful, "The Revealing Science Of God"
is beautiful, "America" is tremendous, "Onward" and "Awaken" are
majestic, "Roundabout" and "Starship Trooper" are much better than their
original versions. I really had to consider the two new songs, "Be The
One" and "That, That Is," so I listened to them again. "Be The One" is
similar to the better pieces off of Anderson, Bruford, Wakeman and
Howe, namely "Long Lost Brother Of Mine." "That, That Is" has that
outstanding Steve Howe introductory guitar piece. There are some parts
of "That, That Is" that I am not particularly crazy about, but overall
it is a pretty decent extended work.
I forgot to mention another favorite Yes album, Classic Yes. I would
have to give that compilation a 9 also. I can understand your
appreciation of Fragile. Personally, I could listen to either Rush's
Exit... Stage Left or Tales From Topographic Oceans or Pink Floyd's
Pulse or perhaps, Fragile or Going For The One or most
of The
Compact King Crimson or A Young Person's Guide To King Crimson
continuously and never get tired of them.
- MGeorge57@aol.com
I have to agree that TALES is a very long album, and at first
"The Ancient" was
never
one of my favorite songs, but you have to look at this album as a whole, when
it
came out in 73 most bands were making concept albums and this one worked.
They had so much material for TALES (which they used for Relayer),
but a 3
album set was more than the record company could handle. Rick left because
he was more into songs with YES than he was long drawn out pieces.
- k.smith@pulse.york.ac.uk (Karen M. Smith)
I think this is the best album Yes made; in point of fact it's not really
an album per se but a piece of music. Unlike some, I can't see any real
connection between the 'big' Yes pieces ("Close to the Edge," "Tales," and
"Gates of Delirium"). It seems to me that "Close to the Edge" is still pretty
much hide bound to the 'verse/chorus' formula, albeit on a very large
scale whereas "The Revealing Science of God" displays a certain leaning
towards a more adventurous view of structure: there is a definite feeling
of a return to a previously established 'home' key near the end of the
piece. I don't want to pretend that its flawless ; parts of the second
movement become rather mechanical and I don't really find the bass/drum
section in "Ritual" convincing either despite the rationale provided. Never
the less, the great advances this work and "Gates of Delirium" demonstrate
over say "Close to the Edge" is that the music actually 'travels': it
doesn't rely on production methods to induce a sense of 'arrival'.
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
This is the best damn Yes album ever, I agree with TempsFugit - "I only
want a song short if it sucks". I don't care if the whole thing was one damn
song 4 sides long, it would have been the best damn near 2 hour song ever.
- daniel@fhsk.skurup.se (Daniel Reichberg)
Alan White is NOT weaker than Bill Bruford. They are just very different.
Bill is a jazzboy, while Alan is a rocker. Personally, I think Alan's
playing
suits Yes better than Bill's. They're actually very exciting together,
which
was shown during their drum duet on the Union tour.
- tabasco@worldnet.att.net (BOB's)
I cannot give this album a good review because there were so many errors in
the album. You should hear the beginning of "Revealing Science". You hear a
broken synthesizer that does not sound right. These songs sound the same
too. It also sounds like a We're Outta Ideas kind of album. The first disk
sucked, the second disk was good for a while. I didn't like this album at
all that I gave it to my friend. And because it came out in 1973, one good
thing happened that year or maybe 2, Dark Side Of The Moon came out and my
parents got married. I give this album a 2 and a half.
- dembones@pond.net
Definitely a diehard fans album. There are several fine and inspired
moments, including some of Howe's finest acoustic work. "The Ancient" and
"Ritual" are I think the only tracks that truly work as "songs," and while
that may be forty minutes of fine music, that is only 2 out of 4... 2 good
songs out of 4 just isn't good enough for Yes standards. Nevertheless, an
amazing feat that no other band could match.
- jarendo@ibm.net
This is THE ALBUM!.. the best of Yes indeed... Excellent!
- tomr@ix.netcom.com
Musical Poetry.
Whenever I needed to "get away" I'd just put on the headphones and crank
up the volume. Steve's playing on "Ritual" is nothing short of
spectacular.
Chris' bass lines on "Revealing" are so soothing and gentle. And yes,
sometimes I would fall asleep. A 3 sided lullaby. I don't care for
"Ancient" (Does a lamb cry out before we shoot it dead?) Them's wierd
lyrics.
As for the sound quality, have you ever heard of such a thing as vinyl?
If not check it out. Much of the warmth is lost on the CD version.
(Either that or my ears are gone)
Recommendation? Buy this album. If nothing else than for the cover. Now
THAT's a classic.
How could anybody say they "couldn't understand the music?" It's not
supposed to be understood. Just enjoyed.
- paul.rogers@ait.ac.nz
I'm in total agreement with Karen M. Smith. This album (an inappropriate
word if ever there was one) represents the basic Yes idea at its
greatest ie the collage of musical and lyrical ideas/concepts. The term
"song" could no longer be applied to a Yes piece at this time. Something
more like a journey. It really contained much more of an artistic
sensibility (fine arts that is) and what still amazes me is that despite
rampant public, Wakeman and music industry outcry, Yes repeated and
refined the concept (with a Jazz twist to boot!) in producing Relayer.
Brave and talented lads eh?
- lledesma@amag.edu.pe (Leonardo Ledesma)
Tales From Topographic Oceans is the Yes album with most mixed
opinions among band members and listeners alike. I agree with you on
Dean's cover (I'm proud Nasca lines are painted on it as well). I think
the first track (side 1 on vinyl) is the best Yessong ever! And "Ritual"
is another classic. Unfortunately, the other two tracks have good
musical ideas but lack in the fills. Only Anderson and Howe shine
throughout the 90 minute opus. The other three have only some fine
moments. Rick's job is excellent in those moments and certainly was
ready to record Journey to the Center.... Curiously, the Yesshows
version had Patrick on the ivories (outdoing Rick perhaps?), after a
short untitled jam. Jon's lyrics are obscure but beautiful. Finally Tony
Kaye and Wakeman agreed on something: "Nobody knew what Jon was talking
about". So Rick left. Alan was holding on. A critical moment in Yes
history. 8 out of 10.
- SoulQuest7@aol.com (Nick Kokoshis)
Throughout the comments on your web page for Tales From Topographic
Oceans, I read the following words: "Take away the new-age oriental
metaphysical sleeve notes and you've got yourself a perfectly good art rock
album". Dear, oh dear. If it wasn't for Jon Anderson's spirituality there
would be no YES, and certainly no Tales from Topographic Oceans. Because
of Jon's ability to give a voice to a religious paradigm shift that occured in
America in the late 60's and early 70's, this album became a staple in the
record collection of many budding hippie spiritualists throughout the Western
world. Painters painted to it, yogis meditated on it, Christian mystics
marveled at it, dancers danced to it, and ritual pot smokers used the gatefold
cover to clean their weed! And of course, many people just ignored the lyrics
and just marveled at its music! And have you actually LOOKED at that gatefold
cover? My God, it IS like opening a scripture... the white lyrics shining
throught the dark background, the spacious environmental photography
suggesting the beauty of a cosmic view of life, and the liner notes and lyrics
which celebrate the whole sweep of evolutionary and human history as one big
massive attempt to spell the word G----O----D. Nobody but our heroes Jon
Anderson and Steve Howe could have propelled a rock group to cover such
ground, mowing over a thousand immature critics and challenging even their own
fans. And you know something, YES won. While the Rolling Stones-raised
critics were still praying for the creation of the Sex Pistols and punk, YES
was creating a work that will be enjoyed and studied for centuries,
guarenteed. You want melodicism? Then bask in sides one and two. "The
Revealing Science of God" is so stunningly beautiful that its resurfacing in
YES' 1997 tour (23 years after its realease) caused YES fans nationwide to
celebrate by seeing the show as many times as was humanly possible. This
composition contains some of the most melodic work to ever come out of an
electric guitar; no wonder Steve would eventually go on to be inducted into
Guitar Player magazine's hall of fame. And Jon's chant-like intro and outro
would lead many to think that he was channeling the poet William Blake. (By
the way, that's a compliment.) "The Remembering" is a truly meditative piece,
with spacious synthesizer passages, very melodic movements, and a grande,
ecstatic conclusion. Jon's nature mysticism comes to full flower during the
climax, creating some of the most positive mental impressions imaginable.
Side three, "The Ancient", throws you for a total loop by containing a 10
minute passage that is so progressive enough it almost borders on the avante
garde. Steve's long, dissonant guitar solo is some of his most challenging
work. I'm sure that even fans of jazz-fusion marveled at its unique quality,
although it was by no means an imitation of that genre. The percussion in the
background was wild, although I'm sure Alan White must have been suffering
from culture shock after performing for many years with pop songwriters like
Lennon, Harrison, and Joe Cocker. Then again, given his love of Miles Davis,
it was probably a welcome change of pace. The concluding passage of "The
Ancient", in contrast, is intensely melodic, and contains some amazing
classical guitar by Steve as well as one of Jon's most beautiful songs ever,
which also was reprised during the current tour. Side four, "Ritual" puts the
strengths of the first three sides into one piece. In some ways it is the
most "traditional" Yes epic on the album, and it was a concert staple
throughout the next three tours that YES undertook with new keyboardist
Patrick Moraz, Wakeman having departed after the TALES tour.
As for Wakeman's dislike of Tales, he cannot be held accountable for his words
because he was virtually a lush at the time. It is still astonishing to me
that he could have performed on an album of such importance, and then dismiss
it is as "padded." After over two decades of listening to it, I still can't
find any part of it I would like to see removed. Steve Howe, thankfully, has
always defended the album, and when the idea of performing an edited version
of "The Revealing Science of God" was brought up in 1996, he insisted on the
full length version being performed. Jon appeared to have been hurt by the
critical trouncing the album took in the press back in 1974, but over the
years has come to realize that the work has remained, in fans' minds, as one
of their best achievements. It was his lyrics and vision that were attacked
by critics who-- being raised on "I can't get no satisfaction"-- couldn't
imagine what it's like get not only satisfaction but also ecstasy and love out
of life in the 20th century. Jon keyed into a message that was flooding the
Western world through the influx of Eastern philosophies that touted universal
love as the essence of being, and who taught that this love, being universal,
could be experienced through many different spiritual paths. This idea stood
in stark contrast to the conservative Christian idea of salvation through
Christ alone. And yet Jon knew that even Christianity could not be excluded
from a universalist world view, so even this religion received a mention in
TALES despite the fact that it was inspired by a footnote from An
Autobiography of a Yogi by Paramahansa Yogananda. (Also note Jon's Christmas
album, 3 Ships.) This book was, of course, a staple in the library of every
counterculture spiritual seeker in the 60's and 70's, and it single handedly
helped to topple years of malicious propoganda against Eastern religions. But
even more importantly, this book, as well as artworks like TALES, were
replacing Christian exclusivism with the inclusivism of Universal Love. The
essential idea that was surfacing in the 1960's was that Love with a capital
"L" could be used to guide our lives. This "Love" included a generational
swing toward such ideas as environmentalism, an end to the violent conflicts
between left-wing and right-wing ideologies, and a "personal is political"
philosophy that would redefine morality as the way we align our personal
behavior with various causes such as human rights, justice, individual
freedom, nonviolence, and compassion for all living beings. And this is what
the critics were condemning? This is what scared so many people into writing
such vicious attacks on TALES? Jon's ideas have basically been the same ever
since he sang on YES' second album,"There's a time, and the time is NOW and
it's right for me... There's a word, and the word is LOVE and it's right for
me..." Ever since then, it's been nothing but one beautiful elaboration on
this basic point. Yes was given birth by the counterculture: by explorations
with drugs, with alternative and informal religious ideals, by mysticism, by
the Beatles' "all you need is love" proclamation. It was a time when people
were challenging the notion that to be non-Christian was to be evil. On the
contrary, these troubadors claimed, to be non-Christian is neithor good nor
bad. And to be Christian is neithor good nor bad. The goal is to be a GOOD
Christian or a GOOD non-Christian, whatever your choice. Enlightenment can
occur through many spiritual traditions. Goodness is the way to bring
validity to your spiritual path. Counterculture spirituality defined
"goodness" according to a sort of merger of ecological, humanist, and mystical
ethics. The basic idea being that if we all part of one beam of life, we
should treat all living things with respect.
"Nous Sommes Du Soleil ("we are of the sun")... We love when we play." These
closing words from TALES sum it all up: let us get connected back to the
source of all life, let us love. It's a simple, universalist philosophy
expressed through four amazing sides of music and lyrics. It's a musical
meta-theory for spirituality reflecting the counter-culture of the early
1970's. And that, to me, is TALES.
- ShorThing7@aol.com
All I can say after Nick's incredibly accurate, profound, thought provoking
analysis is: Any questions? :-)
- shotguy@hotmail.com
You don't think this album is genius? What the hell's the matter with
you? Pure genius.
This is definately Yes's best album, and I believe that once you
discover that, you'll give it the "10" that this true MASTERPIECE
deserves.
- gpenton@echelon.ca (Grant Penton)
Considering the LP in evolutionary perspective, it was certainly an
important tangent for the integration of electronic sounds (that were
minimal in CTTE apart from "AYAI") as inspired bridging between sequences.
Perhaps less rockier than previous efforts and thus seemingly more
somnabulistic to some (apart from a few bars in 'Revealing...' and maybe
'Ritual' there are no abrasive Howe licks as can be found on the other LPs),
the normally guitar-heavy band proved that it could work as a unit-
keyboards and percussion ("The Ancient") sharing the limelight with the
guitars and vocals while Squire keeps the pace. The vocals have a marvelous
incantation quality to them that sounds like Anderson, Howe and Squire were
aware of the significance of the words and had indeed meditated on the
richer meanings during the 'lifestyle' recording of the masterpiece.
Yes, I'll admit that I was a bit of a head when I first got it in the mid
70's and found it exceptionally mesmerising in between the headphones while
stoned- but while 20 odd years later I've grown out of that phase, TFTT
keeps its attraction. I haven't heard the live version yet, but would love
to see and hear it anew again...
- markwendt@hotmail.com
Admittedly, Jon's optimism and the truth of Love are infectious,
powerful, and moving. But I personally don't celebrate some of the
social/religious trends of that era. There has always been a variety of
religious views within Yes and I sense that Jon's perspective is
something Yes band members sometimes politely poke fun at.
But I guess I said all that so I could say this.
You know what? I think that if you take away the new-age oriental
metaphysical sleeve notes, you just might have yourself a pretty good
art rock album here.
- SoulQuest7@aol.com
Markwendt@hotmail.com made this comment: "There has always been a variety of
religious views within Yes and I sense that Jon's perspective is something Yes
band members sometimes politely poke fun at."
I disagree. I think Steve Howe has always been into spirituality as well. In
fact, he seems to fit the hippy stereotype even more because of his practice
of Transcendental Meditation and vegetarianism. Squire's lyrics, especially
"Parallels" and some of the new lyrics on the Open Your Eyes CD are also
very New Age-ish. Alan made a few disparaging remarks about Jon's religious
image, but that was during the Drama period when Yes had a vested interest
in tearing down Jon. Remember when Squire, during this same period, said that
Jon's music was getting "airy fairy"? Rick Wakeman was basically a heavy
drinker and chronic joker until he graduated to being a fundamentalist
Christian and chronic joker who cohorted with Rev. Pat Robertson on the 700
Club, a televangelist program that once boasted that burning rock albums
(including a YES CD) was an act of Christian duty. The 700 Club is also known
for attacking all things New Age as demonic, included the New Age's
inclusivist message that people from all faiths can reach enlightenment.
I still say that Jon's lyrics on Tales From Topographic Oceans represent a
major positive paradigm shift away from 1950's-era fundamentalist Christian
exclusivism and intolerance, to a period of universalism, mysticism and open
mindedness-- which is a healthy shift for any culture to go through. Trends
such as environmentalism compassion for animals, human rights, and natural
foods, have remained with us since that time and are more commonly practiced
and given credibility as a result of the cultural shifts embodied by artworks
like Tales.
- markwendt@hotmail.com
Re: TFTO, I wrote -
"There has always been a variety of religious views within Yes"
SoulQuest7@aol.com responded: "I think Steve Howe has always been into
spirituality as well. In fact, he seems to fit the hippy stereotype even
more because of his practice of Transcendental Meditation and
vegetarianism. Squire's lyrics... etc"
I never meant to imply that Jon was the only Yes member into
spirituality! Far from it! I was only saying that there has always
been room for variance of religious perspectives within the ranks of
Yes' wide and varied membership!
This is my perspecitve here - but I remember during an interview at the
release of Talk when band members seemed to exude a kind of polite humor
designed to distance them from Jon's little comments about seeing
fairies and such! They don't all think alike and that's okay!
SQ and I differ in our religious perspectives, and on how grand the
hippie ideal was/is. I agree with some of them and don't with others.
And that's okay!
Yes' membership is the same way! And that's my point.
How great was/is the hippie ideal?
Sure natural foods have remained with us - but LSD? Bad stuff man!
Yeah - some hippies burned draft cards and Pat Robertson may have burned
some Yes records. I'm a Bible believer and I haven't burned either - so
let's not typecast *too* much!
But those are my opinions.
The main point I wanted to make was that Yes fan's and even Yes' members
come from varied perspectives.
Their music doesn't just appeal to one type of person.
- hijinks@utarlg.uta.edu (Thomas Rickert)
Yeah, this one is pretty long, and it takes a certain investment to get
into it. Personally, though, I find that it bears psychic similarities
(not sound, mind you!) to Sandinista by the Clash. Almost has an
ambient quality. I find that I play it a lot as I work on my
dissertation. It's kinda like jazz and classical, but less demanding,
less complex, just less. Like Lite. But not. Sorta. Ya know? So, I'm
saying I would up it one star, but serve notice about that investment
issue.
- TwoPax@aol.com
Let me just say this, folks. The GOOFY ass reviewer we have here who calls
the album moronic and NOT genius has probably listened to the album about once
or twice, and probably fell asleep in the middle. This album is COMPLETELY
ingenious and NOTHING short of revolutionary. I just bought the album a few
days ago, and already, The Revealing Science of God has blown me away more
than once. Every time I listen to it, I find hidden nuances I missed before.
The way you can tell if you have a good album is when you can't get everything
out of it until you listen to it aproximately 100 or more times. I am STILL
digging things out of Close To the Edge. Let me just say that the reviewer
seems to have a VERY narrowminded way of looking at this Album.
- stoo@imsa.edu (John McFerrin)
Hmmmm.... well, disc one kicks the shit out of me. Absolutely blows me
away. Wakeman's keyboards are indescribably fantastic, and I really enjoy
every minute of it.
Disc two isn't nearly as good, though, imo. There's something about The
Ancient that just, well, puts me to sleep. It's not horrid, mind you, but
not up to par with the first disc. Ritual is solid, but not at all on the
level of Revealing, though.
Still, I gotta admire the cajones it took to make an album about something
as non-mainstream as the shastras. I give it an 8 musically, 9 with the
balls factor
- Borart@aol.com
This is, by far, my favorite Yes album. Some Yes fans may say it's too much,
but for me, it's not. To me, this album takes the listener on a journey
showing them all the places and things hinted at and passed through on their
previous albums but never fully explored. There's a reason why Steve admitted
that this was the most important piece of Yes music a few years ago, and I
couldn't agree more. He said that recording this album showed him different
ways of playing and twisting songs in different keys, and no where is that
more evident than in The Ancient, which I had the pleasure seeing him play
live at the Bottom Line in New York City a few years ago. I think that Alan's
work on this album is vastly underappreciated because here he is, new to
recording with the band and he has to step in and interpret this immense body
of musical ideas being presented to him. I also know that Rick has less-than-
enthusiastic memories and opinions of this record, but his keyboard work makes
side 2 come alive for like no other piece of work he has done. Jon's vocals
and Chris' bass are superlative (but what do you expect?), and that's why I
think that this record has to be judged as an organic whole, and not just four
songs.
- PHREEBERD2@aol.com
this is probably yes at their best get a life
- Adrian.M.Rush.8@nd.edu
You are MUCH too kind to this album. It is HORRIBLE. It is what gave
prog rock its bad reputation. It is what spawned Spinal Tap. Eighty
minutes of the most boring, plodding, unfocused waste of musical talent
I have EVER heard.
Yeah, there are some catchy hooks and tunes here and there, but as Rick
Wakeman once said, it's like wading through a cesspool to get to a
waterlily. In other words, it ain't worth the effort. I've been a Yes
fan for 16 years and have tried and tried and tried to like this album.
I just cannot do it. It doesn't deserve to be liked. 10 to 15 minutes of
mediocre (at best) musical ideas stretched across four slabs of vinyl?
Sorry. Give me "Close to the Edge" or "The Gates of Delirium" ANYTIME
over this monstrosity. As a single album with some seriously heavy
edits, it may have at least been palatable. As it is, it's painful to
try to listen to.
And this comes from somebody who likes Faust.
- Hopper369@email.msn.com (Charles Pious)
It's obvious that Tales has brought out more opinion in this web site
than any other album. Tales is AWESOME ! CTTE comes close, but
you can listen in your car to side 1,2,3 or 4 and be blown away hearing the
music. These musicians were so far ahead of the times, we don't hear
anything like it now. The only artist from the era who is still exploring
with his music is Bowie. He too could tell every critic where to go. Nous
Somme is such a calming set of intertwined thoughts.Do mankind a favor, make
some kid take out his limp Bizcut CD and really listen to some great
timeless arrangements. When I've had a bad day I crank Tales in my
office at work.
If you think tales sucks, I imagine you love the slop that was
produced in the last decade. Awaken everyone !!!!
- michael.blume@gte.net
You know, I never got around to share my opinion on
Tales from Topographic Oceans w/ anyone like you, Mr. Prindle, 'til
now.
My opinion on the album is that it's not as mind-blowing as CTTE, but
it's got some of the most beautiful passages ever composed,
especially on "Ritual" and "The Ancient". "The Revealing Science of God" is
very nice, but doesn't stand up too well against the title
track to CTTE. Probably it's because it's a little bit meandering,
though not as meandering as, say, "The Remembering". For now,
it's an 8/10 for me. The album, as a whole, isn't as memorable as
CTTE, GFTO, The Yes Album, Relayer, Big Generator, and 90125,
but at least it's better than Fragile, Talk, and OYE. It's not
even bombastic (their most controversial album, actually).
Also, I don't believe that it's their most underrated album of all-time.
Nope, that would have to have to be Talk. The music, again, is quite
pleasant, but it's no CTTE. That's all I'm saying.
- RichardMelchior@aol.com
I'm not at all surprised that the vast majority of Yes fans who have
responded consider Oceans one of - if not THE - best Yes album of all time,
especially ironic considering it's the one critics would have us believe it's
our duty to dislike. I honestly believe that this album will stand the test
of time, it gains more credibility with every passing year.
Having said that, I can see why people wouldn't like it. If I had been a
pot-smoking, Circus-magazine teen in 1973 (rather than being born that year),
I probably would have hated it too. Compared to Zep's Houses of the
Holy or
Floyd's Dark Side of the Moon, it would seem pretty lame.
I can only guess that Oceans sounds best when removed from its era. I think
the main problem people had with it at the time is that it was a reflection
of just how weird hippie culture had become. Listening to it now, it's just a
killer album with great musicianship and awesome melodies.
- Davidmizell@cs.com
This album is pure self indulgient shit. The worst they ever made. A
complete waste of time.
- tommy_chuck@hotmail.com (Tom Marshall)
SO underrated! I just hate it when prog or Yes fans lambast this LP; they're
stabbing their own genre in the back. Moreover, Tales... is the obvious
conclusion to where Yes were heading in the early 70s and a darn brilliant
album in the process! I LOVE 'The Revealing Science of God'; that opening
chant is so haunting. It's pretenious in places sure, but prog's MEANT to be
pretentious, and 'Tales...' is just as overblown as any other early 70s Yes
LP. It's one problem is that it's a little overlong; I'd compare it to the
'white album': too much open space. Also, where the hell is Wakeman for half
of it?!! I reckon he had a problem with the fact that Howe had written it,
and so wasn't going to contribute readily. Still, what he does play is
customarily excellent...9/10
- Schneider_Dave@msn.com
well, i was supposed to hate totf, right, i mean it was an overblown piece
of crap and everyone knows that alan white is not worthy to
spit-polish bruford's cymbles, right? so, i decide to download "revealing....."
the other day (napster rules) and listened to it once, and again,
and again and........ i haven't listened to anything else in 3 days, i want every
lick, every nuance, even every alan white drum fill permanently
seared in my brain, as every lick in the great, classic 3 yes albums are, this stuff
is just fucking awesome, they were operating on a level way
above most others, it makes their later abortions almost forgivable
- mefoley@cinci.rr.com
For an album dealing with God, this one's very dark and depressing.
When ever I listen to the album I don't get spiritual images like I guess I'm
supposed to. Instead I get images of concentration camps and people
suffering. The only spiritual images I get come from hell, especially during
'The Ancient' where I see the devil and all his demons torturing
people. I think the later more light hearted Yes( 90215 and later) would have done a
better job getting the material across, at least in making it sound
like something joyful to celebrate. But the darker feel of the album is not with out
its' merrit. Whilst the joyful mysteries of God are something to
celebrate, they can be weird and mysterious as well adding that shade of grey as
you venture into the unknown. Plus there's alot of pain and suffering on
a spiritual journey. But aside from that the album is too dark for my tastes,
and I consider it Yes's Darth Vader.
- ian.moss@yale.edu (Ian Moss)
This is a really hard one to rate. Everybody seems to have a different
reaction to Tales; I find it especially interesting that every reviewer
here seems to like exactly two of the four tracks, but never the same
two! For me it's the same story, with a different combination: I love
"Revealing Science of God" and "Ritual" the most (although I've come to
enjoy "The Remembering" as well). But none of the side-long epics are
perfect, and at the same time they all have their moments, even "The
Ancient." I'm generally not opposed to pretension, especially in rock
music, but if there is a flaw in Tales it is that the form and the
length clearly came before and took precedence over the exact content;
that is, they worked from the top down instead opf from the bottom up.
This approach can work, but unfortunately in this case it led to a lot
of filler and three-minute "moments" in which virtually nothing happens.
I feel that, although this would have been tough in a CD-less world,
they would have done well to make each track approximately 15 minutes
instead of 20 minutes. My other complaint is that even at the high
points, Tales seems awfully restrained. They FINALLY start to let it
all hang out at the end of "Ritual," but it's suddenly cut off and it
segues into an ending that's so anticlimactic I can hardly believe it
each time I hear it. The whole thing is just a bit TOO mellow at
times.
That all said, there's a lot of great music on here and it's certainly
not the disaster that the critics would have you believe. Just don't
get it first, is all.
- robchaundy@yahoo.com (Robert Chaundy)
People get quite neurotic about Tales from Topographic
Oceans - it's either a shimmering transcendental
gateway to Jon-knows-what or it's the worst album ever
recorded. They look at the track listing and
immediately seem to know whether they adore it or hate
it. All silly, music-critic-inspired games. Listen
without prejudice.
I think Mark analyses it pretty well - it's drifty and
dreamy, with some very pleasant melodies and some
tedious passages. But the mix is a big problem for me
- the razor-sharp sound of Close to the Edge turns
into a sea of aural treacle and you feel quite pleased
with yourself when you can identify an actual
instrument. And since Jon dominates the album so much,
he tends to get lazy with his voice - slipping into
slightly flat, nasal intonation, and chanting and
declaiming instead of singing: all in sharp contrast
to Close to the Edge, where the band was playing so
brilliantly he was singing for his life. Ah well.
And even given the album's extraordinary dimensions,
they were not above pulling the oldest trick in the
book - putting the best tracks at the beginning and
the end. The Revealing Science of God is the most
musically satisfying 'song' here, and Ritual the most
uplifting. The Remembering is pretty if directionless,
and The Ancient is very short on merit indeed. No crap
per se, just the rather obvious flaw that they were
stretching some of this music a bit further than they
should have done.
I don't doubt for one second that this would have been
a far better album - possibly their best - if it had
been condensed into forty minutes. But on the other
hand... people don't go through the pain of being Yes
fans so they can listen to normal albums - if you
endure the stigma you deserve to be rewarded with this
kind of insane fare. They/we need this album - four
sides, four songs - as a kind of mission statement, a
trusty historical monolith, so that plebs will forever
say, disgustedly: 'what? didn't they record... THAT
ALBUM?? There's no way I'm listening to them.' The
existence of Tales from Topographic Oceans is a vital
tool in sorting out the goats from the music-listening
sheep, and alienating all the musical fashion victims
who believe Beck and U2 to be the twin pillars of
God-like genius. You don't actually have to like it.
This album was a natural product of the 1970s - it was
always going to be made by somebody, and we should
give thanks that fate chose Yes to do it rather than
King Crimson or ELP. It doesn't bear thinking about...
- danehy@ij.net (Michael Danehy)
Hey Robert, someone had to make an album like this, but it was the wacko Canterbury
prog band Soft Machine who beat Yes to the punch with "Third" which has four side-long
meandering tracks and came out in 1970.
- jean.penichoux@wanadoo.fr (Jean-Fran ois, from a small village in the country, Cussangy, in France.)
I guess the battle is over for few months, or years (Mark, i think it could be great to add the date to the mails posted by your readers), but I just discovered your site and Tales is so important to me that I can t help myself to add my contribution.
As an argument to prove they are right, people who doesn like it often say that Wakeman doesn t like it too. But it was all for wrong reasons ! In fact he was falling appart from his band mates, and not only for musical divergences. He was in heavy beer drinking and meat, they were in macrobiotic and pot. And, perhaps most of all, he was bothered by the mysticism conveyed by the lyrics. But it was a lot more easy to say that the music sucked. And anyway, can you trust a guy who has recorded more than a hundred records, with no more than a small handfull worth of it ? (Even if I think he has always done a wonderful and tasty job with Yes, even on Tales where he seems to be on a backseat from time to time).
As for the Bruford/White topic. You simply can t compare them. They are not on the same spot. Do you compare a pineapple and a roasted turkey ? Obviously, Bruford is a far more technical drummer, but that doesn t mean he is always better. Listen to his playing on Symphonic Music of Yes ! On the intro of Owner of a Lonely Heart, he does one of his clever, amazing drum fill on the first few bars. Absolutly ridiculous !. The powerful, straight forward approach of White is far better on this one. And don t even speak of Relayer ! Don t misread me. I am a huge fan of Bruford. I think he is one of the best drummer on this side of life, and what he did on fragile or Red can t easily be matched. On the other hand, I think White never really could do it with Close to the Edge. Too much plodding. But he has always done a perfect job on the material Yes wrote with/for him. He is too often underrated on the basis he took the stool after the departure of the brilliant Bruford.
But all these are only to play your game and for argument s sake. You have to make a serious job Mark, and it is what you do, hats of for that, but don t take it too seriously. All your rewievs and those of other guys like Fenrrin or Starostin may be well written and argumented, they are nonetheless only your personnal opinion. IMO as you say in America. What I precisely mean here is that I think that a critical appreciation of an art work, specially for a piece of music, has to be taken being really aware that they are human points of vue, and as such, deeply influenced by the mood in which the writer was in when he listened to it for the first time, or/and the pleasure expected for it, or/and the mood in his relation ship with his boy/girlfriend, or/and maybe even the weather. Who knows ? That s why a guy like Fenrin can assert to the face of the world that the Moody Blues are the best band ever. And doing this, he perfectly knows he is wrong. But The Moodies was the band who opened his mind to the wonderful world of music when he was a boy. You can t beat that. Guess we all got a second rate band who did the same for us and that we will cherish until it s time to go.
In other words, if this one is better means : I think it s better and I ll try to explain you why I think this way , just great. But if it means : it s really better, it s a scientific point of vue and those who don t agree with me are just stupid assholes who are not able to see the real truth as I can feel in some of the mails posted here, well... we ve got a problem...
Personnally I got Tales as a present from my girlfriend back in 1974. I was merely into Beatles, Elton John and classical music. In sort of a way, I was ready for Yes music : a music that could express all the magnificience and poetry of the past masterpieces and blend it into the power of rock. It was an awesome experience. The feeling you got, i guess, when finding a treasure that s waiting here, just for you. Then I got the other ones, opened my mind to all kinds of music, from Motorhead to Cure. A wide scren, I guess. But Yes is still my favourite band and Tales has always kept the first place in my heart.
Having said all this, you surely don t expect me to go into a deep rationnal analysis. Let s just say that, from the hypnotic beginning incantation of Revealing to the end of Ritual, a so perfect and so moving ending, through the calmer Remembering and its gorgeous grand finale or the hectic moments of the Ancient, I won t change a thing. Each note is the perfect one, at the perfect place. And that, even if it happens to me to listen to only one or two of the tracs in a row (Revealing and Remembering are my favorites), I always think of it as a whole, a work of umbelievable size and ambition.
IMO this is not only their masterpiece by far, but the best piece of music ever created.
No more no less
- smcmahon@madisonmedia.com
This album represents Yes at its pinnacle. True, the band acquired
mainstream commercial success in the following decade, but the
composition and musicianship exhibited on Tales is rivaled only by
"Awaken" from "Going for the One".
- elemurs@yahoo.com
Hello... long time reader, very seldom commenter...
That said, while not exactly spot on, your music
tastes seem to be very close to mine in a lot of ways.
I love Ween, Pavement, the Flaming Lips, the Dead
Milkmen, etc.
After a lengthy period of disinterest, revulsion, and
possibly fear, I have recently begun to delve into
the world of prog music (and I feel kind of dirty for
some reason) and to my vast surprise I'm finding I
kind of enjoy Yes. And not only that, Tales From
Topographic Oceans is a highlight. Now granted, I am
often listening to it while falling asleep late at
night, but hot damn, is it hitting all the right spots
while doing so. I have to quantify this in that
labeling something "great music to fall asleep to" is
far from an insult. It's not music that makes me fall
asleep like James Taylor or something, it's music that
somehow synergizes with the weird places the brain
goes to when half-awake and actually compliments the
going-to-sleep process. And I seem to have more
patience for 20-minute long songs while laying in a
dark room.
But anyway I've been getting sick of all the
over-hyped "hip" new music lately and it's been
greatly rewarding to find an older band that's hitting
the right buttons. And what's more reading your
reviews has been awesome in not only providing
insight, but also making me feel like it's "okay" to
like Yes. I don't know why this band got such a bad
reputation along the way, because the musicianship is
amazing and the songs aren't THAT inaccessible. So
how about a Genesis review page? They've been hitting
me recently as well and I'd love to hear your opinion
about them good or bad (especially Peter Gabriel-era
Genesis.)
Anyway keep up the good work. I've written you two or
three times before and you've always sent back a
personal response. I thought that was really cool.
We'd probably get along well in real life and I don't
think that'd be the case with most music critics.
- Madan Mohan
That's a very interesting perspective of this album. Never thought of it in this light, yes, it's actually pleasant rock based stuff that you could play on the speakers and attend to your work. That is, just how I typically don't listen to prog rock. Because analyzing it is a frustrating ordeal. I think Yes are amazing with tracks running to around 10 minutes and these tracks would have worked much better if condensed to that length because I feel it doesn't work so well at such unwieldy lengths. I am a bit disappointed in that I'd have thought based on CTTE, that Yes mastered scope much more than this. Rather than a gigantic magnum opus, this feels like a collection of really long rock tracks and once you are familiar with the central motifs, it becomes tough not to lose concentration and let the music recede into the background. With that said, I do subscribe to a good extent to all the fanboy raving over Revealing Science of God, it IS a great piece, though still imo not as good as CTTE and definitely not far superior which I have heard some devout converts to this album say. CTTE is a marvel of music architecture while Revealing... is a well put together pastiche that holds together so well it feels like a single, unified composition.
On another note, as much as I love music from this era of rock music, I feel so alien and so distant from that ethos when I hear it described as a spiritual gateway for hippies in the 70s. Really, enlightenment vide such breezy, groovy rock music? Sounds a whole lot of fun! 8D
Add your thoughts?
Relayer - Atlantic 1974.
Plebe that he was, Richard Wakeman just couldn't
grasp the high-brow concept of Tales From Topographic Oceans, so he
said, "Screw you pansies!" and galloped off to pursue a boring solo career.
Perhaps he would have stuck around had they told him that the next record was
going to sound like this. The free-form electric acid jazz rock noise is
back! In what might be an attempt to recreate the form of the highly-regarded
Close To The Edge, this one has one twenty-minute weird rocker, and two
"short" nine-minute dandies. "To Be Over" is the pretty nine-minute lullaby
that replaces "And You And I," and, although it's not acoustic (and thus, not
as organic), it's still very lovely. The mood of "Siberian Khatru" is here
represented by "Sound Chaser," an extremely noisy bass-driven rocker whose
rhythm keeps speeding up and slowing down until it seems as if there's no
rhythm at all. And the epic is "The Gates Of Delirium," which separates two
passages of supreme beauty with a long stretch of loud rhythmic kickbuns noise
rock (or what passed for noise rock in 1974 - there was no Flipper back
then, you understand). Patrick Moraz's keyboard sound is a little cornier
than Rick's (though nowhere near as corny as it would become by the time he
joined The Moody Blues seven years later), but he still plays pretty well.
This isn't dentist office muzak; "To Be Over" is simply the calm after the
storm, if I may destroy a perfectly good cliche for a moment. I just want you
to understand that this album is underrated. It's the messiest Yes album yet,
but that's part of its charm. Noise is hip, dude!
Plus, if you replace the first two letters of the album title with an "S,"
awww, man, now you're talkin'.
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
First of all, I don't see this album as a runner-up for Close
To The Edge and second ... Rick's solo career wasn't that
boring after all!
For me Relayer is yet another period in Yes' musical history
with yet another sound and therefore the band isn't to place in
a certain musical category.
I think that's also what so many Yes fans liked about the band
in the seventies, the music was unpredictable.
Personally I think more Yes fans were shocked by hearing "Sound
Chaser" for the first time than with "Ritual".
I know I was, as a whole I started to like the album very
much but yet again ... I feel it's one of the many highlights
Yes had over the years.
- monkey37@localnet.com (Scott Moore)
Okay, I didn't like Relayer at first. AND RICK WAKEMAN'S SOLO STUFF WAS
EXCELLENT!!!!! He was right about one thing; he could no longer
contribute to the band. "The Gates of Delirium" was truly an explosion
of noise that seemed poorly writen and planned, and seemed to be just
like a 20 min jam session. While some people worked well in this way,
like Steve Howe, who progressed ever further past his former talent in
Tales. Alan was good back-up for the band, but there seemed to be
nothing but noise to back up, and the melodic Jon Anderson lyrics were
replaced with noise, glorious noise. The "SOON" section was almost too
little too late, and if Wakeman were there, he could have given it
direction, unlike Morez, who offered samples of poorly placed moog that
hardly fit in with anything. All in all it is the failed attempt to
follow-up Tales, and is indeed a step back.
- submarine@netvision.co.it (Aviram Sharon)
Cut the crap - I'm telling all of you that this album is one of the best
albums that I have ever heard in my life. "The Gates Of Delirium" is
fantastic - perfect - although it is not so easy to get; try and you will not
be disappointed.
- bjhipp@vm.sc.edu
I have to admit that I also didn't like Pat's musical interpretation.
I feel that the keyboard sounded WAY out of place and the album
overall just wasn't well produced. It sounded more like a band trying
to be yes rather than yes itself. Had Rick Wakeman not have left, i
feel the album would have been a lot more appealing. Pat just couldn't
do the music justice.
- jhmorris@eos.ncsu.edu (John Morrison)
I'll admit it took me a long time to fully decipher all the sounds in
Relayer. YES achieve a musical soundscape like none of their other
albums. Can't you see the horses riding into battle at the lines "and
ride there" that is created by Alan Whites drumming? Patrick Moraz,
though not as technical as Wakeman, uses keyboards effectively to
represent the rise and fall of the battle scene. The whole album
represents a struggle of emotions which is plainly heard in the
instruments.
- yancyd@pacificnet.net (Yancy Duncan)
Get a clue... If "The Gates Of Delirium" isn't the best the band produced
since CTTE I'll eat my concert shirt. The most clear "story"" piece the
band ever did. You try a musical interpretation of War And Peace in 20
minutes. The song has clear structure and direction - follow the story -
it's all there - revolution-battle-death-remorse-reconciliation. Also, the
best lryic Jon ever wrote, "Our Gods awake in thunderous roars and guide
the leaders' hands to paths of glory to the cause." I had some Metalhead
kids working for me years ago and I made them listen to it - it blew their
minds. Trevor Rabin could NEVER write anything like this. Is the
production not the best? - well yeah, but who cares? Can you dance to it?
No. But if you need to dance break out your Donna Summer records. Get
yourself a good pair of headphones lay down and hold on!
- sbachini@uk.mdis.com (Steve Bachini)
I was absolutely knocked out when I got this. This is certainly like no other
Yes album. I assume that Patrick Moraz was responsible for the massive change.
"The Gates Of Delirium" was like another "Close To The Edge" with the quiet
'Soon'
section soothing you after the initial musical onslaught. I love the version
of this on Yesshows. You can almost hear people in the audience crying and
tending the wounded at this point. (This is in fact the only redeeming
feature of Yesshows in my opinion.)
I ended up tiring of Relayer unfortunately, sacrilege I know. It's something
to do with the nasty sounding production, sort of harsh and gritty. Oh, and
sorry, but does tape hiss mean anything to anyone? I'm sure I'll come back
to this album one day though. At the moment it's a 7/10.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
I had to get this one just because Moraz was on it. Call me
crazy, but I actually like some of what he did with the Moody Blues. As
for this album, you hit the nail on the head. It's an absolute noisefest.
"Gates Of Delirium" and "Sound Chaser" are two of my favorite pre-Rabin songs.
This one makes up for the Topographic album. I guess someone finally
taught them how to rock.
- pcahill@eniac.seas.upenn.edu (Patrick Cahill)
"The Gates of Delirium". What can I say? As far as the Yesshows
version is concerned, I don't know if I've heard a better concert
performance from Yes. I'd spend twice what I paid for Yesshows for that
track alone. Alan White kicks some major ass in the beginning of "Sound
Chaser". For all of Yes' 70s personnel changes, the people that they
had at a given time crafted a unique sound, and it ended up being
perfect. Say what you want about Moraz, he was what Relayer required,
and he delivered. Too bad we don't see those tracks being performed
nowadays.
This album is a hard one to grasp, but once you do, you don't let go.
"Gates" is the best Yes epic as far as sheer imagery and emotion.
You're then taken to the ferocity of "Sound Chaser" and gently brought
back to life with the tranquility of "To Be Over". This is the pinnacle
of true Yes progressive.
- ata5d@virginia.edu (Arthur T. Andrews IV)
If you didn't like Relayer, pick up Yesshows which has a
better version
of "Gates of Delirium."
- James@jpb-s.demon.co.uk
"Gates" is great, but again suffers from excess padding. It really should
have been a 10-12 minute. "To Be Over" is a gem, I suspect
one of the most underrated pieces. "Sound Chaser" doesn't quite cut it.
Still, one of the great albums.
- TempsFugit@aol.com
I think YES recorded this on Jupiter. :)
- Olias@webtv.net (Justin Strohm)
I think Relayer is one of Yes' best
albums.
- rderby@erols.com
all i'll say is: give me a RELAYER-type album in the 90's.
- keio@usa.net (Keio Sandvik)
One of my absolute favourite things is to play the remastered version
of Relayer at full earsplitting high tilt. To relate to my pleasure,
use a high-end CD player with a good pair -
I mean a GOOD pair of headphones. Not some cheap Sennheisers or crap
like that. Mine are Sony MDR-V600 at about $150 u.s.d. Try it! There is a
god.
p.s. boost the bass a bit though.
- wallison@pnc.com.au (Warwick Allison)
This is Yes' darkest album,"burn their childrens laughter on to hell." Must
I say anymore.
- First_last@studio.disney.com
If you don't like this album you are not a true Yes fan. Sorry, but let's
not get mired in the details. Music hits you in a certain way and I've
said it before to my friends, pontificating on Pink Floyd and Led
Zeppelin, you either get it or you don't especially with this music.
- 13ncinf@msn.com (Kenneth Hawkins)
Relayer was always one of my favorite Yes albums and I've not been
disappointed by picking up the remastered version and rocking out again after
23 years! what a glorious cacaphony of noise and anger! very unYeslike but
nonetheless very evocotive, great drums, guitar, lyrics etc. I agree with the
guy who posted that his favorite thing was to put it on at ear-splitting
volume! one of my favorite Yes memories: Back at Christmas 1974 my
stepsister gave me an Earth Wind & Fire album.... I promptly took it back to
the store and traded it in for the new Yes album, Relayer. Shortly after
that, when my Dad was out of the house, I put it on at near the above volume
and quickly blew the fuses in his (then) ten year old Fisher amplifier!
- akeithdavis@mailcity.com (Keith Davis)
Relayer consists of
two great songs-"The Gates Of Delirium" and "To Be Over." "The Gates Of Delirium"
is great for the first
10 minutes, then the "noisefest" begins, I wonder if
"Yes" wasn't operating along the same wavelength as
King Crimson when they created Lark's Tongues In Aspic. Actually, the next three
minutes sound like a
cross between "Lark's Tongues" and "Bytor and The Snow
Dog" from Fly By Night by Rush. Interesting music,
but extremely noisy!! I have listened to "Sound Chaser" and I still think it contains
an incredible
amount of noise!! "To Be Over" on the other hand,
is mellow and beautiful! Overall, I will have to up-
grade my opinion of Relayer and give it an 8/10,
vice the earlier 6/10. The sound has improved tremen-
dously from the earlier cd; the digital remastering
has definitely improved the overall sound.
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
Maybe this was a sign that Moraz was "To Be Over".
- jsmartin@rocketmail.com (Jon Martin)
"The Gates of Delirium" has to be one of
the best songs Yes have ever produced. In my opinion
it is very well structured and contains Steve Howe's
best work. Okay it does take a while to get into-but
it really pays off. As regards the other two tracks
"Sound Chaser" is good if a little disorganised. "To Be
Over" is nice but not that special. Despite the other
two tracks this is one of the best Yes albums.
- tabasco@worldnet.att.net (BOB's)
Well I must say it's better than the album before. It shows great
improvement, unlike over done, boring, noisy Topographic Oceans. I really
didn't like this album either when I first got it, I was also afraid of it.
"Gates Of Delirium" was a pretty damn scary song but it had good quality put
into it. It opens with synthesizers performed by someone from The Moody
Blues. I enjoyed the fight. You actually feel like you're a part of it. Then
it all goes quiet, the closing of the song was scary, it must have been the
funeral. The song was good and scary. The second track "Sound Chaser" should
have been called "The Most Annoying Song Ever Made" because I think out of
ideas after the first track, at the end they were fooling around with the
tempo, Jon actually tells you how the song will be later. Closing the album
was a very good slow dancing, well maybe not dancing song called "To Be
Over"; after such a violent album, it deserves a little peace and relaxation.
I really didn't like these last 3 albums they made. But something
suprisingly did happen, so see my review of the next album.
- newsnuts@weir.net (Joe Lawler)
People actually like this album!
I do too, but I have to say it's embarrassing to play in front of your friends
because of that horrible Mexican, `cha, cha, cha' part during "Sound
Chaser"....
It sounds like Buster Poindexter on speed....
Other than that, though, a great album, especially "Gates of Delirium"...
- dembones@pond.net
What a piece of work! I love Bill Bruford, especially in Crimson and U.K.
but I always felt that somehow his playing was lightweight within the
context of Yes. Relayer convinced me that White is indeed the right man for
the job. Powerful stuff! "Gates" is among my five favorite Yes pieces.
Although I agree that Moraz' parts are sometimes a little comical, I
believe his contributions made Relayer the wonderful work that it is. I
love the "Buck Rogers" pre-disco keyboard solo in "Soundchaser" :-) Also, I
can't help but feel that Howe sometimes sounds terribly uncomfortable on
the electric guitar. This is made especially evident on the brittle,
jagged, and frankly, sloppy solo on "Soundchaser," which has none of the
characteristic grace he exhibits on the Acoustic.
- deitrich@ripco.com
The sad thing about most hardcore Yes fans (i'm one) is their inability,
when applicable, to separate particular member lineups from the Yes
catalog of music as a whole. Relayer is without a doubt one of the most
fantastic, daring, beautiful, out-there, scary collections of music i've
ever listened to. The big drawback to the album is Eddie Offerd's
clumsy production. "Gates" is not a 20 minute, meandering jam. It
makes more sense to me than "Close To the Edge" or "Awaken" for that
matter, even though the latter sounds a lot better. Imagine if Brian
Lane (produced Going For the One) were around for Relayer. You know,
Yes music doesn't really need Wakeman. Sure, he's awesome, but to me
Moraz, at least on Relayer, is a much better ensemble player. His solos
are hipper and smarter. The keys solo in "To Be Over" has a really
wonderful chromatic line about eight measures in. Moraz helped define
the next album, too, both compositionally and stylistically It's really
too bad that he couldn't stick around for Going For The One. He helped
Yes out of their shell, but they were too afraid and naked to see what was
happening.
- hawkins@alphalink.com.au (Alan Hawkins)
Next to Fragile, Relayer is definitely one of my fave Yes
albums - sure,
Moraz was a weaker keyboard player, yet that only gave howe more chance to
dominate the album with his soaring guitar riffs and melodies.
"Gates of Delirium" is truly awesome, in fact (and I know some people will
hate me for saying this) but I think it's probably better than the
title-track to close to the edge! it's easier to understand (lyricwise) for
a start!!!
"Soundchaser" is probably the most twisted piece of prog. rock ever committed
to vinyl, just listen to how frenetic and insane Howe's guitar playing
becomes towards the end!!! "to be over", on the other hand, is a blissful,
calming and fitting finale.
If Wakeman played on this album it would've sounded just like the previous
Yes records! Relayer saw the band moving on into something completely
different.
Overall, this is one of Yes' most spontaneous, energetic and heaviest
records and is well worth a listen.
- mrowley@pacbell.net (The Rowley Family)
If you're having a party and you want everybody to leave put on
Relayer.
I LOVE it. My son was trying to play "Sound Chaser" on tupperware and
pots and pans when he was about five. He's turned out to be a good
drummer. The musical section following the line "the hour approaches
pounding out the devil's sermon" in "Gates of Delirium" is obviously a
musical depiction of a battle scene. It's one of the most intense
pieces of music I've ever heard. Most of my fellow musicians don't care
for it much but I always figured Relayer to be an acquired taste.
- tomr@ix.netcom.com (Tom *****)
This one took a while to get used to. At first I hated it except "To be
over" which was so mellow and cool. Then for a while, I got into "Sound
Chaser". I hated "Gates" when I first heard it. But after time, I have
come to believe that it is one of the finest recorings the boys have
ever done. The weird time signatures, the cacophany of noise, the
jazzie inserts, the heartwarming catharsis, and the spectacular
finale`. It's all here.
Accessible? NOT. But it's one of Yes greatest songs.
As long as you have the time to listen.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Relayer was the 70's hard-steel sounding record of the band. The
guitar and keys gave the arrangements a metal quality in places. An
excellent record, but more of a step back or forward it was a turnaround
in the same place. Moraz hadn't much opportunity to prove himself within
a band with musicians that were not just geographically but musically
foreign to him. As a keyboardist, for me, Patrick is better than Rick.
But Moraz part in Yes was just OK on the studio. "Sound Chaser" was his
best showcase. For better treatments and Patrick's finest moments go
listen to the live versions. This record and the tour that followed were
Alan White's best moments also. Dean's best work ever. 8/10 (heavy rock
dudes will put 9, I guess).
- paul.rogers@ait.uc.nz
Relayer? Is that the one with the snake on the cover?
- seafoam@vfr.net
I think this album is one of the greatest pieces of Yes music.
Patrick
Moraz is an excellent keyboard player. "Sound chaser" is a showcase of the
greatest rhythm section in the world. "To be over" is kind of a
nice lullaby. You can sing your kids to sleep with it. "Gates of
Delirium" is a great epic. Overall I enjoyed it all. I say if they want
to tour with the "Classic Yes" lineup, I say to Yes "give Mr. Moraz a
call."
- prblack@netins.net
'Gates of Delirium' - best Yes song of all. Am I the only one who feels
that this should have been the theme song for the Stars Wars Movies??
- hotelh@gua.net
Oh yes ! This is by far, the best yes album! There is no other yes album
like this. The unrolled tapestry of "Gates of Delirium" is incredible. And
for the first time, Jon's lirycs are written with a lot of meaning. It is
an old record but in all reality is timeless. Relayer is a real gem.
Although it is not easy to ge into, it is worth the try. You will be
rewarded. Yes, at its progressive peak! And one more time. The best yes
music ever!
- hijinks@utarlg.uta.edu (Thomas Rickert)
A fantastic album. Needs to be one notch higher. "Gates" is just
fantabulous, and the ebb from the noise section to the "Soon" section is
really the invention of ambient. Eno must have been taking lessons, but
wierdly enough, Yes didn't even realize what they had done. Took me a
long time to get into this one, though. Like Tales, like CttE title
track, it requires an investment. But, once done, whoa. Bust down the
gates! Simply sublime music.
- fergfam@erols.com (Steve Ferguson)
This IS my favorite album! It's great! I think Gates of Delerium, Sound
Chaser, and To Be Over are all great songs. Since I listen to industrial
music I don't mind all the noise on Gates that you guys seem to be
annoyed by.
- stoo@imsa.edu (John McFerrin)
High 8, low 9ish. Gates of Delirium kicks way, way too much ass. It scares
my brother a bit, but hey ... Sound Chaser takes a while to get used to,
but it's good. And To Be Over is wonderful.
- Adrian.M.Rush.8@nd.edu
Yes has never done an album like this before or since. And that's part
of its charm. It stands alone, and quite apart, in a very good way, from
the rest of the Yes canon. For me it's #2, right behind Close to the
Edge.
Relayer and Drama were the last two Yes albums I purchased to
complete my collection, and I immediately took to both of them. I guess
this is one of those records that, right away, either you "get it" or
you don't. Same goes for Topographic Oceans, which I abhor. But
Relayer clicked for me in a special way. It's brilliant in its
uniqueness, and of course "Gates" is easily both Yes' darkest moment and
its greatest story-song. The gamut of emotions it runs in its 22 minutes
leaves you exhausted at the end, but "Soon"....oh, the beautiful,
majestic release of "Soon," the soothing, assuring caress following the
epic battle that gives us hope for a better, brighter future--"the sun
will lead us." I still get chills every time Patrick's final Mellotron
notes dissolve into the heavens. Gorgeous. A true masterpiece.
- huckcherry@hotmail.com (Xavier Fabriano)
One word for this album...WOW! Relayer is such a masterfully produced
album, and the playing and singing, of course, are beautifully performed.
The details of this album sound like they were planned right down to the
nanosecond; shimmering, layered keyboard textures clash with combative
guitar lines and the music becomes deafeningly loud only to crest and drop
away into near silence. In my opinion, this is Yes' most realized and best
crafted album at that point, and yet most of it is so reckless...but what's
always been Yes' most enduring quality is to sound spontaneous and
calculated all at once. They strike a near perfect balance here. On
Relayer, they have managed to fuse the otherworldliness of Topographic
Oceans and the cohesion of Close to the Edge to come up with an album
that is superior than both. Aside from the wonderful playing of Steve, Jon,
Chris, and Allen, a lot of the credit for this album should be attributed to
newcomer, Patrick Moraz, whose musical and tonal pallete is much broader
than that of Rick Wakeman, and whose synth sounds play a much larger role in
the overall sound than that of Rick's. As for the other members; Steve
Howe's guitar playing here is his most gut-wrenching and carthatic which is
what lends this album its immediacy and intensity. Jon Anderson managed to
come up with some rather morbid and violent lyrics which give the more
weight and matches the violence in the music. Allen proves himself to be
just as suitable a drummer for the sound of this album as Bill did with
Close to the Edge. The overall assessment of this album is that it is
Yes' best fusion of rock aggression and classical complexity and in the
perfect world it would be credible to both camps.
- richbunnell@home.com
God, I LOVE this album! A ten without a doubt. My favorite Yes album.
It's got one of those
really long songs that manages to be, well, really long, yet not
tedious because it's interesting and multi-parted ("The Gates Of Delirium")
and two not-as-long-but-still-just-as-good tunes which really tickle my
fancy. What's so bad about that "CHA CHA CHA CHA CHA!" part of "Sound
Chaser"? It = funny = cool = nifty break in the song from the fast,
clanky melody. I think I'll cut this comment short because it's not
flowing at all. It's just sort of broken up into distinct
stream-of-consciousness fragments. But hey! That's just like this
album! And that's why I love it!
- imoss@northernlight.com
I just got this a couple of months ago, and I liked it almost
immediately! "The Gates of Delirium" is weird as all hell (I couldn't
believe some of the things that Jon was singing!), but it works! The
"Soon" section is gorgeous, but I do think that the transition into it
is somewhat abrupt. I feel that the main melody is far more unpleasant
than that of "Close to the Edge," although it's not so unpleasant as to
hinder the song. The comparison to the song structure on CttE is well-taken,
however.
"To Be Over" and "Sound Chaser" are good songs too, although again they
don't compare to the 18+ minute behemoth. One thing about "Sound
Chaser" annoys me a great deal, however, and I'm surprised it hasn't come up
yet. Has anyone else noticed that in the middle of the song, during
his guitar solo, Steve Howe quotes directly from "Mood for a Day"? Which
in itself wouldn't be so bad, but it's so out of context--and then he
ruins it with some aimless noodling before the rest of the song gets underway.
Bad, bad moment in an otherwise excellent song.
I'm not sure I've heard this enough times to give it a real rating, but
if you forced me to produce a number along with a qualifying adjective at
this point, I would likely give you a "low 9."
- jconlin@leggatchev.com (Jim C)
This album is one the strangest monuments to 70's progressive rock. It
is also one of the best. I fail to see how the "punk"
movement felt it nessessary to rebel against "dinosaur" bands such as
Yes, when this music is way more inventive and groundbreaking
then anything say The Clash ever did. I believe that Yes were simply
now going over the heads of most people, it was too "tough" for
the average listener. This is not an elitist statement, it just simply
reflects that Relayer needs to be LISTENED to. It is not
background music that you can hum along with. People don't gather
around the campfire and sing Sound Chaser. That said, the music
itself is brilliant, combining very diverse influences into an
extremely chaotic but effective whole. I even like the cha cha's in
Sound Chaser. Second best Yes album to Union (just kidding).
- slimchandi@hotmail.com (Andy Carter)
Who else wants to say that this album is rubbish? This is awesome
material from a band at its peak without Wakeman. And i dont want to hear
anything more about Gates thank you. This is the finest piece
of music ever recorded, and to cut it down would be sacrilige. It would have been
better if it was eve longer!
- guppyslayer@msn.com (Ben Henderson)
I slapped on the headphones last night and listened to "To Be Over"
again last night. You ever notice how you can listen to a Yes track for
the millionth time, and still find something new? I think that's
what the critics never understood about the band or it's fans. Yeah, it's
overblown and sometimes downright crappy at times, but to my ears,
it NEVER sounds the same twice. The thing that struck me was
Squire's bass line in that guitar bridge; you know, that section
that sounds like George Harrison, only better. The man plays bass with more
skill and fluidity than most lead guitarists, yet is can be so subtle
that you don't even know it's there sometimes, you know? And how does
Steve Howe play that friggin' fast anyway? I couldn't pick strings
that fast and play badly, yet he makes it sound so easy and so natural.
- tommy_chuck@hotmail.com (Tom Marshall)
A sizzling record! This is the most individual of the classic Yes LPs; I
just love it! I think Moraz is the perfect replacement for Rick: just as
speedy but with his own, jazzier, wilder style. To me, this has the ambition
and musicality of Topographic but, being a single album, realises Jon's
dream better. Gates of Delirium is only 2nd to Close to the Edge as their
best piece; the storming 'Battle' section justs bursts with creativity and
vision! Howe uses a starker, more abrasive sound than ever before; I wonder
why he never used it again? Infact, that's the only downside: For me, Going
for the One was a step backwards; a slightly blander record. I just wish
Moraz could have had one more album to fulfill his potential... 10/10
- robchaundy@yahoo.com (Robert Chaundy)
Relayer is good but flawed. The Gates of Delirium
contains some of Yes's strongest playing - the
elongated riffs in the middle ten minutes are complex
and stunning - and Moraz fits the new dirty,
unpredictable, jagged sound really well. But as a song
it is just shapeless. On Close to the Edge they took a
fairly standard, simple song structure and stretched
it to near-breaking point on the rack of crazy
inspiration, but here they went into the studio,
jammed for twenty minutes and as an afterthought threw
some lyrical doodlings about a battle over the top.
Don't get me wrong - I like it a lot, but I think it
needed more work. The world is still waiting for
someone to cover it, though. Twenty-seven years and
counting.
I would put this delicately if I could... but Sound
Chaser just stinks. It's terrible. It sounds like Fly
on the Wall, except without the strong songwriting and
lyrical flair of that particular oeuvre. Nul points.
To Be Over is a much better finale, making the most of
all the corny instrumentation (not just the keyboards
- EVERYTHING sounds corny here!). It feels not unlike
something off Time and a Word, methinks. Very pretty.
This was the end of Old Yes - punk erupted between
this and Going For The One, which sounded as if it
came from a completely different world. Bring it on.
- todchy@openaccess.org (Todd Lee)
Experimental? Yes. Acid rock/ jazz fusion? Yes. Coulda been better planned, better written and better arranged? Yes. Why does Sound Chaser sound like the mixer was
screwing around with the playback speed? Its because he was. This album is the sonic version of The Emperor's New Clothes. Diehard Yes fans say they love it, and feel
superior for saying so, while admirers of their more classically influenced early albums were saying to themselves 'What the fuck...?' Yes, To Be Over is gorgeous, and the
beginning and end of Gates Of Delerium are good, but Sound Chaser goes nowhere. Look fellas, improv is great if it has a point, that is, if its a tasty piece of music. Sound
Chaser is Moraz and Howe playing the "Lets see if you can copy this noise" game. Musical improv that ain't. I bought a 'remastered' copy of this, and I'm wondering why it
needed remastering, because of the noises they make during the middle section of "Gates" and "Chaser" could not possibly benfit from it. Yessongs era Yes gets better sounding
with age, while the self-indulgence of Tales and Relayer knock the band back into obscurity.
- mdenster@yahoo.com (Adrian Denning)
I thought it would be 'fun' to add my comments for
this album after only my second listen. I am familiar
with Yes, this being the seventh Yes album I've heard
at the time of writing. But, I've never heard them
quite like this. First impressions? I wasn't at all
impressed, 'The Gates Of Delirium' seemed like a
mindless jam, 'Sound Chaser' similarly so, and the
closing track totally forgettable. I was nearly in
tears, I was! Second listen? Wow! Things happen this
way for me in Yes-land. They are fast becoming one of
my favourite groups. 'Sound-Chaser' is the one song I
can comment on the most at the present time. It's
furious, then almost beautiful, then descends into
cha-cha-cha, fucking shit, this is insane! This is the
sound of a band on the brink of something. What,
splitting up for three years?! No, that's not what I
meant. It's simply astonishing music. 'The Gates Of
Delirium' I still don't understand, but all I can say
is that it is aptly named. So, after two listens?
Another Yes triumph that certainly doesn't repeat
anything they've done before, even if it does 'crib'
it's format from CTTE.
- pedroandino@msn.com
what do yes do after the success and controversy of tales from the topographic oceans? simple. rick wakeman hates this and tormato and union! bastard! even I hated union it sounds like wilson philips meets roxette with a prog twist! relayer is classic yes.
1.THE GATES OF DELIRIUM: BEGINS WITH A CUTE SYNTH INTRO THE BAND STARTS THE ENGINES! ANDERSON SINGS LIKE HARRY POTTER AND RON WEASLY JOIN FORCES TO KICK DRACO IN THE ASS! AND WIN THE LOVE OF A BRAINY BEAUTIFUL GIRL HERMIONE! THEN CAME THE BATTLE SECTION! WHAT THE HELL ARE THOSE SOUNDS IN THE MIDDLE OF THE JAM? OK NOW I KNOW WHY! I READ SOMEWHERE THAT THE BAND POUNDED JUNK AND AUTO PARTS IN THE MIDDLE OF THE JAM! IT SOUNDS LIKE STICKS! CRAZY AND NOISY AND DIRTY THIS WAS THE BANDS ATTEMPT TO SOUND LIKE ZAPPA AND THE MOTHERS! BUT WHEN IT ALL COOLS DOWN SOON IS MUCH BETTER THAN AND YOU AND I MAN NEVER HEARD OF A BAND PULLING OUT PRETTY NOTES! CLOSING THE FIRST SIDE.
2.SOUND CHASER: JAZZ ROCK SOUNDS LIKE SANTANA! THE NOISE FEST IS LIKE A TWISTED VERSION OF KATRU! STEVE HOWE'S GUITAR SHREDS CHA CHA CHA CHA CHA CHA! THE FUCK IS THIS? ANYWAY NEXT IS A SYNTH SOLO LIKE A STARSKY AND HUTCH EPISODE! ANYWAY CHA CHA CHA AND THE FINAL JAM COMES THIS JAM TO CLOSE!
3.TO BE OVER: OOOO YES SWEET STUFF! AFTER THE NOISE I THOUGHT THIS BAND TURNS INTO SANTANA BUT THE SONG IS A BALLAD BETTER THAN CITY OF LOVE! PEDAL STEEL GUITARS! MMMMMM BETTER THAN COUNTRY PRICK TOBY COCK! YES CANNOT BE DISSED AT YOU FUCKING NIGGER RAPPERS GO EAT DICK! ANYWAY IF THE SONG WERE A GIRL O TAKE HER BY THE HAND AND KISS HER!
4.SOON EDIT: OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO EVEN THOUGH IT WAS AN EDIT I LOVE IT!
5.SOUND CHASER EDIT: SPEEDY VERSION! CHA CHA CHA CHA CHA CHA CHA CHA CHA CHA CHA CHA CHA CHA! SHUT UP!
6.GATES OF DELIRIUM 2: SUCKED! I CANNOT HEAR ANDERSON! SOUNDS LIKE IT WAS TAPED IN THE KITCHEN!
RELAYER IS THE BAND AT IT'S BEST 10/10
- artmuse@hvc.rr.com
Saw LOTR:The Return Of The King for the first time last night, and was floored. But I knew I had seen this war image, somewhere, before. But from where? Tonight, I found it listening to The Gates Of Delirium. That was the battle I was hearing: multi-layered, vast, mercilious. It is such a theatrical composition, one of the very best ever written. I can really see things when I close my eyes. Brilliant. Sound Chaser just is one of the most cubistic songs out there. It has a skewed logic that works. And To Be Over is such a subtle, gives-you-a-glow-all-over kind of song that it is wonderful.
Definitely one of the high marks for YES. I remeber thinking the turntable had turned into chrome when i first heard it. This was one of the most crisp recordings ever.
- pedroandino@msn.com
say, didn't I tell you to be over is the most ethereal song by yes? yes!.
- Scott.Douglas@PWGSC.GC.CA
The last real Yes album in my opinion.
Moraz was superb.
- spacebutlerxiii@hotmail.com
My first Ys album. CHA CHA CHA CHA CHA!
Add your thoughts?
Going For The One - Atlantic 1977.
I originally gave it an 8, but I finally realized
that it's far too complex and interesting an album to deserve anything less
than a 9, goddarnit, no matter how darn messy it is at points.Either
Relayer excited him or the solo life
didn't, 'cause Wakeman's back, Jack, and that aint no slack! Judging from the
non-Roger Dean album cover (their first since The Yes Album), this was
an attempt to break out of the commercial doldrums they'd been in since
Tales From Topographic Oceans destroyed their career oh so many years
ago. But let me tell you something, mister: there wasn't a band alive in '77
that sounded even a Lee Iacocca like this. Because of their constant striving
to grow and mature, they insisted on making their songs more and more complex
until, by this point, it was completely impossible to predict what was going
to happen during the course of any given song.
Each of the five tunes on this
record begin in a normal, comprehensible manner, but only the short pretty
single, "Wonderous Stories," lives up to this promise. The other four songs
take more left turns than a Chinese motorist! Ha ha! Biting ethnic satire!
Honestly though, critics who say Yes were trying to simplify and mainstream
their sound on this album clearly didn't listen past the first minute of each
side. Yes, the title track begins like an awkward hoedown, but it soon turns
into one of the most exciting and least sensible chord sequences in the
history of The United States of America. And si, "Turn Of The Century" starts
off like a normal classical guitar-based ballad, but listen to what Steve and
Rick do during these special eight minutes - listen to all the different
things they do to the original melody - then try to play the song yourself -
then shut the hell up, you talentless knave.
And both "Parallels" and the
sixteen-minute opus "Awaken" make no bones about their intentions; the band is
purposely screwing with the rhythm, melody, style, and tempo of the songs so
many times (just 'cause they CAN) that the songs are almost impossible to
follow in a normal record-listening manner. You just have to adjust your
foot-tap to match the 6/4 rhythms and crap like that. And, as he has so many
times before, Steve Howe continues to demonstrate in "Awaken" that he may be
the fastest competent note-player ever to pick up a lightning-powered minstrel
box. Like Relayer, this is one messy ass record, but it's impressive
as shim. So darn smart, these Yes men! Critics are idiots.
Except me, of course.
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
Critics are idiots, okay!
Except for you? I don't think so!
This album has been, and probably still is one of the best they
have ever made.
The balance in the songs throughout the album is just right with
the highlight "Awaken" at the end.
So what you mean with messy?
Not at all as I see it, it's just another Yes masterwork in yet
another Yes period!
- rjohnson@jax-inter.net (Richard E. Johnson)
Going For The One is indeed messy, but in a beautiful way. This album
Rocks more than any other Yes album, period. But being true Yes, it rocks
with lots of chord and rhythm changes. Fragile it is not, but just as
good in its own way. This is the best album that both Wakeman and White
were on together.
- monkey37@localnet.com (Scott Moore)
RICK WAKEMAN is back! Steve Howe took guitar to yet another new level.
Jon Anderson's lyric style changes to become more clear and melodic, in
his return from his near disappearence in Relayer. Every member was
excellent, and the new sound is amazing, but they do apply the new style
to finally do TALES justice and do what I think is the only true
follow-up to TALES, "AWAKEN." It showed that Yes was back, and they could
truly continue as a band making better and better music, and escaping
the trap of music that is pressed so hard to be progressive that it
loses direction and appeals to the listener.
- jrichter@texas.net (James K. Richter Jr.)
Hey, when did everyone get together and decide "Awaken" is a classic?
No one certainly told me. ;-)
- thutley@e-z.net (Thomas Hutley)
The music was great, the sound was excellent, and everyone played within
the realm of the entire picture. No ungodly one-man solos. No out of
place instruments or wholesale classical rip-offs. Just good music. So
who cares about which members played on the album? It's what goes on the
black circle that counts, and if Roy Clark wanted to sit in pluckin' on
a banjo during the climax of "parallels", they probably could of fit him
in too! Try not to get too caught up in who's the better band member. It
doesn't do the music any justice. If I went solely on musical line-up, I
wouldn't have Fragile in my record collection -- and we all know what
a shameful thing that would be!
- sbachini@uk.mdis.com (Steve Bachini)
This was the first Yes album that I owned (I did actually ask for *The* Yes
Album for Christmas!) and I fell in love with it straight away. Nice clear
natural-sounding production and excellent tracks that are all so different.
It shows that Alan White can do more than thrash. "Awaken" is a 17 minute epic
with church organ, the lot. The album was a real return to more accessible
music from the complex mid-70's works. Yet again they had come up with
something fresh. 8/10.
One thing though, it was certainly strange seeing them on BBC TV's Top Of
The Pops 'performing' "Wondrous Stories."
- tkcchan@hkucc.hku.hk (Thomas Chan)
Going For The One will remain one of my best ever heard albums.
"Turn Of
The Century" is not just musically stunning. Listen to the lyrics. I
shed my tears almost every time i listen to it.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
Jury's still out on this one as far as I'm concerned.
I really like "Awaken," "Turn Of The Century," and "Parallels," but I hate
"Wonderous Stories," and the intro to the title track really throws me.
- pcahill@eniac.seas.upenn.edu (Patrick Cahill)
I really like this album. I like every song; "Turn of the Century" is a
beautiful song, and "Awaken" is a classic. I also think "Parallels"
rocks! Another good Yesshows track. I guess some people might think
the music is more accessible. I don't. I think after hearing this
album right after Relayer, people were taken completely surprise. And
that's the beauty of 70s Yes. Compare Close To The Edge, Relayer,
and
Going For The One, and contemplate how different each one is.
- TempsFugit@aol.com
Two images that should never be near each other--"messy" and "Turn Of The
Century"--or for that matter "messy" and "Awaken", "Parallels", & "Wonderous
Stories."
By the way, rock and roll is supposed to be messy.
- cos@syrinx.com (Caress Of Steel)
Are you crazy?! "Wondrous Stories" is awesome!!! I listen to
it at least three times a week. "Awaken" is ok... something about
being based on circle of fourths hinders its tonality. BTW,
Steve Howe is awesome on this album.
- rderby@erols.com
at first i hated this record, but as i mature, i find myself saying
THIS IS YES'S PINNACLE ALBUM!! all the mis-mash on TALES is shed for
this beautiful record. "Turn of the Century" is easily the most emotional
pieces YES ever did. and "Awaken"........yeah they got that. i only wish
ABWH hadn't tried to ape it later.
- vicae@afns.vicenza.army.mil
One of my all time favorite Yes albums! I may be in the majority but I think
"Parallels" is an under-rated masterpiece. And I love the title track -
thank you very much! Those days may be "gone forever" but I can certainly
relive 'em when I listen to this album!
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
Messy? hmmm. Yes would never get "Awaken" as well as they did here, listen
to the end of it. 20 years later they still can't really replicate that shit
as well as the original. Messy? you're an idiot.
- tabasco@worldnet.att.net
Oh man, the best album Yes has ever made has to be this one. I loved "Turn
of the Century", "Parallels" is a great rock track that they should play on
the radio. "Wonderous stories", man I have dreams about that song, it was
cool as anything. "Awaken" was a real treat. It's very relaxing, mystical,
and calm. Enclosing my review I give this album a 9. Does anybody agree or
what!!
- dajones@bigtex.ci.dallas.tx.us (Doug Jones)
I would agree that this album deserves 8 or 9 out of 10 thangs, but I
would also take exception to characterizing it as "messy," because it is
in its somewhat unprecedented lyrical and musical focus that I think
GFTO is most remarkable. I've never cared for the title track, perhaps
put off incurably by that awful, hee-haw guitar intro, and Jon's
strained vocals. Ok, IT's "messy." BUT MAN! The ultimate majesty and
yearning of "Turn of the Century," the integrity and humility of
"Parallels," the spiritual solace of "Wondrous Stories," and the
masterpiece of life, "Awaken." This is honest music, and there is no
substitute. "...past a mortal as me, where can I be?" There is
something terribly liberating in coming to grips with our mortality and
admitting that we haven't a natural clue where we fit in.
- dembones@pond.net
This is perhaps the finest album of this personel line-up. I'm surprised at
the criticism of the title cut, which I think is amazing! It's almost
sarcastic in its treatment of the Rockabilly intro, and I think the
genious melodies and changes stand right up there with CTTE
and Relayer.
Horrible production on "Parallels," which I think is weak anyway. Where are
the drums in the mix?!? "Wonderous Stories" is both beautiful and
irritating after the first listen. I agree with Anderson's statement that
"Awaken" is the definative Yes song. "Turn of the Century" is hypnotizing,
and the version on the Yes Tribute is beautiful as well.
- rburg01@email.msn.com (Roc)
Just for "Awaken" alone, this is my favorite. The "Master of Time" section
at the end I feel rivals only the ending of Genesis' "The Musical Box" as
one of the most intense moments in progressive rock history.
And let's settle this Alan White/Bill Bruford stuff. You cannot determine
quality by degree of fanciness. Bruford is a trick drummer, who has used
the same "tricks" over and over throughout his career. Ask any drummer, a
lot of what Bruford (and for example Neal Peart of Rush) does to sound
"complex" and "fancy" is actually very simple to execute. Alan White plays
with soul. In my opinion, there is no match. White is clearly better. It
was obvious from his first notes on Tales.
- hawkins@alphalink.com.au (Alan Hawkins)
Going for the one, in my view, was clearly Yes at their peak, their music
definitely went downhill after this record and I think they should have
called it quits at this point.
There isn't much else I can say except that this is a well produced, well
balanced record, the title-track totally blew my mind when I first heard
it, and hey!! what's wrong with Howe's opening guitar riff??? I'm not into
country music but that pedal steel guitar is nothing short of groovy!!
Being a grown man, I'm proud to say I get a little weepy every time I hear
"Turn of the century", especially Howe's gentle acoustic playing at the end
of the song, what is less than understandable though is that strange,
almost inaudible piece of synthesizer music which leads into the next
track, "Parallels", has anyone else noticed this??
The highlight for me though is "Awaken", a magnificent piece which puts
seventies punk music back in it's place!!!
The last minute or so of that song has got to be the most breath-taking
music I've ever heard the band play.
- mrowley@pacbell.net (The Rowley Family)
Bought the CD (still have vinyl) simply because "Awaken" is one of the
most beautiful pieces of music I've ever heard. Never tire of it. When
they pulled it out during the Union tour I couldn't believe my good
fortune in being able to hear it done well LIVE! Some interesting
technology used in that recording to get that Pipe organ in there. Must
be nice to be able to spend that kind of dough.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Going For the One was Jon's renaissance as a lyricist, but it
doesn't necessarily mean it was for good. After being misunderstood on
Tales and not predominant on Relayer he went for simplicity
Anderson-style. This time the results were good, but afterwards... This
album has the distinction of having all its tracks presented on the
Yesyears video. The cover was different, but ugly in comparison (at
least Dean's logo was kept). Musically, it was Rick's best moment in the
band as a player. Alan is OK. "Awaken" is another classic and
"Parallels" is Chris inspiration moving to the front. Offord is hardly
missed in this one. Why did they spell "Wondrous" without the 'e'?.
- tomr@ix.netcom.com
Good, but not great.
"Turn of the Century" is outstanding. Particularly Steve, "Wonderous Stories"
is a little hokey but very listenable. I disagree with Jon that "Awaken"
is the best piece of music they ever did. Dont get me wrong. It's good.
Very, very, very good. But there is an irritating fuzziness about the
whole album in general and on "Awaken" in particular. Do you know what I
mean? Or am I the only one. I wonder how much better it would have been
had Eddie Offord been there to smooth out the rough edges. Look, all of
their best work was done with Eddie and the helm. They have never been
the same without him and it's a cryin shame.
- hijinks@utarlg.uta.edu (Thomas Rickert)
This was my first Yes record -- got it as a cutout for 2.99 in 1978! Or
maybe 79. Who knows? I don't. But anyway, to business. This record is
a ten. Period. I've read your reviews, and your writing style, witty
as it is, often covers a few gaffes. Not many, mind you -- overall you
hit that nail on its flatty flatty head just fine. But Fragile is just
so overrated, we gots to put that thingy in its place. I simply never
want to listen to it, despite a few (the side closers) excellent tunes.
"Roundabout" makes me barf; sure, it's not Yes' fault its so overplayed,
but facts are facts are facts, jacko. But Going! yea, there is a
fucking album! Everything is perfect, except "Parallels", the weakest
track, but its still good, and moderately short, so who cares? This and
CttE are the only tens. You should recant, before its too late and your
critical soul be lost! "Awaken" is just incredible, and I love playing
"Turn of the Century" on my acoustic, which should just leave you to
imagine the sublime pleasure I get hearing them do it! So, like,
recant, prindlesticks, said the ticktockman... no, that's not me.
That's a quote. But he would be saying that if he only knew!
- gwu.edu (Steven A. Sullivan)
Yes past its peak. A definite letdown, coming after the terrific
Relayer. Way too much mid-70's AOR reverb on the whole production;
Eddie Offord was missed. The title track and Parallels are weak attempts
at rock, Wondrous Stories a pleasant bit of piffle. Only 'Turn of the
Century' taps into the former greatness. Awaken (the most overrated
song in the Yes canon) always sounded to me like Yes trying too hard to
be Yes: too self-consciously 'epic', with material too thin and banal to
sustain the conceit -- in other words, all the bad things people say,
wrongly, about Tales. Interestingly Jon Anderson has said that
Awaken represents the capstone to the Tales cycle of ideas and music.
For me, "To Be Over' fulfills that function.
- LunarShore@aol.com
What's strange is, the only song I knew from this album before I bought it was
"Wondrous Stories," and THAT was what made me want to buy it. I LOVED that
song from the very first time I heard it! And now that I have had the chance
to really go through the album, I have found other, better reasons than
"Wondrous Stories" to like the album. I liked the title track the first time
I heard it. And "Turn of the Century"...my God, this track knocked me over!
I knew Yes had it in them to pull out the emotion, but this really showed me
what Yes-Brand emotion was all about. I didn't even know what the song was
about the first time, but it still made me just want to sit there and wallow
in its sad beauty for hours. Very few Yessongs will I ever dub "haunting,"
but this is one of them. And, I am glad that the reviewer here pointed out
what a complex song this is melodically. Somebody needed to do it. Almost
every time that original gorgeous melody returns there are different chord
progressions backing it up. It is a wonderful melody to begin with, but with
all of the delicious chord progressions that just melt one into the next, it
is divine. Needless to say, "Turn of the Century" is incredible. Next,
"Parallels" is a good track. Not great in my opinion, but still very
interesting when it comes to chords and melody. Then again, Yes ALWAYS
excelled in those two categories, so my repeating that here is a bit
redundant. As for "Awaken," I honestly don't believe I have listened to it
enough to present an accurate and justified opinion. I need to listen to it a
good 30 or 40-some more times before I will feel like I have gotten everything
out of this track. However, from the number of times I HAVE listened to it, I
have been pleased by the amount of new feelings and revelations I get from it
upon each successive listening. As I have always said, a good piece of music
is one from which you can draw something new every time you sit down and
listen. But that raps my thoughts up for now. Maybe I will return with a
good opinion of Awaken in the near future. Give me 30 or 40 listens, and I'll
be back to tell you what I think. Overall, a very good album, one which
pointed the band in a new direction from the one in which they had been
headed. 8/10
- stoo@imsa.edu (John McFerrin)
9 is right. Paralells rules! How can anybody not like a rock song driven
by a church pipe organ? Wonderous Stories seems out of place, but it's
still good. And Turn of the Century and Awaken get stuck in my head all
the time, even if I don't know the lyrics.
- michael.blume@gte.net
I'm gonna say this to you, my fellow troopers, that GOING FOR THE ONE is
definitely right on par w/ CLOSE TO THE EDGE. Yes, sir. It's probably
the second best album Yes ever made in my humble opinion, ma'am. The title
track makes a wonderfully fun lead-off track, "Turn of the Century" is a
perfect example of what a normal ballad should be without being so fucking
banal, "Parallels just rules, "Awaken" is the best track on the album 'cuz
it's topographic, and "Wonderous Stories" doesn't live up to the other four,
but it's still a pretty good single. Now, here's my Top 5 Yes albums list:
1.) Close to the Edge- Really strong, solid
melodies/deeply-inspired lyrical songwriting/bitchin' guitar
work/elusive keyboard solos/powerful harmonies/wonsplendid
musical ideas constructed professionally. 'NUFF SAID.
2.) Going for the One- Not as mind-blowing as
CLOSE TO THE EDGE, but still great. Tighter
structures/lots of different
musical styles plugged together/clearer, adventurous lyrical
songwriting/excellent guitaring by none other than Howe/Wakeman's
triumphant keyboard work/another set of beautiful harmonies. That's why it's
#2 in my Yes book. =)
3.)The Yes Album- Impressive songwriting/most of the
first complex ideas added to the group songs/amazing talent
displayed/Steve Howe's hokey, but interesting live solo/loads
of fun put into the album.
4.)Relayer- I believe that it's one of Yes' finest
records, but the experimental noise brings the album itself
down to #4. Never the less, I see it as a true follow-up of
CLOSE TO THE EDGE chronologically. "Gates of Delirium"
rocks, and "Sound Chaser" is easily the weirdest Yes piece
ever done musically. "To Be Over" is pretty nice though. As a
whole, the album is more mind-blowing than TALES.
5.)Tales from Topographic Oceans- It's great too, but
not as exciting as my remaining Top 4. Instead, it's peaceful,
but
still complex and interesting. Lots of musical ideas thrown in nicely too.
The best track is "Ritual (Nous Sommes Du Soleil)". Some aimless bits from
"The Remembering (High the Memory)" ruin the album's glorious moments
though.
Anyways, GFTO is terrific. I'd recommend it as a second buy behind
CTTE to anyone who wants to start their own Yes collection.
GOOOOOOOOIIIIIIIIIIIIIIIINNNNNNNNG FFFOOOOOOOOOORRRRRR THHHEEEEEEE OOOOOONNNNEEEEE!!!!!!!!!!!!!!!!!!!!!!!!!!!!
- richbunnell@home.com
Messy. Not coherent at ALL. Still, this one is
massively overlooked, possibly because by this point in critical
history, Yes had already screwed themselves over by releasing Tales
From Topographic Oceans and were thus looked at as a joke no matter
what the song quality on their successive albums was. The title track
could just be the best Yes pop song ever, and yes, it's pop. Complex,
cyclical, amazing pop! The harmonies are some of the greatest I've ever
heard! "Parallels" is so utterly loud and pompous that it works too, and
the two softer songs which balance them out, "Turn Of The Century" and
"Wonderous Stories," soothe the mind. "Awaken" makes good background
music even though too much of the middle section is given to pointless
soloing--but maybe I just need to hear that one again. 16-minute songs
need more than one listen to digest, as hard as it is to do so. The
album? An 8.
- jim@guscreek.com (Jim Lang)
I saw Yes at madison square garden on their GFTO tour...
only my second concert. I had not heard the album
before hand...as they played "Awaken" something really
special happened...my heart opened and it has been opening
ever since. My spirit soared in a way that I did not
know could be precipitated by music. Recently I
saw their House of Blues broadcast where the same thing
happened when they played "Awaken". And every time in
between...
- tomid@online.no
I think "Awaken" is the most beatiful song ever made!!
- imoss@northernlight.com
I think my main problem with this album can be summarized thusly: too
much Wakeman and Anderson, not enough of everyone else. The keyboards in
particular just seem to dominate everything on this album, and I miss
those funky bass lines! That said, the title track, "Wondrous Stories" and
"Awaken" are pretty darn awesome, and the other two ain't bad
either. Though "Awaken" is a very strong track, it doesn't quite live
up to the standard set by "Close to the Edge" and "The Gates of Delirium"
in my opinion. It doesn't flow quite as well, and despite the fact that
it is shorter than those two epics, it lacks a certain conciseness that
prevented the other two from dragging. I love "Going for the One" though.
This is one of the first albums that I bought on the recommendation of
this site, along with Pink Floyd's A Saucerful of Secrets?. Just thought you
might like to know.
- slimchandi@hotmail.com (Andy Carter)
Ahem....excuse me. This is a masterful album composed by the most masterful
musicians i know. This album blows away anything else i have
which doesnt have Yes in the title on my shelves. Awaken is a fantastic
moody piece, and when the faster second section breaks in wih the fast
organ run ups @ 5:10? ohhh i have to crank it up. Turn Of The Century
shows Howe on beatiful acoustic with Jon's vocals just soaring. This is
beatufil material, which has a more rock presence then CttE or Relayer,
or even TfTO for that matter
- guppyslayer@msn.com (Ben Henderson)
Going For The One is the finest piece Yes ever recorded in
my opinion. Too bad it was mixed so poorly. It sounds like it was recorded
behind a brick wall or something.
- robchaundy@yahoo.com (Rob Chaundy)
This is my favourite Yes album, because it sounds a bit lively! A bit of energy here and there
works wonders, and Steve Howe doing Jimmy Page is a lot nicer than you might expect. Title
track is wonderful, the next three perfectly presentable, and Awaken IS a classic - they are
NOT trying too hard to 'sound like Yes.' If Awaken had been on Tales, everyone would have
agreed that it was the best track, and they would have been right. Try denying it. Howe's
demonic scaling about three minutes in is a career highlight. They should definitely have carried
on like this a little longer, but I don't really like the naked dude. Or rotten tomatoes, for that matter.
WHAT WERE THEY THINKING?
- marc.kreienbrink@gmail.com
Oh, man...go watch a Warner Bros. cartoon. What's the first thing you hear when the theme comes on? A friggin' slide going up on a pedal steel guitar! The first time I heard "Going For The One" (the song, not the album) I thought of Bugs Bunny, Daffy Duck, etc. Steve Howe is out of control on this track, but it ROAWKCS!!! Well, ol' Stevie boy reminds me of a Warner Bros. character anyway (Gollum). Not that Gollum's a Warner Bros. cartoon character, but he is nutty enough to be. At any rate, Steve Howe is a loony tune and someone should have taken his pedal steel and fermented corn squeezins away from him, but I'm glad they didn't.
[i]GFTO[/i] is excellent in every way. I first got into it after discovering that "Wonderous Stories" was on this album, and I first discovered "Wonderous Stories" after I stole [i]"Classic Yes[/i] from my friend's dad (sorry, Zack's dad). "Going...", "Wonderous...", and "Awaken" are three of my favorite Yes songs of all time. They are alternately gorgeous, wacky, and rockin'...sometimes all within the span of a few seconds. The band played as a team of equals and it shows. [i]GFTO[/i] is the album that made me believe that Chris Squire and Alan White are one of the all-time greatest rock & roll rhythm sections. So solid.
9 out of 10. (Good call this time, Prindle)
- 7headedchicken@gmail.com
Hey, I'm just writing to let you know that what those girls (and gay guys) are saying about me is bullshit from the lowest depths of Lullabel's bowels. They're just trying to use scare tactics to get in my pants, but they don't realize that I don't like evil bitches - only nice girls like you! Oh - uhh, WHOOPS! That thing happened again where I thought I was writing to someone else. Sorry, Mark. Anyway, I just wanted to comment that it's awfully heartwarming to see a music critic appreciating Yes for who they are. Just seeing that one person can get into both Mr. Bungle and, well, any prog band gives me much misplaced hope for society. When I was a youngster just getting into Yes, I didn't buy this album for a while, because, you see, I was raised by stupid redneck pricks who teach their kids that if you buy a record with a naked man's butt on the cover, that that means your gay, AND that that would be something to be looked down upon. Fortunately, my own mind has always told me that you don't have to be a homosexual to have sympathy for the plight of those who are, AND that art is subjective, and often deeply symbolic. Like "Awaken"! What a great track that is. Love that piano intro, not to mention some feelings even more than loving towards that Eastern moogy section in that wonderful time signature that is often mistaken for 3/4. Love the reverb on "Parallels", and, well, every track on here is great. Gotta say, though, that my favorite on here is "Turn of the Century." Something about this song - could be that highly emotional, symphonic key change - surrounds me with the feeling of being in the presence of God. I wish this song would get airplay, but alas, most of the radio has sucked since the 90's, and it's probably safe to say that ALL of the radio has sucked since 2004.
- Ben
A 9?! Man. I understand the 8 for "Relayer", but for me when this album is good, it's great, and when it's bad, it's pretty fuckin bad.
The title track certainly came as a surprise to me. After a two year gap between albums, I'm sure people were pretty dumb smacked to be hearing a song like that coming from them. "Awake" is indeed a beautiful song, and "Parallels" has grown on me a lot from the first time I heard it. However, "Turn of the Century" gets boring, and "Wondrous Stories" is too cute.
Add your thoughts?
Classic Yes - Atlantic 1981.
Awesome compilation. Lots of long songs, and
"The Fish" too! It's easy to make complaints about this record (no Tales,
no Relayer, nothing from the first two), but for somebody who's never
heard the band before and wants to find out what they're like, this is really
something else. Every song (all pulled from "the big three," except the more
recent "Wonderous Stories") is absolutely incredible. And "Heart Of The
Sunrise" is a terrific lead-off track. Interestingly, if I remember my history
correctly, Chris Squire (who compiled this CD) originally left off the two
biggest hits, "Roundabout" and "All Good People," so they later added a single
featuring 1978 live versions of both. I could be wrong about that, but if
I'm right and it's true, isn't that funny?Sure it is! Come on! Don't be
such a bleeding pissant!
- Reader Comments
- pinkles05@hotmail.com
It's a good thing that there isn't a bijillion reader comments below this
album, otherwise I probably wouldn't bother, since I have all the regular
albums, therefore I don't even own Classic Yes. Anyway, I wanted to point
out that I happen to have that live seven-inch single from 1981 you were
talking about. I lost the sleeve to it a long time ago but the performances
of "Roundabout" and "I've Seen All Good People" still sound as good as ever.
I'm sure that everyone is dying to know where the two songs were recorded so
I'll share the knowledge: "I've Seen All Good People" recorded at Wembley,
Empire Pool, "Roundabout" recorded at Oakland Coliseum, San Francisco.
And the songs are over seven minutes so it's on 33 1/3 RPM.
Add your thoughts?
Tormato - Atlantic 1978.
I originally gave this a 6, read below
to see why. But darn it -- the songs may be corny and the bass effect may be
stuck in the 70s, but these are such wonderfully HAPPY tunes -- most of them
anyway. Play them for your child!
The biggest problem with this record is that Chris
Squire puts some dumbass funk effect on his bass the whole time, giving it an
alarmingly stupid tone that interferes with most of the melodies. Also, too
many of the songs are boring. "Future Times" is an upbeat exuberant way to
begin any listening experience, but "Rejoice" is a dull rehash, "Don't Kill
The Whale" is a horrendous ecological disco song, "Circus Of Heaven" is sissy
children's music, and the eight-minute "On The Silent Wings Of Freedom"
succeeds in hitting about... oh... zero of the ten million different moods it
aims for.
This leaves the pretty keyboard-driven ballads "Onward" and
"Madrigal" and the fun hyperactive noisefests "Arriving UFO" and "Release,
Release." "Arriving UFO" starts off hokey, but jeez does it get noisy when
the aliens show up! And "Release, Release" is their spastic attempt to play a
normal upbeat rock 'n' roll song. They can't do it! They can't even stay in
4/4! They know it's too boring, so they have to make it as complex as
humanly possible. Fantastic and hilarious. Complete with a moronic "live"
drum solo. Silly kids. A mostly enjoyable record, but extremely fruity, and
completely immature in almost every way. Rick Wakeman's dumbass beard, for
example.
- Reader Comments
- mcknney@is3.nye.edu (Rick McKinney)
Uh... your repetition of terms like "sissy" is starting to grow
tiresome. Especially to those of us sissies who also happen to love
Yes. Perhaps when you feel the urge to use homophobicisms like
"sissy", you can use instead terms like "rock critic" or "up-tight
breeder" or even "snobby brit". And "Don't Kill The Whale" is disco??
The last part of that song is the best stoner music I've heard since
"South Side Of The Sky".
- monkey37@localnet.com (Scott Moore)
HEY! Both you guyz! The Whale song is admittedly bad, and has a disco
feel, that just goes to show that Bill Bruford is missed. Wakeman was
excellent as usual, and Steve Howe took guitar even further again.
However, Wakeman doesn't seem to connect with Howe's guitar like he did
in previous albums. The solo thing that you described happens here -
where members are going off into their different directions. Howe's guitar
makes the album, "ON THE SILENT WINGS OF FREEDOM." Wakeman's solos are
awesome. It isn't so much a step back, as it is a step in a different
direction that is even more radio-happy than Going For The One tried to
be. Wakeman and Anderson connect for the first time ever to do many
beautiful melodic tunes that are a credit to both their talents.
- jrichter@texas.net (James K. Richter Jr.)
"Future Times" is a fantastic song! (And I'm no sissy!)
- bringer@earthlink.net (Fred)
It's really quite simple: Too much overplaying, Horrific production,
Singing that's dry and reaching to stay high piched. "Whale" & "Release" are
good tunes though that need to be re-recorded.
- sbachini@uk.mdis.com (Steve Bachini)
Well, a poor follow-up to Going For The One I'm afraid. I loved it at the
time but looking back, what were they up to? This is their worst album to
date. The strangest production sound I've heard on album. I agree it was
a lot to do with Chris' funny bass sound but what about Rick's synths?
"Circus Of Heaven" is downright embarrassing now. My favourite from the
album would be "On The Silent Wings Of Freedom," it really moves. 5/10
- pcahill@eniac.seas.upenn.edu (Patrick Cahill)
OK, it is the worst Yes album of the 70s, but still...it's got moments.
"Future Times" is a decent song, and I think "Madrigal" is a really nice
piece. The SLO "Onward" is great! Glad they dug that one up. But the
album is definitely worth "On The Silent Wings of Freedom"; this is
eight minutes of sheer force, the chops are just sick.
- James@jpb-s.demon.co.uk
I seem to recall from the Union documentary Anderson
describing Tormato as a great album that was never finished.
The material isn't bad ("Future Times", "Silent Wings") but the arrangements,
usually Yes's greatest strength, are atrocious.
I imagine that Going For The One sounded as bad before all
the final editing was complete. A missed opportunity with a
stupid name.
- TempsFugit@aol.com
Let me say just one thing: "On The Silent Wings Of Freedom" is one of
the most kick ass songs I have ever heard. If you don't like that one, I
feel sorry for you.
- rderby@erols.com
loved it when i was young, hate it as an adult. "Future Times" keeps the
album from being a complete disaster.
- keio@usa.net (Keio Sandvik)
Looks like the punk bands had an effect on the Yes camp. Not exactly
a punk album, but the songs are shorter, the sound sparser, the
lyrics cruise at a slightly lower altitude. Momentary sputterings of
magnificence.
The front cover is a result of what happens when anarchic elements
creep into a vegetarian restaurant.
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
Most people seem to put this album down for one reason or another. I love the
album. I hate to think that people can't see that Yes has to move with the
times, hell we can't expect a Fragile every album. Anyway, it seems
to me that we look for different things on Yes albums. I, whom play drums,
love Alan above Bill. Chris and Alan have a feel that rocks together. But
if you are a guitarist or keyboardist, you will see it in other ways. I did
not like Fragile, and hate "Roundabout" except when Alan and Chris
play it. Anyway the chorus to "Release, Release" was the best of the album.
- tabasco@worldnet.att.net
I think this album was ok mostly due to the fact that some of the music was
not exemperly of Yes's former standards prior recording of this album. "On
the Silent Wings of Freedom" was not palatable to my musical taste, but it
did have a few touches of poetic beauty.
- daniel@fhsk.skurup.se (Daniel Reichberg)
I understand that Tormato has generally been regarded as a flop among
Yes fans. Maybe they were expecting too much after the masterpiece Going
for the One? In hindsight, Tormato is a great album. The somewhat silly
and overcute "Circus of Heaven" can't take that away. "Release Release" and
"On the Silent Wings of Freedom" are among the best Yes songs ever. The
latter one being commonly requested among fans for coming tours.
"Arriving UFO" is really exciting and "Future Times/Rejoice" has a very
pleasant "old british" feel which could very well be used again. The
wonderful ballad "Onward", though, is better on Keys to Ascension.
- dembones@pond.net
Strange, strange production. Much too dry. Sounds like Anderson's helium
inflated voice is screaming right in your eardrum. Wakeman's flamboyant
style is sounding very dated all of a sudden, and his choice of shrill
keyboard timbres (Prophet 5?) are NOT at all sympathetic with Howe's guitar
tone, which is thin and whiny in itself. Apparently Squire discovered the
Evantide Harmonizer and the Envelope filter... Sorry Chris, only Flea can
get away with that combination! "Madrigal" and "Onward" are unusually pure and
beautiful, and "Silent Wings of Freedom" cooks right along. I HATE
"Release, Release" and "Whale." Pure poser fluff.
- tomr@ix.netcom.com (Tom Russell)
Fumble!
Even the "good" songs are ruined by sharing the same piece of vinyl. I
have refrained from grading any of the previous albums. This needs a
shovel. Is 1 too generous? On top of the dumb songwriting, the sound
quality sucks. Who mixed this anyway?
Uggg!
- lledesma@amag.edu.pe (Leonardo Ledesma)
Tormato comprised the words "Tor" (the name of the band's studio
in England, sounding as "tour") and "Tomato" (hence the splashed one on
the cover). The album comprised poor musical ideas... If the sleeves
help sell a record, this one (the ugliest up to this point) should help
buyers to avoid this album. Some tracks are fun, but others are just
lackluster songs with some little impressive arrangements. Certainly
these guys can play, but seemed they had nothing good to play. "Onward"
is beautiful but not typically Yes. "Circus of Heaven" finale was a good
idea, but the song is silly with some "Lucy in the Sky"-type licks near
the end without magic. The "On the Silent" bass intro line was best
redone in "Tempus Fugit" two years after. And, oh, yes, Offord IS missed
this time. In 1993 Wakeman came to Peru and I met him. He said about
this album: "It was a record made by five different musicians, with five
different producers in five different studios. That's why one track has
nothing to do with one another". Well, his recount was not accurate
(with too many "fives") but metaphorically he was right: this record
seems a badly ensembled puzzle. A low point. I give it 6/10.
- tabasco@worldnet.att.net
Well this is the same email address but it's not the same person who is
writing the review. You see my friend wrote the review for this over me and i
totally disagree. I didn't believe at first that this cd came after the
strong, beautiful Going For the One. Hard to believe but it did.
Tormoto is one of Yes's strangest productions. It has a lot of effort
put into it. It starts out with "future times" and "Rejoice". I'm not sure
what the song is about, probably nothing, it mentions about some
mythological people like the boy child Solomon and Dantallion. Yes uses
some of the strangest instuments to produce this cd like the polymoog,
millitary snare drums, glockenspeil, Alervaz 10 string guitar and more.
After "Future times" is "Rejoice". Which is kind of about being happy.
Lets do that. "Don't Kill the Whale" is next and it has a really funky
disco beat to it. I think there was a video to this song i'm not really
sure. Next is a soft song with Rick using the harpsicord, Steve using a
spanish guitar, Alan using a Bell Tree, and Chris playing the Rickbanker
bass. This song is called "Madrigal",
at first i thought it was A Mad Gal. It's another mythological song about a
friend of dreams, and about sacred ships sailing the Seventh Age. Pretty
neat like from a book. Next is a rocking and rolling song called
"Release Release". You can swing to this song. In the middle is a drum solo
with a concert. You can hear the crowd screaming in the middle then it goes
back to the original song. Next is a very weird funny song called
"Arriving UFO". In the wild rowdy part of this song u can hear the ship
arriving and the alien talking, it's Steve fooling around with that guitar.
After it is the sound of the ship leaving, but at the beginning it's like
ur inside the UFO. But your not. After it is a childlike theme called
"Circus Of Heaven", it really sounds like ur in a real circus. Step right
up to this Midwestern town and experience the Circus of Heaven with Civil
wars of two debtifying brothers who killed there friendship in hate, the
gigantic dreams of Alexander the Great, the unicorns of magical mystery, the
seven lords and the mountains of time. 75 cents to get in remember this is
the only time they'll be showing it. So be aware. Gasp that was cool at the
end is Jons darling little child ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh
IT'S DAMION. OH NO. Just to be safe we'll call him James, anyway he says the
Circus was good considering the fact there were no clowns, lions, tigers,
bears, candy floss, or toffee apple, none of that stuff but boy this not
like any other circus It's Heaven. Next is a beautiful orchestral song
called "Onward". I have good dreams about this song, or when i'm in my
cousins house I think about this album and GFTO, i'm in my cousins
blue room and i think of this song. Very nice. Next is another weird track
called "On the Silent Wings Of Freedom", 8 minutes this was. In the middle
is a very dark haunting part which u can hear the horror of that mellotrron
and the denomic tolling of that bell, Very cool. So my friend says this
album was bad I'll have a talk with him, i can't mention his to public. But
enclosing my review i give this album a 9 because i don't like "DKTW" that
much.
- hijinks@utarlg.uta.edu (Thomas Rickert)
You nailed it on this review. Maybe you should even dock it one more
point. You know, those red balls you use to grade the records look like
tomatoes; maybe we should take that one extra point and throw it at the
cover to join all the other tomatoes of protest! I mean, do you think
that they had some sorta psychic foreshadowing that the crapola they
were proferring on this slabola -- and Going only a year before, jeez --
would be met with howls and jeers. Can't even play in 4/4 -- haha, that
was a good one. They must have known it was substandard, but like other
great bands, even on the wane they were interesting. I compare it to
Never Say Die by Black Sabbath, another strange record by a band on acid
trip comedown, some of it good, some bad, some incomprehensibly
sublimely so bad that the categories reverse themselves and you get a
sick twisted pleasure... well, I'd best stop there...
- nanne@citronfilm.se (Magnus Nanne)
Now listen up, you fat grease-balls, don t go around bad mouthing
Tormato,
for it is a mighty fine album, better produced than Going for the one
and.....well, it s good.
You STINK!! Who the hell is this rat JAP bastard Mark, the so-called
reviwer?
Does he even like Yes? If he listens to Slayer, he s gotta be an
asshole.
Mark, heed this warning:
Thou shalt not slander band members whose piss-spot you are not fit to
lick.
Now if you ll excuse me, I m gonna go put Tormato on, because unlike
some other creeps,
I appriciate quality when I hear it. REJOICE!!!!
- Melodie83@aol.com (Joe)
Not a bad Yes album another underated album the first side is great the
second is not,you get half a show.the songs ?Rejoice/Future Times is a
wonderfull song Jon's falsetto is really cooking here Don't Kill The Whale is
also a great song and Release Release is a great rocker but the rest Onward
is a good ballad but Arriving UFO,Circus Of Heaven are really boring you
could see Jon and Rick needed a break they were burned out and had run out of
fresh ideas.a 6 could of been better Drama is a better album than this one
- RichardMelchior@aol.com
Yes are about as "sissy" as monster-truck shows and professional wrestling -
you can't call guys who strongarm their instruments like this (loudly)
"sissy", especially considering this album was released at the dawn of the
new-wave movement (Flock of Seagulls, anyone?).
Having said that, I can see why someone would think that after hearing
something like "Circus of Heaven". Candy floss? Clowns? Get real. Otherwise,
Tormato's a kickass record.
- rabarks@hetnet.nl (RP Engelen)
I m listening to the album right now as I m writing this. I simply
love it. It s as good as anything they ve done in the seventies.
I don t understand why anyone would say that songs like Arriving UFO
and On the silent wings of Freedom are boring. Maybe they re the weaker
tracks, but they re a hundred times more interesting than anything you ll hear on
90125 wich sounds like Foreigner or Whitesnake (no offense)....
- richbunnell@home.com
Kind of underrated, though still not great. I don't think that "Don't Kill The Whale"
should be called "horrendous" just because it has ecological lyrics and a beat that somewhat
resembles disco, because they really managed to pull off an infectious (if stupid) melody.
I'm also really fond of "Future Times," "Release Release," "Arriving UFO" and "Awaken."
The rest can go to hell for all I care-- "On The Silent Wings Of Freedom" manages
to prove that there IS such a thing as a boring Yes-rocker. Still, I'd up your grade
to a 7.
- RoaryT@aol.com
With our new studio we've restored our vinyl collection to use and have
listened to this record again for the first time in years. Overall I
agree with your assesment - this record has some great parts and some boring
parts and is kind of a mixed bag all the way around. But what great great
parts! SHowe's playing is very fine here, the bass sound doesn't bother me a
bit, and Anderson's singing on some of the spots is among his best. On the
other hand, he does venture into some of his dippiest lyrics ever, and Circus of
Heaven is a Death Valley type low-point. I really liked "Don't Kill
the Whale" - beautiful guitar and singing, and a fine straight forward type
song about an important earthly topic..
- RoaryT@aol.com
I'm not an adoring fan type Yes fan - seems they have about as many
misses as hits - but I gotta say that Prindles "Introductory Comments" is the
most correct summary of Yes I've ever read. (And most of the reviews are
right on with a few exceptions like the rave over the incredibly crapoid
90125.) Having said that, I wanted to add my opinion about this relic or a
record since so many of youze Yesheads hated it so much. It was found like a
siberian mountain mummy in my garage under a pile of paint stuff along
with an original copy of the Minutemen's Double Nickels. I put it on as I
did some stuff to my house and hey, it really aint bad at all. Now the bad
stuff is pretty darn bad, and the JA sissy stuff is pretty extemely silly, but
the good JA stuff (Future Times?) is good stuff. Yes strong suit has
always been their melodies, and Release, Release; Silent Wings both rocked. And
Prindle, I like Dont Kill the Whale with the staccato sung lyrics and the crisp
little riff. Now Circus of Heaven is a different matter. And one more thing
about Prindles intro to Yes, Rush and ELP did indeed bite and were never in
the same realm as these hippies.
- guppyslayer@msn.com (Ben Henderson)
Even on a bad Yes album (and this one sucked out loud), I always
found something buried in the noise. In this case, it was On The Silent
Wings of Freedom and parts of Future Times. Sadly, I think this
album was the beginning of the end for most Yes fans.
- robchaundy@yahoo.com (Robert Chaundy)
Ease up, folks - all good things must come to an end.
Tormato will never be anyone's favourite album, but we
can still let it live, can't we? After all, it has an
awesome secret weapon in Future Times, which must rank
as one of the greatest of all Yes songs (just dig that
beat!!). If they had recorded it five years earlier it
would have been five times as long and one fifth as
good, but it was obviously conceived in the right
place at the right time. Sensational.
And I for one quite enjoy Don't Kill the Whale - Rick
Wakeman's birotron is the most gloriously
obscene-sounding musical instrument of all time, and
adds a touch of revolting excitement to this and
Release, Release and Arriving UFO.
Madrigal and Onward are possibly - no, definitely -
the most beautiful songs Yes ever deposited in the
great World Music Bank. There can be no serious
criticism of these gems. And am I the only one to
detect a little For Whom the Bell Tolls in Onward?
Good work Mr Squire!
Silly, juvenile, throwaway - Tormato is all of these
things, but still gives us tantalising glimpses of
what this band might have achieved if they had always
valued the song higher than the track time. And I for
one quite enjoy it.
- steve.robey@mindspring.com
It's a little odd that I'm just now inspired to comment on this album, insomuch as I first read your review about 2 years ago... but I recently got a copy of a Yes show from 1979, and many of the Tormato songs are featured on it. As such, I feel moved to note the following:
1) The bass effects don't bother me a bit - it's those keyboard sounds WakeyBakey was using were horrible! Perhaps even worse than what Tommy Mars was doing at the time in Zappa's band. And on the live show I just got, it's a soundboard recording with the keyboards WAY UP FRONT in the mix. Can you imagine hearing "Heart of the Sunrise" with those keyboard sounds? Jeezus H. Danzig....
2) "Circus of Heaven" is the fruitiest song I've ever heard.
3) "Don't Kill the Whale" isn't disco. It's actually a decent song. I probably wouldn't include it on a "Best of Yes" collection or anything though.
4) The melody of "Release Release" is a ripoff of Gentle Giant's "Just the Same" from their Free Hand album. And the "fake" crowd noises in the middle are actually stolen from a Gentle Giant performance! Gentle Giant also dated Yes for a while. Anyone smell a conspiracy here? [Warning: sentences 2 and 3 are lies; but dig that sentence 1!]
5) "Onward" is a good song. "Silent Wings of Freedom" isn't quite as good as it claims to be, but it's not bad either.
- JCONLIN@CONLINPONTIACBUICK.COM
I have a certain soft spot for this album, though it really is not their strongest effort. (Certainly the weakest of their post "Yes Album" classics). It was, in fact, the last 70's Yes record that I became familiar with, this happening in the fall of 1988 when I was living in residence while attending University. As you can well imagine (in 1988), my frequent listens made me into a dorm hero and quite the chick magnet. Who needed REM and Tom Waites when I could offer the utter hipness of "Arriving UFO"? I got three weeks out of it before somebody stole the album. That said, "Release Release" is cool, as is Future Times/Rejoice". The biggest thing, though, is that there is actually weak material (as opposed to being average or not so inspired) on a Yes album for the first time. "Circus of Heaven" and "Don't Kill The Whale" are, well, just bad.
Add your thoughts?
Golden Age Demos - Bootleg 1979.
Say! Did you know that Yes recorded a bunch of demos after Tormato
but before John and Rick quit? Well, they surely did kind you! And guess
who? That's me! They weren't very good! You can likely hunt them down on
ebay, but don't bid too high. The songs feature Chris' obnoxious
Tormato bass tone, lots of boring, simplistic keyboard lines and
close to no guitar at all. The band was hurting. The songs are dippy like
on Tormato but without being CATCHY! And that's a major hurtin' for
a bruisin' for any Yes fan. Sing-songy shitcrap like "Flower Girl" and
"Tango" should never have happened to any band, let alone the one that
created the masterpiece "Awaken" (included in a live version on this
bootleg) just TWO short years earlier. It probably says something that they
dumped every one of these tracks except "Dance Through The Light," which
they fucked up and made into the weird Drama song "Run Through The
Light."Which reminds you -- Bump Drama up to a low 5 for me, if
you haven't already. It may not be socket science, but it sure beats this
sissified nonsense.
- Reader Comments
- Billdude
Four of these unfinished songs are now available as bonus tracks on the Rhino expanded/remastered CD issue of "Drama," which I'm sure you can't go to your local music store to pay twenty bucks or something for because no doubt it's already out of print due to the millions upon millions of hyperactive bloodlusty "Drama" fans who lined up three days in advance of its release at every music store in America to pick up a copy and killed each other in the lines and paid $15,000 for copies on eBay when they were all sold out, just like perfectly normal people these days do when trying to buy Playstation 3's. God, I know I did.
Actually I do have the "Drama" reissue, as "Drama" is one of my all time favorite albums (and my third favorite by Yes). This was because in my sophomore year of college I was carrying a humongous load of shit up with me in an elevator while listening to the album on my six dollar portable CD player, and I dropped something and when I bent over to pick it up I dropped the CD player, which crashed to the ground, cracked open, and the CD popped out and fell down the fucking elevator shaft. So a couple years later I picked up the reissue. The best thing about the Rhino reissue is the liner notes, which has a mediocre (but non-fawning, thank God--don't you hate ridiculously fawning reissue liner note essays?) essay written by some schmoe, plus a couple hilarious photos of the 1980 lineup sporting silly new wave era rock star clothes (suspenders, Geoff Downes' silver pants, etc.) In the bonus track department, you get a couple of goofy instrumentals, some crappy demos of the "Drama" songs that nobody will ever listen to more than once, and finally, four of the Jon Anderson 1979 demos you mentioned here. "Dance Through The Light," "In The Tower," "Golden Age," I think were their names. And they completely fucking blow. They're these horrendous pieces of late 70s new wave German keyboard sounding shit crap ass with barely audible vocals by some man who may or may not be "Jon Anderson." AVOID THEM AT ALL COSTS.
Actually I plagiarized/paraphrased that last bit from your "Madonna With Otto Von Wernherr" review, which was hilarious. I'm sure you knew that right away. Who the hell is "Otto Von Wernherr," anyway? Googling him, even in conjunction with Madonna, reveals absolutely nothing about who he is or what he did (your review also turns up; I'm sure you're the only person who's ever reviewed it.) Maybe Madonna ate him.
Add your thoughts?
Yesshows - Atlantic 1980.
Good stuff! A double-live collection with NO hits!
Unless you count "Wonderous Stories," but really... how often do you hear
that one on your local classic rock potato? Four sides, seven songs, a damn
fine afternoon. Some feature Moraz, others Wakeman, but NONE of them appeared
on Yessongs, and that's the mean feat here. They pull off "The
Gates Of Delirium" and "Ritual" like pros (especially the supercool bass solo
bit in the latter - bwomp!), and "Parallels" is as fookin' spiff here as
it's ever been. Damn but I love that song. Really really good. Basically, it's
supercool to hear live versions of so many non-classics. Sure, they could have
included "Roundabout" and "All Good People," but why? Why indeed, when their
recent work is so fine. The only pre-Tales track here is "Time And
A Word," which sounds a bit out of place, but it's okay. Unfortunately, for
some reason they chose to include "Don't Kill A Whale," which has to be at
least the second or third worst song they've ever recorded ever ever even
today in these Union years. I give it a solid 8 though, and recommend it
to any fan in need of another Yes ficksx.
- Reader Comments
- thutley@e-z.net (Thomas Hutley)
Be thankful , ye' merry men, and rejoice! For even though the band that
was recorded on this album no longer existed, it still made it to the
vinyl stores... and not as a bootleg, either! The production credits go
to YES, but we all know it was Squire! Who else would make a track list
missing "Roundabout" and "All Good People"? The same guy who wasn't
going to put those two on the Classic Yes release as well! And let me
second the motion that this song list is prime cut, grade A, USDA
stamped beef! No fat. No bone. And none of that hard, black stuff that
makes you crave tofu. This is the kind of stuff that makes your
hamburgers taste like STEAKburgers! Let me tell ya', these guys really
broke out into some killer chops on these ditties! And as for "Whale",
I'd take this version over the studio track any day of the year,
including "Be Kind to Animals" week, and that's no Balooga! With meat
like that, you don't even CARE there's no potatoes! Relish well these
recordings, my friends, because most of these forgotten YES gems will
never see the strobe-light of stage-day again. But man will this stuff
stick to your ribs! And all done by a bunch of vegiterians...
- tabasco@worldnet.att.net (BOB's)
What does this really have to do with food? A great concert performed by
the real Yes. "Parallels" is a better song live than original. It opens like
you're in a baseball game with Rick's keyboard. "Time And A Word" kind of sounds
the same as the original. But is nice really. "Going For the One" live is a
good hard rock piece of music. "GATES OF DELIRIUM" ROCKS!!!!!!!!!!!!!!!! It
rocks so cool, the fight is better and I bet those people at the show must
have been thrilled. Second disk starts out with "Don't Kill the Whale" is
cool. First the song then the intoduction of the stage crew. Than the 30
minute "Ritual", why did they put the same song on two tracks, I really don't
get it, but it was so better than the original, I mean much better.
"Wonderous Stories" is so heart warming live and not live. I give this album
a 9.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Great sounding in comparison to
Yessongs. Rick's in all the pics, but Patrick is featured for the most
part time-wise. I understand your confusion placing it before Drama,
'cause this live album recollects performances from 1976 up to 1978
(right after Tormato), being entirely recorded prior to The Buggles
incursion in Yes history. If one wants to keep a chonological recording
(not release) order, then Yesshows must come first. Tell you,
Yesshows is 9/10.
- paul.rogers@ait.uc.nz
This was my fav. Yes release 'till KTA2 "New Tracks". "GOD" soars. Didn't
Chris compile this to satisfy a recording contract? (ditto Classic Yes).
Whatever. It must be the most played vinyl and CD in my collection.
Right from the first opening strains of "firebird' and into a howling
version of "Parallels". Steve should have recieved an OBE for his live
work here! What the heck. Give em all one.
- gwu.edu (Steven A. Sullivan)
Much better versions of the Relayer and Tales material existed; why
Squire chose these is
a mystery. His sterile, bass-heavy mix is no help either. For all its
roughness, at least Yessongs sounded
exuberantly *live*. Yesshows just lays there between my speakers, like
a dead fish.
- Yesstiles@aol.com
"Ritual" on this album is THE BEST live recording ever done by Yes. It is simply remarkable!
Add your thoughts?
In The Round - Slipped Disc 1978.
Really nice bootleg recorded live at the LA Forum
on Oct. 16, 1978. Includes great versions of all the usuals, plus lovely
run-throughs of "Madrigal," "On The Silent Wings of Freedom" and "Circus Of
Heaven." Rick Wakeman is a little over the top on here though. Very
Emersony!
Add your thoughts?
Drama - Atlantic 1980.
I originally rated this way too low. A 4
or something. It's not bad at all! Two terrible songs, sure ("Into The Lens" and "Run Through The Light"), but the other four are perfectly good! Here's my negative old review.
Get ready to read something pathetic. After
Tormato, Rick Wakeman and Jon Anderson got sick of the
crap and called it quits, so the other guys......replaced them. With The
Buggles. Ever heard of The Buggles? "Video Killed The Radio Star?" More
like "Talentless New Wavers Killed The Perfectly Good Art Rock Band!" Ha!
What a whimsical josh I've penned!
Ha, I tell thee!
Ha!
Ha!
This album blows. They try really hard to be a tougher Yes for the '80s, but
the melodies are too goofy to pull it off. Oh sure, "Does It Really Happen"
is kinda catchy, and "Tempus Fugit" is one of the greatest goddamn songs ever
written by mortal man, but "Into The Lens" is what we in the business call "a
piece of shit," "Run Through The Light" incinerates a perfectly pleasant
melody by applying the patented Yes screw-up-the-tempo formula where it
clearly doesn't belong, and "Machine Messiah" sounds kinda like Queensryche,
as horrid as that sounds. The guy sounds a little like Jon Anderson, sure,
but, seriously, now.... Yes without Jon Anderson? That's hardly Yes, you
know. Maybe Yeah or OK or something, but hardly Yes. Silly hobbits. Shits
are for Styx!
Look! I've been clever again! Ha!
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
I simply do NOT agree that Drama wasn't a good album!
Okay, it was different and it didn't include Jon's voice, but
didn't get Genesis more popularity after Peter Gabriel left the
band although Genesis fans at that time turned their back on the
band?
The whole problem simply was that Yes without Jon wasn't Yes for
most of the fans and therefore Trevor Horn never had a fair
chance in showing off what he was capable of.
Personally I find some great songs on the album as "White Car"
and "Tempus Fugit".
By the way, I still find Geoff Downes one of the best keyboard-
players Yes has ever had and in that period he maybe was even
better than Rick.
- rjohnson@jax-inter.net (Richard E. Johnson)
Drama was a great album musically AND vocally. Unfortunately, too many
people just don't think its Yes without Jon. It could be argued that Drama
is actually one of the best albums Yes ever made. I really think it is
strong in every way. Chris and Steve are outrageously good throughout as
are Downes and Whites.
The Genesis analogy is not really fair since Gabriel's Genesis wasn't as
popular as the pre-Drama Yes. If Rick can't do Yes then they should beg
Downes to come back; he's the most rounded player Yes has ever had.
- monkey37@localnet.com (Scott Moore)
That's it - the gloves are off now, man. Geoff Downes is an excellent
artist who basically blew away Rick Wakeman's music with Yes. Rick Wakeman
was always the best keyboardist, and Geoff Downes came into Yes with a
unique concept.....actually playing WITH the entire band! Trevor Horn was
no Jon Anderson, but for this new band, I can not think of anyone who
could sing those songs. And what do you do when you lose the best
keyboardist and vocalist ever? You get better! Steve Howe and Chris
Squire stepped-up from the shadows that often hid them behind Jon
Anderson's lyrics and Rick Wakeman's amazing keyboards. Downes set a new
standard for keyboards in a band. All and all it was an excellent album.
Every song is well written and well performed. The band achieves its
goal of a different sound, and can not be compared to previous Yes,
because they are in different classes of music. This would have been the
most progressive, New Age, pioneering rock band of the eighties,
but...... once again, something happened. And don't EVER DIS THE STYX!
- jrichter@texas.net (James K. Richter Jr.)
Face it guys, Drama is a better album than Tormato or
Going For The One.
- DougS@aol.com
There is one good thing that came out of this record....
Out of the ashes of Drama rose a band who released one hell of an album....
ASIA....
- bringer@earthlink.net (Fred)
Good rocker of an album, perhaps it should have been called
Yes-ish to avoid the politics!
- sbachini@uk.mdis.com (Steve Bachini)
Jon leaving Yes was a real body blow. It was the end of Yes. Then this album
turned up. I bought it and loved the production, but it just wasn't Yes. I
would have given it a 3 or 4 /10. Years later I re-discovered it. Ignoring
the singing, the playing on this album is fantastic. Steve, Chris and Alan are
doing some of their best work and moving the Yes sound forward. It's proved to
me that Yes wasn't just about Jon's voice. I'd give it a 7 now.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
What is this crap? "Machine Messiah" has to be one of the worst
songs the band has ever put out. And "White Car" is the most pointless
thing the band's done since "We Have Heaven." And I must say that I agree
completely with your comment on "Into The Lens." "I am a camera, camera,
camera . . . " What!! That has to be the most stupid chorus ever
written. After that one, I better not ever again hear anyone complain
about Rabin's "Chez Nous" line again. I can't quite see how you compare
stuff on this album to Queensryche. Q-ryche is a morbid glam metal band.
This stuff isn't even close. I can, however see the Styx comparison.
There were moments when it sounded like Yes was going to break out into
"Mr Roboto." Yuck! "Tempus Fugit" was cool, and I liked the bassline to
"Does it Really Happen," but I could throw the rest away.
- DrGottliebson@msn.com (Daniel Gottliebson)
Hey! An album with a Roger Dean cover, neat! I'll buy it. Hmm, a group called
Drama is putting out an album called Yes. Ha! That's a nice tribute
sort of
thing. Not bad! I like "Tempus Fugit" a lot. Gee, I sure hope Yes puts out
another album soon.
- PF90125@aol.com
ok. Drama defense time..i really love the album. despite the loss of
jon. i
am a major chris fan, and this album brings him to the fore more than any
other album. you hear his voice and his bass carrying the torch as if alone.
steve found his soon to be asia power. alan finally impressed me with his
missing snare hits in "Run Into The Light."
i love the sound, texture, vocals, power, teamwork and of course the heaviest
bass in quite a while..the gentleman above was correct in saying that chris
blew Tormato with a flange...
- James@jpb-s.demon.co.uk
I can't believe how badly Drama has aged. I kinda liked it at the
time;
the final instrumental bit on "Does It Really Happen" is a killer. Nowadays
I really don't care for it.
- TempsFugit@aol.com
First off: Queensryche is not glam metal--they have made some interesting
music.
Anyway, "white ca"', "into the lens"--yeah, sure, doesn't sound like the same
band that did "heart of the sunrise" or "ritual"--but progressive rock is
supposed to progress! It's different, it's unusual, it's...progressive.
- rderby@erols.com
some cool sounds. some great playing (and singing). some good songs (and a
great song "tempus fugit") hey! i like this record! but why did SPINAL TAP
show up on "...messiah"?
- FPerdomo@IX.Netcom.com (Fernando Perdomo)
I wish Yes always sounded as tight and heavy as drama was.
"Machine Messiah" is the greatest song yes did after Relayer. I also
prefer Trevor Horne's vocals to Jon's. Horn's voice has more midrange and
more presence, a little more Dramatic and Ballzy. Geoff downes was the best
Keyboard player yes ever had, will trade Relayer tour Boot for
Drama Tour Boot.
- HODGESIII@aol.com
Most of the comments about "Machine Messiah"'s first two minutes being
really bad heavy metal are right. And the lyric, "I am a Camera" is a good
forerunner for all time worst lyric in any album. BUT, considering the two
new band members that were added for the album it's not a total waste. I can
listen to parts of "Machine Messiah" and tracks 4, 5 and 6 because they really
showcase some good bass and guitar work from Squire and Howe. If you are in
the right frame of mind (no-this won't be the Yes album) you can really enjoy
listening to this album for what it's worth.
- rlewisj@ibm.net (Tom Tebalt)
This, for me was the last great Yes album. I was sorry to see Rick and
Jon leave, but the album is still one of my fav's. Drama is better
than: 90210 (I mean 90215), Big Loverator (how many times can you
use the word 'love' on one album?) and all the other weak albums of the
'80's. I'll take Trevor Horn over that other Trevor any day, any time!
"White Car" live was one of the best!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
Well my point made again. People put this album down because of Jon or Rick.
Chris and Alan did very well. "Machine" was really good.
"White Car" rules...........................
- dajones@bigtex.ci.dallas.tx.us (Doug Jones)
Who is the real Yes? I always hate to hear Yes fans trashing DRAMA on
the basis that it wasn't the real Yes. Granted, Jon's trademark voice
was absent for the first time, but from a roll call perspective, it's as
much YES as a variety of other releases. If, as most YES fans do, we
view Anderson/Squire/Howe/Wakeman/Bruford as the best, or most
representative, of Yes configurations, then we must note not only that
that combo was as different from the original group (pre-1970) as DRAMA
was from TORMATO, but also that it lasted for about the same amount of
time as the DRAMA bunch, about one year. With DRAMA, new members Geoff
Downes and Trevor Horn had actually been involved in the production of
TORMATO, and it was Horn's influence that ultimately gave us 90125, for
better or worse.
DRAMA was made in the context of a major shift in progressive rock, at
the tag end of the latter's renaissance. While Yes music had remained
most distinctive and truest to the progressive style, it had also begun
to lose its impact, with the release of accessible, but decidedly
shallower and less salty stuff like TORMATO. Groups like UK were
creating more incisive, cutting-edge progressive music, driven by the
heavily syncopated, powerful jazz-fusion of former King Crimsonites Bill
Bruford and John Wetton. But as intriguing as that music was and is,
doggonit, you can't dance to it, and sadly that was much more important
in 1980 than it was in 1972. Enter Horn's Yes and the Brufordless
Asia. Straightforward rhythms, increased power, and at least a
reflection of the depth and mystique of the progressive stuff. Thus,
two of the DRAMA Yes (Downes, Howe) joined forces with Wetton
(Crimson/UK) to form Asia, while those remaining (Squire, White)
reunited with Anderson and original keyboardist Tony Kaye to carry
forward Trevor Horn's Yes, 90125. Indeed, Yes fans who embrace 90125
must acknowledge that it is miles closer to DRAMA than TORMATO or
previous Yes. Oh yeah, and DRAMA is a good album, definitely superior
to TORMATO. With Jon off recording with Vangelis at the time, the
alternative to DRAMA is not a pleasant thought.
- tabasco@worldnet.att.net (BOB's)
COOL!!! I bought this album 2 years ago and I enjoyed every minute of it.
"Machine Messiah" is somewhat alternative. But it never got boring. Trevor
Horn is a good singer and Geoff Downes is a good keyboard player. Jon and
Rick left and I really don't know why. But I guess they deserve a break for
a few years. "White Car" was a short but cool song about a man in a White
Car. I've seen a lot of White Cars in these days and I think of this song
when I see one. "Does It Really Happen" is a Beach Boys beat song, I mean it
has fun lyrics and fun music, Steve can really play that guitar for his
last album with the band. "Into the Lens" is about a camera, I take
photography and I like this song more than I did before. "Run Through the
Light" is a cool but soft song and has its good moments. "Tempus Fugit"
which means time flies is a good dance song. Drama is a good album with
everything you want. There are 2 songs that never made it to the album and
I forget the names of them. I give this album a 9 and I changed my mind
about Going For The One, it's a 10.
- dembones@pond.net
I am not a huge fan of Trevor Horn's voice, but he did exceptionally well
considering the shoes he had to fill. Geoff Downs' work on Drama was
breathtaking... A real step forward in terms of playing style (within a
group context) and in updating the sound. Squire and White have never
played better together, and Howe is begining to loosen up on the electric a
bit. "Machine Messiah", "Does it Really Happen," and "Tempus Fugit" are
amazing and stand up against Yes' best work. Even the horrible songs like
"Into the Lens" and "Run Through the Light" have some brilliant playing and
musicianship. I think Drama was simply a product of the times. Listen to
Gentle Giant's "Civilian" lately?
- CMBurns104@aol.com
I am a camera.......camera...camera
- mrowley@pacbell.net (The Rowley Family)
The only reason I would bother to buy the CD (I've got the vinyl still)
is to hear "Tempus Fugit" without all the scratches I put on it listening
to it over and over again. Great song! I'm an avid Yes fan but I have
to admit that this album is pretty yawnable accept for the above
mentioned song. Apparently the only drama involved was trying to find
out who was contractually available.
- tomr@ix.netcom.com (Tom Russell)
One thing that can be said about DRAMA.
It was better than Torsplatto.
Other than that. It's time to call it quits guys. Try again in say....
16 years.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Drama was not as bad as many say. And the US tour was a smash
success. It was the English audience that actually "booed" Horn. The
songs in this album was pretty fine to very good. "Machine Messiah"
certainly has a pop-metal edge, but many yessounds as well. (Hmmm...
"Yessounds"... (couldn't it be a great record title?). "White Car" is
serious Buugles plus guest Yes members. "Does It Really...?" is well
executed and it is the only time Horn's voice was his own and different
from Jon's; but just for that it was the low point in Trevor's singing
(the vocal line "does it really happen... to- you?" sounds unsuitable
for Yes, even for The Buggles). "Run Through the Light" was a
pre-Buggles song Yes had but the new ones contributed ideas that didn't
improve the already catchy but weaky track. "Tempus Fugit" is as good as
near anything ever recorded by the band. Offord returned for some
backing production, producing the clearest Yes sound in years. But the
vocals added by the group created a spoiling vacuum effect in places.
As for the personnel change, I think it was good to dispose of Jon at
the time. He was responsible for giving others the boot when he thought
someone wasn't pulling his part. If Paris 1979 sessions are any
indication, Jon was musically dried so the boot was given to him. Rick
just wasn't at home anymore and prefered laziness taking over. Now
Downes is a damn good keyboard player, contributing a new approach and
technique (including vocoder). Rick wasn't missed at all. Sure, I don't
think Chris was right when he said "Geoof is the best keyboard player
Yes ever had" but he was right when he pointed to Geoff's actually playing
WITH the band and not just putting in some keys pyrotechnics along. The
sleeve with the silver logo is another plus. Maybe this line-up deserved
a second try to clarify its potential. All in all, it's 8/10 to me.
What's with Classic?. This record was intended as a postcript or an
obituary more than a gap-filler in 1981. Again, I would prefer the
single version of "America" rather than "Wonderous Stories" for lineup
unity sake. The CD version sleeve colors aren't as sharp as the vinyl
record (the silver logo is again a nice touch). The two bonus live songs
-originally issued in a vinyl single sold only with the Classic album-
were excellent versions (I like the introduction of each member made by
Jon in the "All Good people" section) and could be included on
Yesshows. Maybe they should put out one early version with Tony Kaye
instead on "I've Seen All Good People", but the one released is
marvelous.
- Charles.Carlino@prudential.com
I remember taping this album from a friend of mine back in late '79 or
early '80.... whenever it came out.... such a long time ago. Although I
haven't heard the album since appx. '81, I do recall it being one of those
'not bad but not great' records. That said, the *tour* was amazing. I saw
Yes for the first and last time during the Horn/Downes period (in the
'round' at Madison Square Garden) and they were great.
- hijinks@utarlg.uta.edu (Thomas Rickert)
Musically, this is a better album than Tormato. Aesthetically, though
-- its not really Yes. You spanked the baby on the bottom with that
one. If they had just called themselves Drama, dropped the Yes moniker,
and moved on, maybe we would never have had to listen to Asia and that
barfbag abomination 90125 or whatever it was called would never have
happened either! And wouldn't that have been heaven!!! I exclaim at
thee.
- cliffnorth@localaccess.com (TAD)
Mark, is it?
Well, I like Yessongs, but it may B cos I learned about these guys sorta
backwards -- heard the GORGEOUS "Your Move" & then "Roundabout" on the
radio, then got a chance 2 get Yessongs cheap. Never regretted it, don't
care about the sound quality, don't even care that U can almost throw away
a whole disc & not miss it (the 1 with "Roundabout" & Wakeman's keyboard
solos). "Close to the Edge" is so overwhelming, "And You and I" so
gorgeous, "Starship Troopers" so intense -- Ghod, I love practically all of
it. It's all so ... alive, I guess. No surprise that after this I went back
2 hear their earlier, studio stuff & discovered that I found the original
works kind of ... well ... stiff.
Xcept for Yesterdays, which I like the whole 1st side of. "America" is a
hoot, "Looking Around" is lotsa fun, I even like the wimpy but catchy "Time
& a Word," & of course "Sweet Dreams." But I've never made it thru Side
2....
I also adore "The South Side of the Sky."
Am also a big fan of Going for the One, practically all 5 tracks, but
especially "Turn of the Century," "Wonderous Stories" & "Awaken."
Hey, Yes wasn't trying 2 imitate those 80s synth-rock bands with Drama,
which I think is an OK album -- I'm surprised nobody has brought this up --
they were really trying to turn into The Police! Take another listen to
"Does It Really Happen" & "Run Through the Light" & C what I mean. Those
bored me, but I thot "White Car," "Into the Lens" & "Tempus Fugit" were all
pretty great....
1 last thing: Big Wakeman fans should check out an old 1970 number he did
with The Strawbs (he was a member B4 he joined Yes), called "Where is This
Dream of Your Youth?" The Strawbs were a talented little band that Rick
didn't quite fit into -- this 1 track will show what I mean. It's a bitter
song about wasting yr chances in life, and about 3 minutes in Wakeman takes
over & just EXPLODES 4 the next 5 minutes -- it's an angry, fiery
performance, & I think it's his best work ever. Well worth the trouble of
tracking down. The song is great, & Wakeman is pretty amazing....
- LunarShore@aol.com
I love Drama. I'm not sure why, but I really like the melodies, chords,
rhythms and such. Far better than anything like Open Your Eyes or
Talk and
other such filth. A lot of people say that Drama "wasn't really Yes," but it
is a lot more YES than that crap. Just my humble opinon.
- Melodie83@aol.com (Joe)
As a huge fan of Yes I have to say that this album is very underated and one
of my favorites,there are some great songs on here.Geoff Downes is a great
keyboard player and Trevor Horn has a great voice he does sound like Jon so
Jon's not missed to much, at first when i got this album I thought it was
Jon.I agree the first track has a nice chorus but is to long, White Car is
nice but to short, Does It Really Happen is a killer song great bass lines by
Chris great vocals and a killer fade out by Geoff, it does sound like The
Police which is great.side two is even better Into The Lens is silly but a
catchy song great playing by Steve,Alan,Chris,Run Into The Light is also a
good song the final song is as close to a Yes song as you can get it's
terrific.this album is better than most of Yes later stuff so check it out if
your a true fan i give it a 8
- stoo@imsa.edu (John McFerrin)
Ok, this is what I think of Drama, track by track. Machine Messiah doesn't
offend me particularly, but doesn't really entertain me; this is a problem
when a song is ten minutes long. Then there's White Car, which is dumb.
Does It Really Happen is kinda cool, sorta, and at least doesn't hurt
things too much. Then you hit side two and WHAM!! the album goes south.
Into the Lens SUCKS!!!!!! Anyways, Run Through the Light isn't as bad as
the previous atrocity, but still a piece of crap. Fortunately, Tempus
Fugit is really cool. Definitely the only reason to buy the album. A solid
4, it should feel grateful for it too.
- Adrian.M.Rush.8@nd.edu
One of my personal favorites from the original "Classic Yes" era. It's a
toss-up between this and Going for the One, as they both have their
weak moments ("White Car" on Drama and "Wonderous Stories" on GFTO).
But man, when this record gets good, it really COOKS. I don't miss Jon
at all; in fact, I love the vocal interplay between Horn and Squire,
especially on "Machine Messiah," which is simply one of the most daring,
colorful, HEAVY tracks Yes has ever committed to vinyl. *Perfect*
keyboard textures from Geoff on MM, from the piano bits to the staccato
"church organ" bit to swirling Hammond organ to the "sighing" synth
line. What a welcome relief from Wakeman's ugly sqeaks and chirps that
litter Tormato. The interplay of the instruments in the intro to "Into
the Lens" is pure genius--"egoless Yes music," as Chris Welch put it
(think about it). The acapella section of "Does It Really Happen"
foreshadows what's to come a few years later on "Hold On." "Run Through
the Light" has some great guitar work by Steve and some wonderful
dynamics--as when Alan's forceful triplets slam everything back down to
a gentle mandolin section. Everyone who likes this album seems to list
"Tempus Fugit" as one of their favorites, but it doesn't work for me.
Great bassline, but it leaves me a bit cold. To each his own.
- TMiller@globalfoodexchange.com (Terrell Miller)
First a disclaimer: I m an officer in the Ordo Pantheris, the holy order sworn
to defend and sing the praises of Drama. So I m biased.
But I think this album is so controversial because it poses a basic question that hits
Yesfans hard, regardless of how they answer. The question
is this: what is Yes?
Is Yes a cosmic, spiritual communal celebration of the wonders of the Universe, or
is it a band of young(ish, these days) men who give us different
styles of music as they journey through life?
Fans who would answer the former are the ones who hate Drama with a vengeance. They
are the ones who got hit hard smack-dab in the soul by
the band s earlier cosmic journeys. And I can see how they would feel betrayed by the
almost total change of direction the band took here. Yes
are not up there in the clouds anymore, they have come down to earth. Whatever it is the
songs on Drama mean (don t ask me), they most
certainly don t offer any celestial insights. I think that even more than Jon s
absence, the down-among-em attitude that is smeared over every
second of Drama royally pissed off a lot of Yesheads who didn t want their
soul brethren to stop soaring.
Other fans are more comfortable with the notion that the band members are just a bunch
of guys who play very well and come up with usually
sublime, sometimes annoying, always interesting music. Okay, in 1980 they
were *here*, that s fine. While they were there they played their
asses off and did some great songs. They weren t ethereal anymore, but
where does it say people always have to be otherworldly?
There are many mansions
- richbunnell@home.com
Don't hate this album just because the Buggles are on it. Come on, admit it, you love
"Video Killed The Radio Star," just like everyone else who pretends to hate it but really
actually secretly loves it. Hate the album because there is a significant shortage
of good material. The way I look at it, the entire first side can just blow off.
"Machine Messiah" and "Does It Really Happen" are both alarmingly boring and overlong
(and yes, that two-minute metallic guitar workout at the beginning of "Messiah" is awful!!),
and that's what? 16 minutes of the album? 16 awful minutes.
The second side is far better, at least to my auditory organs. I actually think "Into The Lens"
is really underrated (Yes fans pick the stupidest lyrics to get their panties in a twist about--
ooh, "I am a camera," how AWFUL, it HURTS MY EARS) and "Run Through The Light" and especially
"Tempus Fugit" are both really neat. I LOVE the clanking rhythm on "Tempus"-- it's not Yes
(no matter how many times they say the word in the song) but rather it's bouncy, jerky
new wave heaven! Too bad such a significant chunk of this album is so stupid. I give it a 6.
- guppyslayer@msn.com (Ben Henderson)
I will say 2 things: first of all, who the fuck does Trever Horn
think he is? A fine producer, but he just doesn't pull it off as a member of this
band. There are 3 guys in this band you cannot replace: Steve
Howe, Chris Squire, and Jon Anderson. Jon especially, because he IS
Yes. Second, I have a greatest hits collection from '93, and
not a single song from this album made it. But, I agree with the guy that said
this album paved the way for Asia, whose self titled album is
the best Yes disc that Yes never made.
- splatpack@hotmail.com (Martijn Vaassen)
i think drama is a great album. at that time yes really needed some fresh
air. i think tormato had some great songs on it and i don t think that album
is a bad one at all. the point with being a progressive band is to make an
album which is always something different than previous ones. anderson and
wakeman left and the remaining members decided they still were a progressive
band who weren t scared of the experiment. their experiment in this case was
adding horn and downes to the band. i think that experiment worked out very
well. horn and downes were able to provide the band with the fresh air and
new sound that they needed to evolve as a band. the music sounds refreshing
and the band is closer and tighter than they ve been for a while. the lyrics
are a little more down to earth and musically they play more like a unity on
this album. it seems as if they were listening to each other better and try
to make music where the instruments are much more interweaved with
eachother. i think this album is a great one. the sound and production is
fantastic, the lyrics are a good balance between down to earth and spacey
and the music is more accesable yet technically interesting. it seems yes is
playing much more with feeling here instead of technique. love it.
- hijinks@utarlg.uta.edu (Thomas Rickert)
I wrote about Drama a couple of years ago, and here I am,
back again, hey ho and a-way we go, to say that Drama is
really alright. It's really good, actually. Different, sure.
Very different, in some ways. But the production is
good--those drums really kick. And it's got Steve Howe, for
yesman's sake!!! It is way underrated. I mean, I listen to
Drama more than I listen to Fragile. So, shuddyuppy alreedy,
and turn it up, go for broke, watch the night go up in
smoke, and rock to Drama... uh, er, what, what the fuckola
did he say? He don't know, senior, he don't know, his brain
be-en rewired by those dramagrooves, yah man. Play it loud,
dudeytoodleoohs.
Uh?
Fah!
Hey, Prindle-mahn, since you be reviewin' again, be sure to
review The Scientists. They're this totally un-Yes-like band
that all Yes fans should like, playing strange swampy garage
rock with totally mesmerizing drumbeats, reptilian and
tribal. And they are from Perth, did I mention that, and
influenced by just about nobody. Cause they were from Perth,
did I mention that already?, and it was the edge of the
fucking planet and nobody knew or cared, so they had to be
good just to survive. And they were, so we might say, close
to the edge. Eh? Eh? yah.
Oh, and their records are so fuckspiritti hard to find. Did
I mention that? But you should be reviewing them. Right now.
What are you waiting for? Don't you, like, you know, trust
me? Or something?
Ptah. Oh, and by the way, Spock's Beard, who are compared to
Yes, totally suck. Just wanted to add that.
- mefoley@cinci.rr.com
I have to say that this album was an interesting experiment. Taking a funky
B-52's type poppy group and blending them in with a serious group
like YES. When I first heard about this album I wondered who this Trevor Horn
was that was usurping Jon's throne, when I found out it was the
lead singer of the Buggles I laughed out loud and had to own this album. The
album surprised me. It seems the Buggles didn't populize Yes to
much, leaving thier mark subtle and in the background. The only song where
the Buggles seem to shine through and show some fusion is on "Into
The Lens" which is my favorite song on the album. But this line up of Yes
I still have to say pales in the lights of the Anderson lead Yes and I
think they wouldn't of gone on much longer like this. A good experiment,
but not an idea for a permanent change.
- nice.gomes@uol.com.br
My name is Gustavo and I live in Rio de Janeiro, Brazil.I've been a Yes fan since 1999,when I decided to
know their songs buying
90125 after hearing "Owner of a lonely heart" and "Hold on" (just for curiosity). Enjoying it,when I noticed
their musical power , I
couldn't stop! Nowadays, I own 12 of their albums.
Drama is another of these cds. It sounded awkward at first( due to John Anderson's absense).It's 1 of my
favourites now. I think it would deserve 8.5 (from 0 to 10). Chris Squire's bass solos in this piece
are outstanding (Especially on "Does it really happen?" and "Machine Messiah" ).The chorus in "Run
through the light" is very beautiful and catchy, featuring a great work by Downes and Steve Howe. Even
without Anderson or Rick Wakeman, Yes managed to maintain their terrific sounds.
Trevor Horn's voice can remember Chistopher Cross's but it ain't a problem. Although "Drama" was like a
"hole coverer", it's good anyway.
Best songs: "Machine Messiah", "Does it really happen?" (with creative keyboard parts) and "Run through
the light".
One highlight of Drama, is the album cover. I'd put in a wall picture due to its perfection , done by Roger
Dean.
- robchaundy@yahoo.com (Robert Chaundy)
I like Drama a lot, for several reasons.
a) The cover. Far superior to Tales from Topographic
Oceans, comfortably Roger Dean's best album sleeve and
a genuine work of art. It is an alienized earth-based
landscape but rarely among the genre it has warmth and
sympathy; the colour is luxuriant and the detail
enthralling. It makes you want to go there dammit!
2) Funky, heavy music, i.e. what Yes were put on this
Earth to make. They hadn't sounded this tight or sleek
since... ooh, the 1960s, I would say, and when you
think about it that's a criminal waste of one of the
best rhythm sections in the business. Just you listen
to White and Squire going for it on Tempus Fugit or
Does It Really Happen. Awesome. There's a lot of
pleasure to be had from hearing hoary old proggies
playing ultra-slick disco, especially when they do it
so well.
And I am prepared to fly the flag for Machine Messiah
alone if need be. It is amazing: Howe's solo about
seven minutes in is his best this side of Awaken, and
the song is a Downes tour de force, as indeed is the
whole album. They shoulda hung onto him, you know - he
made Wakeman look like the boozy old cove he was.
Run Through the Light is weak though,
III) No Jon Anderson. Don't misunderstand me - the man
is the centrepiece of Yes's whole history and I love
his work - but a change is as good as a rest and to my
mind an album without Anderson is an object of high
intrinsic interest, a fascinating historical oddity to
be embraced rather than scoffed at. "It's not Yes
without Jon," the fools say - WELL WHY NOT? If there
was ever a one-man band then Yes wasn't it. Sabbath
and AC/DC and Van Halen all changed singers and
thrived, and so did Yes, in a complicated sort of way.
It is always a good idea to bring in new blood, to
stop a band fossilising, which was exactly what Yes
were doing in the late 1970s. Could you have stomached
another Tormato? Mo you couldn't!
And basing the new line-up around The Buggles was a
move of insane genius, a real-life Tapism. Funny as
well as cool to listen to!
A proud eight then. Did you know that Drama went to
number TWO in England? Well it deserved to. Deep down
we all know that this is the last real, REAL Yes
album; everything that came after it was pretty
contrived one way or another. I think it was a great
farewell.
- pedroandino@msn.com
I........................ defend this computerized masterpiece in the ochentas! yes I do speak fluent spanish.
1.MACHINE MESSIAH: ...............SSSHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHSSSSSSSSSSSSSSSSSSSHS YA! THE DECENDING GUITAR SOLO SOUNDS LIKE THE MATRIX!!!!!!!! AFTER ALL THE BASHING WHOOSH! A SIGHING SYNTH LINE LEADS US TO THE BEAUTIFUL MACHINE MESSIAH! THE INTERGALACTIC WONDER! I SAY THIS SONG IS LIKE SOUND CHASER FROM RELAYER. I PICTURE THIS SONG IN MY HEAD AS THE FUTURISTIC MUSIC RAMBLES ON WITH SUCH GREAT DYANAMIC FORCE THAT IT IS LIKE NEW WAVE MEETS PROG. 2 TASTY TASTES LIKE CHOCOLATE AND CREAM!
THE SONG REMINDS ME OF GHOST IN THE SHELL: STAND ALONE COMPLEX. LIKE THE MUSIC ITSELF THE CYBORG RACES DOWN THE CORRIDORS AND GETS ON THE BIKE SHOOTS! SHE IS ALSO BEAUTIFUL, TOUGH, AND SEXY. THE RIDE STOPS TWICE WITH CALM WORDS LIKE machine machine messiah as the crashing flames lit up the night. then SHAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA! FEEDBACK DROWNS OUT THE SONG IS OVER.
2.WHITE CAR: SHORT INTRO. IKNOW YOU HATE THE SONG BUT I SAY IT WAS KIND OF A BRETHER AFTER ALL THE CHASING ABOUT! TRVOR HORN HAS NICE VOICE BUT I SAY ANDERSON WAS BETTER! FUCK RAPPING! WHEN WAS THE LAST TIME YOU SANG IN THE FIRST PLACE?
3.DOES IT REALLY HAPPEN? WELL... THE BASS LINE KICKED! SOUNDS LIKE FRANZ FERDINAND AND THE REST OF THE NEW NEW WAVE! DEE DAA DAA DAA DEE DAA DAA DAA! THE SYNTHS SOUNDS LIKE ABBA!
4.INTO THE LENS: OKAY! WHY THE FUCK DO YOU HATE THIS SONG??????????????? I LKIE THE BILLY JOEL PIANO INTRO LIKE UPTOWN GIRL OR SOME SHIT. I AM A CAMERA CAMERA CAMERA CAMERA CAMERA CAMERA CAMERA CAMERA CAMERA CAMERA CAMERA CAMERA CAMERA! ANNOYING HUH!
5.RUN TO THE LIGHT: BEAUTIFUL POP TUNE LIKE A LATER PINK FLOYD SONG!
6.TEMPUS FUGIT: EEEEEEEEE! FAST BASS LINES! KINDA NEW WAVE! OKAY! I'M SORRY FOR CALLING NEW WWAVE GAY AND DUMB! BUT IT IS PUNK AND WANNABE PUNK I HATE! ADDICTIVE SONG.
7.CAMERA SINGLE: HEARD IT.
8.RUN TO THE LIGHT SINGLE: MUCH CLEANER.
9.HAVE WE REALLY GOT TO GO TO THIS?: LONG HUH? GOOD ROCK SONG.
10.SONG 4 SATILLITE: OOOOO BASS LINES! CHRIS SQUIRE IS THE MASTER OF THE BASS! SAMPLE THAT ONE RAPPERS! ADDICTIVE YET NEW WAVEY.
11.TEMPUS FUGIT SESSION: FASTER! FASTER! FASTER!
12.WHITE CAR OUTRO: SHORT BUT CALMING.
13.DANCE THRU THE LIGHT: NOW THIS EP IS FUNNY BECAUSE IT IS SO COOL! ANYWAY THIS IS CUTE WITH THE SYNTHS SOUNDS LIKE VIDEO GAMES WITH A VOCODER IN THE MIX TOO. NO WAKEMAN DOES NOT KILL HIS TASTE WITH THE SYNTHS HE ALSO PULLS A LOVELY BRIDGE.
14.GOLDEN AGE!: HA HA HA HA HA! GALACTIC CIRCUS! THE KEYS SOUNDS LIKE RINGLING BROTHERS! HURRY STEP RITE UP!
15.IN THE TOWER: TIFA I LOVE YOU! THAT'S MY WIFE.
16.BAD SONG. MEH.
LAST GOOD MOMENT. and last good purchase. 10.
Add your thoughts?
90125 - Atco 1983.
Rick Wakeman, eat your heart out! A reformed Yes
with Anderson, Squire, and White picking up young South African guitarist
Trevor Rabin and original Yes keyboardist Tony Kaye (whose style has changed
with the decades, but hasn't gotten a whole heck of a lot more interesting)
manages to take the modern early '80s rock sound and run with it! No less
than five radio standards (Did you see that? That's a sharp writer's way of
saying "five." Man, I'm the shit.) splotched outta this baby, and with good
reason; the songs are pretty basic, but mind-numbingly catchy, well-produced,
and tough. Even listening to it today, one is impressed by how accurately
they captured that sterile processed sound of the era and yet managed to make
the songs so darn well-written and developed that, unlike every other record
released in 1983, it doesn't sound dated at all (except maybe those Janet
Jackson "shreeek!" noises in "Owner Of A Lonely Heart," but we're mature
enough to ignore those, eh?). Quite a feat. I docked it a couple of points for
the simple reason that anybody can play this stuff - the days of
dazzling musical pyrotechnics are over, but still.... "Owner Of A Lonely
Heart," "It Can Happen," "Changes," "Leave It," and "City Of Love" move me in
ways that only small children can see. Slick, loud, crisp, pretty, what other
praise can I utter? Doesn't sound a lick like any Yes that came before, but
it's really groovy, man. Even the non-hits are super good. "Our Song?" I
like it a lot! "Hearts?" Eh... a bit lengthy, but still pretty good! Buy
it, guy! And enter the '80s!
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
'Till this day I'm still happy this album was made as Yes would
have probably no longer exist.
Concerning the album, it fitted into the eighties but for me it
is to popular.
It hasn't got the elusive sounds from for instance Relayer and
it too much focussed on a hit-single.
The biggest problem with record-co.'s these days.
- rjohnson@jax-inter.net (Richard E. Johnson)
This isn't Yes, this is Cinema. Poor Trevor Rabin has paid for it ever
since. This album wasn't written like the previous Yes albums and doesn't
sound or feel like the previous Yes albums. It sounds like a new band with
Squire and White as the rhythm section. Having said that - it has some
great music on it. It's too bad that Big Generator and Talk didn't even
come close...
- CClark@aol.com (Cheryl Clark)
I love Yes because they were a great band to listen to on the radio in the early
70's. They made some great music back then. My favorite was 90125 because it had
"Owner Of A Lonely Heart" on it.
- Limbeck@sprynet.com (Cody Barrow)
Trevor Rabin may be a good addition to Yes,
but it's hard to consider him a memeber of the Yes band I've grown up
with!
- monkey37@localnet.com (Scott Moore)
I disliked the totally eighties tone of the album, but a lot of the tunes
are catchy, and Trevor Rabin's fresh, smooth, electric sound. Cinema made
the album, and I wonder what the album would be like if Jon never joined
CINEMA to reform Yes. The lyrics were not that great as the band totally
ditched prog-rock in order to achieve top forty success. They achieved
their goals with this album. Kaye is good, but Downes and Wakeman are
missed. It would have been great if Trevor Horn had stayed with Yes to record
vocals also, but you can't have everything.
- DougS@aol.com
Make no mistake, though the album sports the "YES" moniker, this is a Trevor
Rabin album with members of YES doing clean up work. Rabin wrote many of the
songs on this album before the band got together. Rabin even admitted that he
had to handle the lyrics of several of the songs because he hadn't written
them to fit Jon Anderson's "style" of singing.
Having said that, this album is still good as a top 40 piece of fluff. But
ASIA was deeper and better at the time....
- yancyd@pacificnet.net (Yancy Duncan)
I can't help but say it, Trevor Rabin Blows! I saw 9 shows with that guy
and I've never seen anyone try so hard to be cool and liked by a group of
concert goers. He was a weak and pathetic fill-in for a true master (Steve
Howe). The only redeeming quality Trevor had was he wrote the song that
kept the band alive- but have we gotten much in return? Little if any real
YES music came since they were Rabinized. Plus he thinks he can sing--
please, give me a break. This was never, and will never be his band which
is what he wanted "from the beginning" (oh look, an ELP reference). He
sucks! The record is great if you are anyone but YES. However, they do
have a higher standard. Plus, he brought the most ungodly repulsive
groupies to the whole scene.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
The album that introduced me to Yes. I love every song on this
album. I can't help but sing along with "It Can Happen." And "City Of Love"
rocks better than anything the band had done up to that point. I'm glad
to hear that you liked it also.
- J. S. Cardinal
If I was going to be stranded somewhere, and had to
choose only ONE album in the whole world, there's no
doubt in my mind it would be 90125. I bought this
album 4 times! I listened to my first cassette so
much that the tape stretched, so I bought it again.
Then, when CDs came out, I bought one. Then somebody
broke into my car and stole it along with a few
others. Yes, I bought it again, and I went to sleep
on it yesterday night, as a matter of fact. Of course,
I could only actually fall asleep when the album was
over... It might not be in Yes' usual line of work,
but it's still my all-time favorite!
- rderby@erols.com
i am sick and tired of RABIN bashing. how can anyone dispute that this is the
single reason YES is still around? yeah, this is CINEMA with Anderson
singing on it but who cares?!! it works from beginning to end and YES had
been attempting to make a record like this since TORMATO.
IT TOOK RABIN TO SHOW THEM HOW(E). as far as ASIA doing it better.....please.
step outta Howeland and realize Rabin saved this band from its own excessive
weight. P.S. i'd like to see Howe interpret Rabin with the class Rabin
did Howe on YES' upcoming tour (i wager he won't even try!)
- perth@worldnet.att.net (Peter Bambakidis)
When Trevor Rabin first heard Yes, he must have said to himself "there's
a group that I can really wreck!"
I would have preferred 90125 to have been by Cinema, with Rabin, Squire,
White, and Kaye rather than have it be Yes with Jon Anderson. It would
have been better if Yes disbanded until Union, with the merger of Cinema
and Yes into one.
- First_last@studio.disney.com
I cast a somewhat jaundiced eye back at this record. Though I do admit
liking the tour a lot, the record has not aged a well as I had hoped.
Some good Anderson vocal moments too if you listen closely!
- Zorak143@aol.com
I KNEW you couldn't resist the temptation to say "Rick Wakeman, eat your
heart out" at some point during this review thing.
- Glenn.Wiener@entex.com
The band successfully moves to more pop oriented numbers.
- rlewisj@ibm.net (Tom Tebalt)
Many people are saying that 90210 (I know .....) was the album that kept
Yes going, but so what? It paved the way for Big Generator, Union, and
Talk. If Yes had stopped at Drama, I could have at least said that
Yes never put out a bad album. (Oh well, there's still Peter Gabriel).
I'll admit that I bought 90210 and BG, and saw the tours, but it just
wasn't the same. My CD collection of Yes skips from Drama to Keys to
Ascension.
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
"Our Song" is the only thing that saved this album for me.
- tabasco@worldnet.att.net (BOB's)
Well Jon and Tony are back in business. And this business will never run
out. "Owner Of A Lonely Heart" is the most popular song Yes has ever made. If
it wasn't for this album Yes would be gone. They even hired a really good
guitar player but not as good as Steve. "Hold On" is a good alternative song,
"It Can Happen" is a rocking sing a long, "Changes" is a very sad song but very
musical and touching, "Cinema" is a short but breath taking song but there is
a long version to it, "Leave It" is a good song with good dance beat and
singing from the band, "Our Song" is a very beautiful track, very musical I
think about Toledo, "City Of Love" is a kick ass dance song, and "Hearts" is a
relaxing long Yes piece of music. Enclosing my review I give this album a
10.
- dembones@pond.net
90125 was a truly inspired album. It is certainly not the Yes that we know
and love, but it was a damn good rock album, especially considering the
horrible music scene at the time. The production is perhaps the best Yes
had thus far, and it still sounds remarkably fresh today. As good as the
album is, I am not a fan of Rabin. In fairness though, I feel Rabin was
sucked into a situation that he didn't want, and he shouldn't have had the
burden of trying to live up to the legacy of Yes' past. Kaye's return
didn't excite me either, and I truly question his contributions to the
album. (Rabin's familiar keyboard work on Talk makes me suspicious of
90125
and Generator.) Regardless, Fantastic record! 9 of 10
- windstorm@geocities.com (Robert Reynolds)
This is the first album I ever bought, and it took saving up my lunch
money for 2 weeks to finally rid myself of the mono tape recording I
made with a 15 pound tape recorder off of the radio eagerly and hastily
hitting the record button whenever a song was played. To me, this was
Yes. I never even knew anything else existed. Not until many years later
did I learn to fully appreciate my growing "oldies" collection of Yes
titles. I like them all, but 90125 is still the cream in my bucket.
- CMBurns104@aol.com
Trevor Rabin is a disgraceful, talentless bum. I blame him and him alone for
ruining Yes. Shame on him, and on you for approving of his shitty debut
album.
- dlgeer@innercite.com
I have read the discussions about the Yes discography from begining to
end. As a long time Yes fan I agree with much of what has been said,
and disagree with a lot of it as well . First of all, Yes started out
as, continued as, and still is Chris Squire's band. Any contention
over the Yes moniker is easily decided by the fact that Anderson, Howe
and Wakeman were invited to join after the band's inception. Bill
Bruford is the exception here; although an original member of the group,
he too became a member at Squire's invitation. Any lineup with Sqire
at the helm is Yes if he says it is.
Now as much as I appreciate "classic Yes," if I found myself in
the insane position of knowing that I was about to be "beemed aboard"
the Starship Enterprise (with a sheet of acid in my coat pocket!),
with instructions to bring only one album by each of my favorite
recording artists, 90125 would be the Yes album I would take with me.
You may all groan, shout obcenities or whatever you wish to do now!
- tomr@ix.netcom.com (Tom Russell)
I have never really considered this a yes album. A Yes album needs to be
listened to. Put on the headphones, turn out the lights, etc, etc.
In spite of that, I like "It Can Happen" It sounds positively Yessy".
I also like "Leave It".
Good marketing. That's the most redeeming thing about this album. Never
bought the album. Didn't have to. It was all over the radio.
- lledesma@amag.edu.pe (Leonardo Ledesma)
90125 had one good point: it kept Yes alive after its announced
death, resurrection due mainly to Rabin. The one bad point was that
Rabin killed off Yes' musical essence as well. It was like keeping the
name but killing the legend. They were the same guys for the most part,
but the change in musical style was radical and brought Yes to discos.
If this lineup (even without Jon) would have kept the Cinema name and premise
it would have been more acceptable to Yes fans. On the other hand, it
gave Yes true worldwide recognition and made it popular with kids (and
gals). "Owner" put Yes in the number one spot (with the likes of Michael
Jackson and Madonna) but certainly with style. It takes more than Trevor
Rabin to kill Yes' flavour entirely. Don't get me wrong: Rabin is a
top-notch musician, but his style is not Yessy. To put it this way:
Bruford is, at least for me, the best rock drummer ever, but he couldn't
maybe be as good a drummer for The Beatles as Ringo Starr. It's all a
matter of fit in or not.
The other real star of 90125 was another Trevor: producer Horn,
shining even more than in Drama. The excellent sound and production
was HIS job. The rest just kind of went along: Squire and White kept the
pace but didn't do much. Kaye gave "Owner" a distinct (though too
industrial) keyboard sound, but he took a front seat only from "Changes"
onward (and not matching his earlier Yes presence). Jon sang well and
contributed good parts but obviously came a little too late into the
proceedings. "Hearts", underrated by many, is for me the best of the
pack, sounding closer to the Yes of yesterdays. The "Cinema" track has
only two distinctions: being recorded "live" in the studio and being the
first totally instrumental independent track conceived and played by the
group (thus different to "Wurm", the "Fragile" solo designs and other
solo spots). This was a "vocal" Yes for the most part, with more backing
voices than ever. The sleeve had a totally new style, which is good (but
I doesn't like it, what the hell!). Not Roger Dean, Martyn Dean, Brian
Lane or plates by Mansell Litho this time. I give this record 7 out of
10.
- Charles.Carlino@prudential.com
Hey "Yancy Duncan," if you hated Trevor Rabin so much, then why on Earth
did you *force* yourself to see the Rabin incarnation of Yes 9 times? Are
you some kind of moron?
- hijinks@utarlg.uta.edu (Thomas Rickert)
Oh, I see. You are one of *those* who like the 80s Rabin-fueled version
of Yes. Well, its your karma. But perhaps you should get out Tales
every nite and pray, pray, pray to those silly gods Jon invokes. Of
course, Jon, for his part on this slab-o-corporate-evil, needs a prayer
carpet woven with words from that "lengthy footnote" he be so enamored
of to kneel down on twice a day, every day, for the rest of his
topographic life... This record is just simply unlistenable. As bad
as Asia. Maybe worse.
- ssvsoft@online.no (Snorre Serigstad)
Stop picking on Rabin! As if it would be any better if Yes was to
remembered as the band who concluded their careers with DRAMA... Yes, most
of the tracks are FAR too close to the 80's list pop standards, but "Owner
of a lonely Heart" is great. Trevor Horn shows that he actually IS capable
of singing, too (backing on "Owner"), and Kaye is great.
- Melodie83@aol.com (Joe)
One of the best Yes records since Close To The Edge, a big comeback and it
deserved to be.not a bad song on the album.Owner Of A Lonley Heart was the
big hit , I first heard it when I was ten when it was released ,It sounded
like a Police song cool but a great song anyway,Hold On is also a great song
a heavy song but great vocals and great guitar and drums,It Can Happen is a
great ballad the first group since The Beatles or Stones to use a Sitar on a
single,Changes is okay until it goes on for to long,Cinema is great druming
by Alan he should be in the top drumers of all time.Leave It is a great randb
song the vocals are incredible Chris really should get more credit for his
singing besides being a great bass player,Our Song is good except that the
lyrics don't make much sense,City Of Love has great bass playing and the
lyrics are pretty corny but the song cooks,the final song Hearts should of
been a single jon's voice is great and also great harmony and guitar.for
1980's Yes the best album they recorded can be compared to there past it's
that good a 10 rating
- stoo@imsa.edu (John McFerrin)
I had no idea whether I would like this album when I ordered it; half of
me said, "hey, the Moody Blues pulled out Long Distance Voyager and
The
Present during this era" while the other half said "yeah, but they also
did The Other Side of Life and Sur La Mer" Well, this is one good album. I
agree with the 8. Mind-numbingly catchy is right.
- michael.blume@gte.net
This is a great Yes record. Don't let those bastards tell you any different.
I'm proud to see that Yes moved on very well to the world of pop music, even
if it was just for two studio albums. I believe it should get a 9 out of 10.
Rabin proved to himself that he was very
worthy as a Yesman. It's still Yes, but in it's own right. Fuck, you can't
expect another Tales every wipstitch! Hell, I know a guy named Scott
Anderson who runs a Yes fan website, and he totally dislikes '80's Yes, and
here are his reasons why:
His first reason is:
"Trevor Rabin brought to the band a roboticized sense of the most overcopied
elements of Led Zeppelin's song forms with absolutely none of the subtlety
or originality (the best they could do after letting Jimmy Page escape the
fold, I suppose), combined with an emotionless, musically vacuous ability to
"shred" at blinding speed on his hand-painted "tortured soul on display"
Stratocaster."
-Scott Anderson
His second reason, also, is:
"YES is not YES without the grumbly, fidgety (in a good way) bass of Chris
Squire. (Which, on a side note, is one reason why I don't care much for '80s
YES -- Squire lost, or was forced to relinquish -- his distinctive bass
sound.)"
-Scott Anderson
I almost forgot. His address is http://room34.com/yes/ if you want to check
it out. His e-mail is scott@sanderso.org if you, Rabin lovers, want to flame
him for those silly comments above that he said on his Yes website. All I
can say is fuck him. He should know better to appreciate '80's Yes. Be
thankful Yes was still around when the Rolling Stones were sucking ass in
the '80's. Even though I perfer to listen to '70's Yes more like Scott
Anderson does, it's still no excuse for flaming Rabin. It's also not an
excuse to not like Yes' '80's output. I like 90125 as much as you do,
Prindle, and the same goes to Big Generator. Good night!
- Adrian.M.Rush.8@nd.edu
This is where I came in with Yes. I didn't know a thing about their
history when I heard "Owner" on the radio, which, as a 12-year-old Top
40 kid who always loved anything a bit quirky or otherwise out of the
ordinary, simply blew me away at the time. It's not as dear to my heart
now as it was then, but it was the one song that opened the door for me
to Yes, and the the whole prog-rock genre. So I owe it, and Trevor
Rabin, a lot of gratitude. And I still think the "Owner" guitar solo is
among the 10 best in the history of rock 'n' roll.
The album has held up fairly well over the years, I think. My favorite
tfrom 90125 hese days is "Hearts," which has that ethereal feel of
Classic Yes--a link to the glory days that at that time had passed. The
only dud on the whole album, really, is "Our Song." I'd give it a 7/10.
- richbunnell@home.com
"Leave It," as poppy as it is, has got to be one of the coolest
songs of the '80s. Listen to it and realize just how complex it is
compared to so much of the other pop of the time! Sure, it has those
stupid "BANG!" noises at the end of the chorus, but the acapella
"doo-doo-doo"-ing, the processed drums and the wonderful chorus
harmonies just make this an amazing song, even if the opening is sort of
a poppier reprise of the beginning of "I've Seen All Good People."
"It Can Happen," "Changes," and "Hearts" are also quite good, and I
guess "Owner Of A Lonely Heart" is catchy, but it's worn off on me--
plus, what kind of frickin' schizophrenic song is that? It starts out
like a metal raveup, then goes into rhythmic funk verses, and then the
chorus comes in which has those light guitar riffs--and then at the end
all of these partyish dancy horns jump into the mix! What does this song
want to be?!?!? Still, I give the song credit for being catchy and
having a really cool video. Oh yeah, and "Hold On" is one of the biggest
crap songs I have ever heard. Sure, this is all pop that anyone could
play, but "Hold On" sounds like it was made for those crappy '70s bands
like Foreigner or Toto who I hate oh so much. This album gets a low 8.
- guppyslayer@msn.com (Ben Henderson)
This is the first yes album I ever bought, and it is a fine
piece of work, but as I bought more and more albums, it was less and less a favorite
of mine. Trevor Rabin is a good guitarist, and a fine writer,
but he's no Steve Howe. I swear to God, the first time I heard Hold On, I
thought it was Jefferson Starship. For some reason, Jon
Anderson sounded like Grace Slick on that song. Maybe it was just me...
- joel.larsson@privat.utfors.se
This is pure 80's dumb. Why should I listen to this?
- tommy_chuck@hotmail.com (Tom Marshall)
Nice pop record, with some great songs, but this is NOT a Yes album. Yes is
about moving forward, going into the un-known, and playing too damn fast for
the sake of it! This just sounds like Def Leppard! I think Trevor Rabin is a
wonderful guitarist and a superb writer, but he doesn't compare to Howe.
Howe is a individualistic genius; Rabin sounds too much like Van Halen!
Completely overrated and sits like a gate-crasher next to revolutionary
masterpieces like Close to the Edge...........3/10
- mefoley@cinci.rr.com
This album perfectly sets the goal the band set out for in 1968, "Vocal
harmony with strong instrumental backing". On previous Yes albums
one would seem to compensate for the other. But on this album the
playing is perfect and the vocals are perfect. I define this album as Heaven
and dub it my favorite Yes album. Trevor Rabin and Jon Anderson play
off each other well vocally and once again the playing is perfect.
- ian.moss@aya.yale.edu (Ian Moss)
This one arrived in my tape collection straight from the local
self-described "music emporium," which generally has a bunch of country
albums and about 8 copies of Anderson Bruford Wakeman Howe. However, this
time they managed to sell me a damn fine record, regardless of how much
they no doubt wished to dump some Garth Brooks on me. Yes, Yes reinvented
themselves with this album. Yes, it sounds terribly dated. But honestly,
what else was out there in 1983? Thriller? U2's War? This album was
popular because it was halfway decent when little else out there was. (of
course, had it been fully decent it probably would have been half as
popular. such is the way.)
"Owner of a Lonely Heart" is just the beginning, in so many ways. (Well,
at least two.) (Actually, I just thought of a third. Cool!) To me, this
song epitomizes the sound of the '80s more than any other song that I can
think of. I mean, just listen to that production! The orchestra hits, the
strings at the end, the lean rhythm guitar, the ridiculous distortion used
for effect only, even the lyrics. Sooooo '80s. But catchy as ! And that's the same with most of the other songs
too. Some of them are a mite overlong (ahem "City of Love"
), but they are of surprisingly consistent quality and intricacy for
soulless commercial sell-out music.
I'm discovering that consistency is perhaps the greatest convincing agent
that an album can have. When all of the songs are good, you just can't
argue. It doesn't matter if none of them are great or all that
special. On any good album, the dogs stand out more than the
insta-classics. And any album with no dogs is worth an 8 to me.
By the way, "Cinema" is mad rad, yo. Don't overlook it.
- robchaundy@yahoo.com (Robert Chaundy)
Well, Ian said it. Apart from his sly dig at 1983 that
is - there was a shedload of great albums that year!
Kill 'Em All, The Final Cut, Madonna, Flick of the
Switch, Script for a Jester's Tear - I could go on!
People always say this album is 'dated' like that's a
bad thing - well it's not. It's quite nice to listen
to a piece of music and instictively be able to put it
in its historical context. Yes, timeless music is also
pleasant, but if ALL music were timeless then we might
as well scrap time, at least as far as music is
concerned (it would have to stay for other purposes).
No, you can't play this to your friends. It is hammy.
But it has strong melodies, a virtue that can make up
for pretty much anything. My personal favourite is
Our Song, and Hearts and Cinema are neglected too.
Great rhythm work from White and Squire. And it is
kind of satisfying to hear Anderson having to sing
someone else's songs; working for his money for once,
even if his voice isn't really suited to fast disco
songs - a character-building experience for him, no
doubt.
So yeah - 8!! This is a really good album! It's fun!
The songs may not last longer than some Italian
governments, but that was sooo 70s anyway... short
songs can rule too, you know.
- lionswater@earthlink.net (David Woycechowsky)
Nice "Give Me Convenience . . ." ref. Considering "Give Me Convenience" for a second, I always wondered what the point was of picking out Dinah Shore for abuse? Did she do some
unleftist thing at some point? Yes fans, do *you* know?
- pedroandino@msn.com
fuck 90126!!!!!!!!!!!!!!!!!!!!!!!!! no no no no no no no no no no no no no no no no no no no NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! WHY!!!!!!!!!!!!!!!!!!????????????????????????????????????????? FUCK POP RADIO! GOD ARGHHHHHHHHHHHHHHHHHHHHHH! HUGGA MABUGGA MA MOTHERFUCKOR ASSHOLE! sorry I had a sezure when I hear shitty overplayed clear channel shite! I am more of an anti singles guy! I do not like fucking hit pop singles!!!!! fuck the florida radio fagwads whtq ORLANDO'S NUMBAH ONE ROCK STACION! NINETYFOR POINT SEVAN! fuck you fagwad! peter cetera likes owner and he killed chicago in the 1984 ronald regan campaign with yer da insparationnnnn!!!!!!!! I am not in a good mood I was taking care of my daughter sorry gustavo but I fucking despise 9012345678919932846586795495067965594304905596594339394909089089767906! HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA! STILL, MY FRIENDS I LOVE dearly is close to the edge. RELAYER!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! is NUMBER ONE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! for me! fuck rabin! the real master of the show was none other than mr. STEVE HOWE! he is the faster player and the glue that held yes!
sorry guys 70's yes kills that overplayed I love the ochentas! ha ha ha spanish! that means I love the 80's dog cock! do not call me a linkin park 50 cent loving cock who liked mtv, bet, and connie chung all day! okay I was taking care of my sweet daughter I am a family man. grow up ya cocksucker!!!!!!!!!!!!!!!! at least I am! dickson, chaundy, you guys are starting to become like me. hey am not here to dis you! yer jokes are funny but mine is far more better! I am not geroge carlin but iam george lopez! HEY (FFFFFFFFFFFFFFFFFFART!) WAIT!!!!!!!!!!!!!! WHY CAUSE MR. CACA HAD TO GO TO THE BATHROOOOOM! as for this a 2!
- lweiner@webmail.co.za
So much for all you geniuses who talk bad about Trevor Rabin,your ignorance is laughable.
He's a genius classical pianest,I bet you didn't know that,and a master musician.
He cant be too shabby if he writes and produces the score to every Jerry Bruckheimer movie.
- t_trudeau@tru.ca
Mark,
In the years since you wrote the "Yes" review page, have you ever considered raising the grade of "90215" to a nine? It's been a while, yeah, and the album isn't as complex as earlier albums (from what I gather), but MAN OH MAN is it great. I've had it for six months and I'm still not (completely) tired of it! It's goofy, dated, and ludicrously overblown, yup, but that's what makes it so unique! What else sounds so...geez, I hate to use a word again, but: overblown!
Just a thought.
- pedroandino@msn.com
sorry about the rant so do not fucking test me!
1.OWNER OF A LONELY HEART: boom chac boom chac boom cha boom chac boom chac boom chac booom chac boom chac boom chac boom chooka chooka! casey kasim is an asswipe!
2.HOLD ON: AH YEAH! HOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLD ON HOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLD ON. SUNSHINE SHINING THRU! DIG THE CHOURS.
3.IT CAN HAPPEN: SITARS!!!! ADDICTIVE SONG!
4.CHANGES: starts with a tinkly bell sound then the tempo changes. shut the fuck up thomas rickort! faggot!
5.CINEMA:..................................................yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyeah boom! great insturmental!
6.LEAVE IT: I CAN FEEL NO SENSE OF MEASURE! NO ILLUSIONS AS WE TAKE! REFUGE IN OUR MAN'S PLEASURE BRAKING DOWN THE DREAMS WE MAKE REAL! ADDICTIVE SONG WITH A DANCE BEAT!. AND ACAPELLA VOCALS.
7.OUR SONG: CUTE.
8.CITY OF LOVE: YES DOING HEAVY METAL???? WHAT THE FUCK! SUCKS!
9.HEARTS: AH MUCH BETTER NOT AS ETHEREAL AS TO BE OVER WITH THAT DANG MELLOTRON!
10.LEAVE IT REMIX: GET THE REMIX!
11.MAKE IT EASY: SOUNDS LIKE JOURNEY! ADDICTIVE!
12.IT CAN HAPPEN CINEMA VERSION: COULD BE A GOSPEL SONG!
13.IT'S OVER: ADDICTIVE JOUNEYISH 80'S ROCK! I HAVE COME TO MY SENCES!
14.OWNER REMIX!: SUCKED!
15.LEAVE IT A CAPELLA MIX: WHAT IS WITH THE REMIXES?!
OKAY I CALMED DOWN I HAVE A WIFE DO NOT FUCK WITH ME! 10!.
- edonohue@bu.edu (Eric Donohue)
I love you, if only for putting a Dead Kennedy s reference in a Yes review.
- marc.kreienbrink@gmail.com
[i]90125[/i] is my favorite Yes album. Sure, it's different than all the others, but so what? It rocks, and it still has that Jon Anderson guy singing on it, so it's GOTTA be Yes. Trevor, Chris, and Alan are (crack)rock-solid on every cut. This is classic rock.
The ONLY thing I'd change is I'd NOT turn off the reverb on Jon's voice for the last several words of "Hearts". If I ever meet Trevor Horn that's the first thing I'm going to say to him. Then, I'll lick my index and middle fingers and smear them on his big ol' glasses.
Here's a question: is it "Nine Oh One Two Five" or "Nine Zero One Two Five"?
10 out of 10.
- finnbros90ca@yahoo.com
Looks like one of the posters here had studied capitalization in university and is now applying those skills vigorously. Beautiful.
90125 is a very well crafted piece of plastic. The level of skill on display here is quite high, but the epic novel has been ditched in favor of the novella. Still action packed in places, but with no MSG.
On a sad note, the arrangement and production style on "Leave It" gave the listening public a glimpse of a very grim future (mid to late 80's) where popular music became icy synths + no melodies = CATSHIT.
- Jorge Bernardino
Why do people constantly bash 80's Yes and Trevor Rabin? He rejuvenated Yes when they were being cheesy (I mean Tormato-era, and I like Tormato as well). Haters' only argument is that he is no Howe, WTF people. He has his own style, and unlike Howe, Rabin was classically trained in guitar. Don't get me wrong, I like Howe's style, but he also played generic style in Asia. Yes, almost the whole album was written by Rabin, but arguments that the songs are terrible because of it are wrong. Anderson contributed it and made them what they are, which is not to say that they are bad, he improved them and made them awesome. For example, in the 90125 Rhino reissue, you can hear the original It Can Happen as a bonus track, before Jon Anderson came, and it is not to par with the one used in the album.
I like Progressive Rock a lot, the epics and suites,etc. but unlike other Prog bands that went "generic", Yes was one of the few that still made excellent songs in what I like to refer to as Progressive Pop. Our Song is the best track in my opinion, but It Can Happen, Owner, City Of Love, and Cinema are up there. Also, before I get bashed for defending 80's Yes, my favorite album (maybe of all time) is Tales From Topographic Oceans.
Add your thoughts?
Leave It 12" Single - Atco 1983.
Finally the ringmasters of progressive, architectural art rock have released their true trompe-le-monde. Taking the "full-side-epic backed by two half-epics" format of Close To The Edge and Relayer to nearly poetic heights, Jon Anderson and the Squires of Heaven have finally risen to the cream of spiritual excelsior with the absolute pinnacle of nuanced, magickal _expression. Side One is built from top to bottom as fully-realized brilliance in songwriting, an endless enigma of _expression entitled "Leave It (Hello, Goodbye Mix)." Never have nine and one half minutes felt so much like an hour and a half, as repeated early-80s Pet Shop Boys synths back up loop after loop after mind-clearing loop of the Yesmen saying "Hello Hello Hello" and "Goodbye Goodbye Goodbye." Occasionally the song threatens to actually get going, but NEVER. For that would change everything, the dark to light, the spheres of influence to black holes of purpose, unctuous doors to reality.Side B is, if anything, even better than the perfect mediocrity of perfection that aligns side A with the celestial seasons. It features "Leave It (Re-mix)" and "Leave It (Acappella)(sic)," the former being a near exact replica of the album track "Leave It" from 90125: the latter bringing the rising ennui to an orgasmic explosion of sound and fury in an a capella version of "Leave It" from 90125. If only today's art rockers (The Flaming Lipps, The Radio Head) could create something of this magnitude and magnifique. But they are young - we must give them time to develop and embolden their sound, as our hearts and minds rise into a collective downpour of eternal love for all of God's creatures.
Add your thoughts?
9012Live-The Solos - Atco 1985.
Ewww. What a lousy idea. Remember a few minutes
ago when I said, "The days of dazzling musical pyrotechnics are over?" You
don't wanna hear this particular incarnation of Yes play solos. Take my word.
My word is tedious! Gets a couple of points for faithful live renditions of
"Hold On" and "Changes" from 90125, plus that part near the end when Chris
Squire suddenly breaks into "Tempus Fugit" and "Sound Chaser," but the bulk of
the material, and in fact the crux of the concept, i.e. the solos, bite it.
Or is it "bites it?" Ahh, write your own damn sentence.
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
I agree!
I agree!!
I agree!!!
I agree!!!!
I agree!!!!!
I agree!!!!!!
So what's more to say.
As you can see we begin to like each other more and more!
- monkey37@localnet.com (Scott Moore)
GOOD CALL!!!!! AMEN TO THE CURRENT GOD OF YES CRITICS, ALL IS FORGIVEN
FOR YOUR STYX COMMENTS!
- yancyd@pacificnet.net (Yancy Duncan)
Oh, I have it, and it does really suck! That wouldn't be Trevor's fault
would it? I think so. How one man could turn the most fantastic live act
ever into this pathetic shadow of showmen is beyond me.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
After seeing the video, I went on a search for this
cd. Only problem was that it was never printed on cd in the US or
England. And the cassette is supposedly out of print. I ended up
importing a cd copy from Japan. Besides the liner notes being in
Japanese, the disc is the same as the American vinyl release. Only
problem I have with it is that the whole concert is missing. Yes, it was
worth it to hear "Solly's Beard" and the "Fish/Tempus Fugit/Sound Chaser"
medley, but the fact that only two of the actual SONGS from the concert
made it to the disc is pathetic. What happened to the extended version of
"City Of Love"? Or the Rabin-ized versions of "All Good People,' or "Starship
Trooper"? You'd think that they'd include some of the songs that people
actually want to hear.
- rderby@erols.com (Robert Derby)
I agree. I bought thi E.P. when it came out, and I may have listened to
it three times. I did enjoy "whitefish" because of the medley within. It
is the only Rabin release I dislike. I do believe ATCO was behind the
idea. What I don't understand is why the 9012Live video doesn't include
some of these better moments and conversely, why didn't ATCO release a
9012Live soundtrack encompassing all the work? Dumb.
- dembones@pond.net
Okay, who let Kaye play with the keys again?!? Oh man, whose idea was this
release? The two whole songs performed were good, but I'd rather watch the
video. "Solly's Beard" was the only worthwhile solo track, except for the
mildly interesting Bass/Drum duet at the end. Speaking of the video, am I
the only one who is just totally in love with their rendition of "Starship
Trooper?" The most passionate performance of the song I have ever heard! I
wish THAT had been included on 9012Live!!!
- windstorm@geocities.com (Robert Reynolds)
Yup, it bites, but if there's one thing Yes has never been accused of,
it's being conservative in the marketplace. Who could blame them for
trying to slurp up the remaining change of all those folks who went out
and bought 90125? Even to this day, they love to bilk the public with
rehashes and re-ordering of the same songs on different CD's. How many
greatest hits albums does a band need? Oh well...I love 'em anyway!
- lledesma@amag.edu.pe (Leonardo Ledesma)
9012Live - The Solos is a low point. It's nearly aimless, proving
the marketing geniuses were asleep at the time. First of all, it's not a
standard album BUT a mini-album. Secondly, it was recorded when the band
was beginning its world tour and the edges were not still cutting
enough. They should have waited another year until the tour was over to
select the brighter solo pieces (as in Rio de Janeiro, where "Si"
included a piano introduction by Tony and was far better executed than
in Vancouver or Germany and where "Solly's Beard" was also played with
greater gusto and has the keyboard properly placed). Third, Alan White's
short but energic solo before "Hold On" was missed, as well as the live
version of "Cinema" (superior to the 90125 version and including an
interesting synth-effect intro). Four, there were only three proper
songs (counting on "Soon"). Five, the sound was not the best. Six, the
record was soooo boring. Seven, who cared for this record anyway?.
Eight, the sleeve was an interesting variation of an ugly cover. It
could have been a good record but... I give it 3/10.
- michael.blume@gte.net
I'm a pretty big Yes fan, and, no, I don't have the EP,
9012Live/The Solos, but I just wanna let you know, dude. I agree that
it's such a banal, lame idea for a band or record company to put out
material that nobody fuckin' cares about. I rented the live concert video,
and I enjoyed all of it. That was what mainly got me into 90125
in the first place. Watching Yes on top of their game playing
most of 90125 plus two classics from The YES Album live in
Edmonton, Canada. They were still an amazing band back then. Too bad the
video is now out of print. Pity. Now some newbies won't get to experience a
great concert like that. Concerning the album,
do us a favor, reader, and just skip it. It's not worth owning a forgettable
glob of shit like this. Buy a real Yes album instead. A 3/10
is definitely right. There, good night. ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ.................................................................
- Adrian.M.Rush.8@nd.edu
A pretty pointless release, I must agree. Buy the video instead. At
least it contains "Owner," plus a kick-butt rendition of "Starship
Trooper." Steve who?
"Solly's Beard" is worth the price of the CD if you can find it. But
that's about all I can recommend. And I liked "Whitefish" at the time,
but I've heard it just one too many times in concert now, thank you very
much. "SI"? Tony Kaye, of all people, should NOT be trying to reference
J.S. Bach--he proves he can't even get THAT right (notice the flubbed
note?). Probably the most pathetic part of the whole venture is that the
crowd noises behind the bass solo are LOOPED! (Listen closely--you hear
the same "whoo!" about every 3 seconds.)
Pretty bad stuff.
- guppyslayer@msn.com (Ben Henderson)
This sucks! It's crap like this that got the "greedy
corporate rock" label hung on this band. The only thing worse than this is a piece of crap I
bought in '86 called 12 Inches On Tape, remixes of songs
from 90125. If you listen real close to this, you can practically hear an
accountant running an adding machine in the background.
I think this is what Pink Floyd was singing about on Money and Have a Cigar.
Add your thoughts?
Big Generator - Atco 1987.
Weird green and purple cover shows they're still
hip to what the kids dig, but the music isn't nearly as confident as that on
90125. It kinda veers too far away from '80s rock into Jon Anderson
mysticism at times. Still, some of the songs are fantastically, brilliantly catchy (especially the hits "Shoot High, Aim Low," "Love Will Find A Way" and "Rhythm of Love"), and only a couple of them reek
of the stale empty genericism that would reign supreme over their next studio
release. Which ones, you wonder to your hand or special friend? Well, my
name is Mark Prindle, and I'm happy to oblige! The title track is a
ridiculous "Owner Of A Lonely Heart" rip-off, and "Almost Like Love" is hokey
AOR claptrap, regardless of the actual dictionary definition of "claptrap,"
with which I am entirely unfamiliar. The rest of the album is fully
attractive to the naked ear.
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
For me this is Yes' worst album ever and it should have no rating
at all!
'I eat at Chez Nous', get the hell out.
Who do this Rabin guy he can fool with?!?!?!
- monkey37@localnet.com (Scott Moore)
I liked this album for the same reason you did. I also thought that
Trevor Rabin was good, and Tony Kaye finally showed himself as an
excellent keyboardist. I like this album mainly for the return of Jon's
lyric style in a more down to earth tone. Chris Squire, who held the band
together throughout everything, continued to step up and fill any voids
left by past members. This time his backing vocals reach new heights.
"SHOOT HIGH, AIM LOW", or whatever order that's in, is an excellent song.
Jon is back. Chris is amazing. Kaye is his best ever. And the final song
is great.
- dave@magaray.com (David Aurand)
I certainly had a tough time fingering...uh, I mean figuring out which
Yes album to add my comments to. Personally, I can't stand Yes. Big
Germinator....Gerbaleater...Generator... whatever, is the only one I can
even remotely listen to without losing my lunch, tossing my
cookies...etc. The title, and the hits, plus maybe one other are ok.
But, that singer Jon Anderson is harder to listen to than Geddy
Lee...much harder. I suppose their music is good, but just not heavy
enough for me. But, Big Telestrator...Bendandeather...Generator ...is
pretty heavy....I suppose for Yes...
- jrichter@texas.net (James K. Richter Jr.)
What,"I eat at Chez Nous"? A damn commercial?!!!!!
- rderby@erols.com
see my comments for 90125. in addition, i agree that this record is a
bit chilly but put on a coat and give it a spin cause it sounds good!
some of the best ear-candy i've ever enjoyed.
- lisandom@worldnet.att.net
that is my least fav yes album of all.
it just plain sucks.
love the band though.
- dembones@pond.net
An even further departure from the 70's Yes. Not as well defined or
coherent as 90125, Big Generator still is a marvelous rock record.
Anderson's voice had never sounded better. Also, at a time when huge gated
drum machines found more work than drummers, the engineering/mixing is
phenomenal and surprisingly still current sounding. The singles were all
pretty good, but I especially love "Final Eyes" and "I'm Running." "Almost
Like Love" is "Almost an embarassment." :-p Swiss or Cheddar anyone?
Amazingly, "Almost Like Love" was primarily a product of Chris Squire, and
Rabin was firmly against it. Go Figure!
- windstorm@geocities.com (Robert Reynolds)
I bought it because I had to...I mean, I liked 90125 so much that the
follow up had to be good, right? Well, it's good, but by no means great.
I haven't even replaced the cassette I bought with a CD yet. Original to
some degree...but still left me wanting more.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Big Generator has another ugly cover design and shocking color
combination. Hip? Modern? Art? This time Kaye (now showing better on the
ivories) really joined the staff of Yes composers, for good or bad. The
intros worked well in the two singles, but the songs themselves were not
as good. Seemed the band was searching for another "Owner" desperately,
not getting even closer. The real gem (in comparison) is "Final Eyes".
This time the choral style moves forward, to the rescue of tracks as
"Big Generator" and "I'm Running". Jon Anderson seems a guest singer
more than in the previous Yes studio album, certainly not one key member
right there from the start. Trevor Horn's production is faultless
(helped by Rabin and the other guys, it seems) but some arrangements are
not for Yes. "Almost Like Love" reminded me how I joked on Genesis
bringing Earth, Wind & Fire for some Abacab tracks... and now Yes does
this! Apart from "Shoot High, Aim Low" and the final (Anderson solo
style) track, this album was made for dancing. Where has Squire's talent
gone, by the way? It's 6/10 for me.
- hijinks@utarlg.uta.edu (Thomas Rickert)
Its just boring. Kinda dumb, kinda boring. Everyone just admit that,
and move on. Go buy a real Yes record.
- dknapp@slonet.org
I saw the concert at ASU, was great til the end, where they screwed up
the sound. Love Aim High Shoot Low, or is it the otherway around?
- Melodie83@aol.com (Joe)
Not as good as the previous album but pretty damm good.Love Will Find A Way
has fantastic singing one of there best ,Shoot High Aim Low is also a great
song ,an underated song Final Eyes is a great ballad this should of been a
single ,I'm Running is okay also the title track has nice singing but is
pretty dull ,Holy Lamb is great to bad it wasn't longer ,the rest of the
songs are okay but the best tracks are the ones I mentioned . A 7 rating
after this album Yes started to forget how to write great songs see
Talk etc.
- michael.blume@gte.net
Big Generator, in my opinion, has to be the best record of the RABIN
YES ERA!!!! Jon Anderson jotted down his lyrical style very well, and Trevor
Rabin pulled off another fantastic performance. Tony Kaye gave us proof that
he has finally become a great keyboardist as well, and the vocal harmonies
are so friggin' splendid. Granted, they recycled the main harmony of "Owner
of A Lonely Heart" for the title track, but it's still far different from
"Owner", and "Almost Like Love" is an exciting, highly exuberant pop
piece that will get stuck in your head for days on end. "Final Eyes" and
"Shoot High, Aim Low" are two of the best songs ever written during that
era. Too bad they didn't get played on the radio. FUCK!!!! Plus "Holy Lamb"
is a wonderfully pleasant closer, and all of the other songs are just as
good. You'll realize that they recaptured the "Classic YES" moments. You'll
understand enough when you listen to it for the first time, if you're a
'70's Yes fan. Now hear what the dispecable Scott Anderson has to say about
the album:
"Any veils of civility and cohesion in the band on this album are thin and
transparent, at best. This band wanted to be together about as much as the
Beatles did during the recording of Abbey Road. Unfortunately, this is no
Abbey Road. It's not even the side of Yellow Submarine
with all of the George Martin orchestral tripe. Under the circumstances,
this is a noble effort, and the band had yet to reach a point of
water-treading equivalent to the concurrent efforts of similarly elderly
groups like the Beach Boys and Chicago. But still... (sigh)... what can I
say? I was even disappointed with this stuff when I was in the eighth grade
(and back then I even gave Bon Jovi a fighting chance!!!). If the cover art
for 90125 was lame, and that of 9012live was lame and as
"cleverly" derived from the previous album as was its title, then the art
for this album is just plain as ugly and stupid as the title of the album
and much of the music on it. OK, that was a bit harsh, but come on,
Big Generator?! I'll take Relayer any day."
- Adrian.M.Rush.8@nd.edu
I can only laugh at people who criticize the line "I Eat at Chez Nous."
Jon Anderson, anyone? "Shining flying purple wolfhounds show me where
you are"??? Deal with it.
Not a great album, but it has its moments. I agree that the title track
is nothing more than "Owner Part 2." Some great effects on the backing
vox, though, and I love the sparse airiness of "Shoot High Aim Low,"
with the vocal interplay between Jon and Trevor. Very nice. "I'm
Running" is a hoot too. The rest, I can take it or leave it.
- richbunnell@home.com
You know, it's really funny - when I heard from all of these people that the title track of this
album was a rewrite of "Owner Of A Lonely Heart," I was able to predict EXACTLY how the chorus
would sound. "BIIIIIG GENERATOR!" And I was right!!! Completely right!!!! It's too bad, because
the song is really pathetic and awful, as is most of this album. The two hits are great '80s
pop (and I don't really have any problem with the "I eat at Chez Nous" line in "Love
Will Find A Way" - who cares? It's said during the coolest part of the song), and I guess
one or two other songs are semi-decent. But this is like 90125 without the tight,
gorgeous dynamics that propelled that album above most other generic '80s pop, and it's
one hell of a lot weaker. Plus, I don't know what you're talking about - the cover is stupid.
A low 5.
- guppyslayer@msn.com (Ben Henderson)
For some reason, I barely remember any of the songs on
this album. Oh yeah, now I remember why... it sucks. I saw the band in a hockey
arena in Rochester when this album was released (the only
time I ever saw them in concert, regrettably). They were on stage for about 45
minutes, and I swear Jon Anderson was counting the house
the whole goddamn time. I never felt quite the same about the band after that,
and I never bought another record until I found The Very
Best at Sam Goody a few months back.
Add your thoughts?
Highlights: The Very Best Of Yes - Atlantic 1993.
Accurate enough title, I suppose, but it's not a
terribly comprehensive (or comprehensible) compilation. Yeah, it's got the
huge smash hits ("All Good People," "Roundabout," "Owner Of A Lonely Heart"),
and it's great to see some lesser known radio classics on here ("Time And A Word,"
"Wonderous Stories," "Leave It"), but why on earth would they include numbers like
"Survival" (great song of the first album, but a "hit"? No way!) and
"Soon (Single Edit)" while completely ignoring Close To The Edge,
Tales From Topographic Oceans, Tormato, and Drama in their
entireties? Especially when they included TWO songs from Going For The One,
an album that most minor fans have never even heard of? Weird band, that Yes.
Great friggin' songs, though.
- Reader Comments
- rderby@erols.com (Robert Derby)
Yes will never live in the world of "greatest hits" collections
because of format conflictions. A true collection of Yes' best work
would have to be nothing short of a box set simply because of the length
of the material. The other alternative would not be accepted by most Yes
fans which would be a predominatly Rabin album (I would accept it
though!) SO... that is the reason (in my opinion) that this collection
omits some of the essentials and adds some questionables (but you knew
that already).
- lledesma@amag.edu.pe (Leonardo Ledesma)
Chris Squire said once that Highlights was intended to remind
people who was actually Yes, having seen the racks full of ABWH, symph
versions, "solo Yes" compilations and so on. I wonder if, apart from The
Fish explanation, there was justification for this release. In fact, I
wonder if it didn't confuse buyers even more. Supposedly Yesstory was
the ultimate compilation for the average guy (Yesyears was the one for
the Yes fan). Highlights was no more than a single-CD Yesstory. All
these albums recollected Yes from 1969 up to Big Generator, giving
fuel to the notion than Union wasn't loved at all within the group
(and counting on Atco not wanting to negotiate with Arista to include
some 1981 tracks). The cover "art" is definitely ugly, with Dean's Yes
logo merely visible. This album is, anyway, a good one for those who
hear Yes for the first time. On its own merits it's 8/10, but the
reasons for putting it on sale are 3/10.
- cbunnell@ix.netcom.com (Rich Bunnell)
If it weren t for the fact that I haven t heard every Yes
album yet (though I plan to buy all of their early work) I d give this a
ten, but as it is it s a nine like you gave it. Not a bad song on here;
"Going For The One" in particular is a favorite of mine. On the subject
of "Survival," there are only five songs on this album which could be
considered "hits" (All Good People, Roundabout, Owner, Leave It, and
Rhythm I don t think "Long Distance Runaround" was a hit but I ve
heard it on classic rock radio) so NONE of the songs besides that were
hits at all! And "Survival" is just an awesome, great, cool song so I
feel that it deserves to be on here every bit. But "Soon"? Yeah, they
could ve left that one off since it s just a very pretty section of "The
Gates Of Delirium" instead of an actual stand-alone song. Nothing from
Close To The Edge??!? Oh wait, the best song on there (the title track)
is almost 20 minutes long. You are forgiven, Yes.
- imoss@northernlight.com
My very first Yes album (awwwww....). Let me tell you, it was a great
introduction. It really managed to cover the hits from their various
periods, combining the early-ass sound of "Survival" with epics like
"Starship Trooper" with the pop sell-out phase of 90125 and beyond. It
may be redundant with previous greatest-hits collections, but now that I'm
more familiar with the band's music and looking at the track lists for the
other CDs, I really think this one is the best compilation. I mean, yeah,
there's nothing from Close to the Edge, but it's not the most
accessible album and I think they were justified in leaving it off. I'm glad that
for this one they managed to contain their fetish for 2-CD packages of old
or live material.
Sure, you wouldn't want to buy this if you're already familiar with
Yes's music. But isn't that automatically true for any greatest-hits CD? So
for the purposes of drawing in the new Yes listener, this album gets a 9
from me.
Add your thoughts?
The Word Is Live - Rhino 2005
Contents:
- 3 discs
- 26 live Yes tracks, one of which is a 26-minute medley incorporating 5
different songs
- Performances from 10 different concerts between 1970 and 1988
- Performances by 6 different Yes line-ups
Studio Albums Represented:
- Time And A Word: 5 songs
- The Yes Album: 3 songs
- Fragile: 4 songs
- Close To The Edge: 1 song
- Relayer: 1 song (+ "Soon")
- Going For The One: 1 song
- Tormato: 2 songs
- Drama: 1 song
- 90125: 2 songs
- Big Generator: 2 songs
- No Studio Album At All: 6 songs
Musicians Represented:
- Keyboardist Tony Kaye: 12 songs
- Keyboardist Rick Wakeman: 7 songs
- Keyboardist Patrick Moraz: 4 songs
- Keyboardist Geoff Downes: 3 songs
- Guitarist Peter Banks: 2 songs
- Guitarist Steve Howe: 20 songs
- Guitarist Trevor Rabin: 4 songs
- Drummer Bill Bruford: 8 songs
- Drummer Alan White: 18 songs
- Singer Jon Anderson: 23 songs
- Singer Trevor Horn: 3 songs
- Bassist Chris Squire: 26 songs
Points Of Interest:
- Steve Howe bringing his distinct guitar style to 4 different Time And
A Word songs
- Steve Howe performing a soon-to-be-"Roundabout" guitar lick at the end of
a 1971 "America" performance
- A terrible Young Rascals cover lowlighted by Chris Squire performing a
lengthy, embarrassing scat/bass solo
- Patrick Moraz bringing his goofy synth tone to "Siberian Khatru"
- A 1975 performance of "Sweet Dreams," featuring only two people who
appeared on the studio version
- A pointless but fun Bo Diddley-inspired 1979 Chicago jam featuring improv
lyrics such as (sung) "Thank you everybody for taking the time to see
us!"
- A neat version of "Awaken" featuring an extended harp-driven middle
section
- Two unreleased songs from the Drama line-up: Steve Howe's
horrendous new wave rock'n'roller "Go Through This" and The Buggles' dark
pop rocker "We Can Fly From Here"
- "Owner Of A Lonely Heart" with Trevor Rabin incorporating the arpeggiated
'middle part' guitar line into the first verse
Points Of Irritation:
- Two tracks pulled directly from the Beyond And Before CD,
apparently because nobody had any other Peter Banks performances on tape
- "I've Seen All Good People." For the 400 millionth time. With Bill
Bruford tapping on a pussy little wooden block like Tool would.
- A shitty Paul Simon cover for sixteen and a half goddamned minutes
- A 3-minute 1-chord concert prelude misleadingly entitled "Apocalypse"
- The track listing's claim that "Survival" is included in "The Big
Medley," when it's actually just Jon singing one line from the song as the
rest of the band performs "The Fish"
- Steve Howe stepping on the wrong effect pedal (delay/echo instead of
distortion) at the beginning of "Heart Of The Sunrise," making a tepid
mockery of the song's formerly aggressive intro. It's kinda funny though.
Okay, move this up to "Points of Interest."
- Failure to include a 'classic Yes' song as performed by the Drama
line-up
- Failure to include a 'classic Yes' song as performed by the Trevor Rabin
line-up
- Failure to include even a single song from the band's excellent first
album
- Strange decision to stop at 1988
General Thoughts:
- The sound quality is much better than I was expecting - far above the
'bootleg quality' referenced by several Amazon commentators. You can hear
every instrument and voice fine! What's the problem?
- Even up through the Yes Album tour, they used to 'jam' a lot - and
I mean boring, predictable blues-rock wank jams! Who knew Yes could be so
generic in their infancy?
- I really, really like Yes a lot
Some Hilarious Yes Knock-Knock Jokes I Just Made Up:
- Knock knock!
Who's there?
Tony Kaye!
Tony Kaye who?
Tony K. Tiger! My middle name is "Kellogg" and I eat people because of my
high blood sugar.
- Knock knock!
Who's there?
Rick Wakeman!
Rick Wakeman who?
Rick! Wake, man! It's your old co-star Joel Higgins! I haven't worked
since Silver Spoons and I'm very sad.
- Knock knock!
Who's there?
Trevor Horn!
Trevor Horn who?
Trevor horny! Got MILF?
- Knock knock!
Who's there?
Trevor Rabin!
Trevor Rabin who?
Trevor Rabin (ravin') mad about horny! See my MILF mustache?
- Knock knock!
Who's there?
Jon Anderson!
Jon Anderson who?
No no, I said "Jon and her son." I'm a woman. You should have been able
to tell by my voice, which is very high.
- Knock knock!
Who's there?
Steve Howe!
Steve Howe who?
Steve Howe, the drug-using baseball player! I died in April 2006.
- Knock knock!
Who's there?
Peter Banks!
Peter Banks who?
Peter banks on the idea that anybody gives a shit that he got fired from
Yes for being a boring guitar player.
- Knock knock!
Who's there?
Chris Squire!
Chris Squire who?
Chris' Choir of Singing Men! La la la! La la (etc)
- Knock knock!
Who's there?
Patrick Moraz?
Patrick Moraz who?
Patrick more az (ass) for me, please! MILF does a body good!!!
- Knock knock!
Who's there?
Geoff Downes!
Geoff Downes who?
Geoff, Down Syndrome sufferer. The son of Charles Darwin was also born
with this genetic disorder, clearly disproving the theory of evolution.
Got GOD?
- Knock knock!
Who's there?
Alan White!
Alan White who?
Alan White YOU!!!
AUUGUGHGHHG!!!!!!!!
- Knock knock!
Who's there?
Bill Bruford!
Bill Bruford who?
Bill Bruford for these overdue library books. Oh, except Garfield Gets
Cookin': His 38th Book; an Odie drawing in there inspired Jon to write
a new triple-album with one song on it.
- Reader Comments
- russelldb@cox.net
Goddamnit, Prindle, if you insult Yes's rendition of Simon & Garfunkel's
"America" one more time I am going to crawl through the Internet and
shake some sense into you. We're talking about an awesome cover
featuring a superb prog-rock arrangement of a gentle acoustic ballad,
over here, for Christ's sake, already! This "Blame 'America' First"
attitude of yours is reprehensible.
Add your thoughts?
Anderson Bruford Wakeman Howe - Arista 1989.
This isn't a Yes album, but don't hang up the
phone before I get a chance to explain! Jon got sick of playing hip '80s rock
and roll and, feeling that he was denying his true self by not recording
crappy fruity pop music, he got together with the old gang and, after a
furious battle with pirates over the Yes moniker, they churned out this
hourlong extravaganza of astonishingly unmanly keyboard-drenched pish-posh. Although the little
sticker on the front reads, "From the men that brought you Close To The Edge," one should keep in mind that three of these four men also brought
you Tormato over ten years ago. This stuff is immature, overly
exuberant, and extremely synth-ridden. In fact, if you can hear Steve in
there at all, consider yourself a lucky duck or some other small aquatic bird,
of which there are possibly several. It pretty much sounds like a Jon
Anderson solo album, but, on the up side, most of the songs are catchier than
a slow-moving fat kid, so fruity pebbles like mine truly can have a getgo of a
time. And "The Meeting" and "Let's Pretend?" Well, they're just beautiful.
And remember the radio smash "Long Lost Brother Of Mine?" Dumb, sure, but
catchy, eh? Eh? Eh? Hello? Maybe I just don't know my butt from a hole in
the ground.
- Reader Comments
- yescomm@worldaccess.nl (Gert Bakhuizen)
The best (semi)Yes album in the eighties.
Too bad we had to wait 'till the eighties where nearly passed.
After a disgracefull show from Yes in 1988 during Atlantic's
40th anniversary party I was happy to find Jon back with Bill,
Steve and Rick again.
After making this wonderful album they finally did what Yes had
forget during their last years ... touring the world!
I still wonder what would have happened if these guys would have
stick together instead of ....
- rjohnson@jax-inter.net (Richard E. Johnson)
This was a very good record. It is a little more keyboard oriented than I
would have liked, but on the live ABWH album this stuff sounds really
good. It was a good start, too bad it didn't go any further. Thanks alot
Jon...
- mcknney@is3.nyu.edu (Rick McKinney)
Ah ah ah!! More disparaging swipes at Mr. Anderson's masculinity!
"Girly" and "Fruity"??? Come on. Ever hear of the term "damning with
faint praise? Sounds like you love the guy's musicianship, but maybe
have a problem with his... sexuality? Masculinity? What would Freud
say?!
And yet, true Yes lover that he is, he reads on...
- monkey37@localnet.com (Scott Moore)
YES YES YES! The band is back! This is my second favorite YES-related
album of all time, and my second favorite overall of any music. Rick
Wakeman finally came back to his roots. The keyboard god made what I
think is his best album ever. Jon and Rick connected once again with
beautiful melodic songs throughout the album. Rick kills the keyboard
standards set by Downes in his work with Yes and Asia and a new standard
is set. Rick is, from then on, without a doubt THE BEST EVER. Jon's
lyrics take another step up from Big Generator. Bruford's drums are
almost like Carl Palmer's style with Asia, and I think, finally decided
the White/Bruford question in his favor. Howe is stunning, once again,
coming a long way from Drama. This album is the best of everyone in it.
Throw in appearences by DOWNES and VANGELIS, and this is the best YES
album up till that point. THE EIGHTIES ARE OFFICIALLY DEAD!
- yancyd@pacificnet.net (Yancy Duncan)
Hey, no Squire, no YES. It's that simple. I like this Disc, I like all
the players. I even like the Bald Guy on Bass (I saw the show at the
Greek with Jeff Berlin on Bass when Tony Levin was sick). But, no Squire
no YES. Jeff Berlin used 6 musical stands during "CTTE" so he could play it.
Does that sound like another plug for CTTE being the best of the Band?
- rderby@erols.com
lifeless enjoyable pap.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
Cheese? Definitely, but it's worth it
just for "Teakbois" and "Birthright." I also liked the rhythm thing
towards the end of "Order of the Universe" As for "Brother of Mine" I'd
give it a definite "eh." Overall an unimpressive album with a few cool
spots. What's really cheesy is that song just before "Teakbois," you know,
the one where it seems like they're just trying to see how many yes song
titles they can squeeze into a verse. "We danced across the south side of
the sky . . . all I remember is the roundabout . . . I was awakened etc."
How bad could they get?
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
I love Steve, but no Chris or Alan makes this album a little boring.
- dembones@pond.net
I would generally agree with Mark's summary. This lightweight record IS
keyboard heavy, a bit immature melodicly (for this group of musicians),
and a bit too much on the merry side. Never the less I love it. While
Wakeman's sound pallete is up to date, his playing is sounding more dated
than ever. He does pull off one kick but solo that genuinely sounds angry
in "Birthright." Bruford's playing shines throughout, but I tire quickly
of that Simmons drum sound. Squire is missed, although Tony Levin is
probably the most worthy substitute I can think of. ABWH is a good, light
album in the same vein as Anderson's City of Angels, with a little more
ethnic influence. 6 of 10 for sure.
- windstorm@geocities.com (Robert Reynolds)
A good album, but thicker than Chunky soup. Tastes like a soup but eats
like a meal, you say? Bring a fork and an appetite for this long, but
melodically pleasing dish. Some of the songs border on anguished
sentimentality in my opinion, and no doubt I'd be shot by the Yes masses
upon confessing that "Fist of Fire" is the best song on it...
- lledesma@amag.edu.pe (Leonardo Ledesma)
You're right, one shouldn't ignore this album in a Yes recollection.
The record is AND isn't a Yes effort. Bruford doesn't show all of his
talent, but just enough to wipe White out (out of music, Alan seems a
nicer guy though). Wakeman gave us all a surprise reminding everybody
that, yes, he can play and how! He was also inspired, giving fuel to his
declining solo career. Howe shone here and there, getting back on track
all the same. Dean was back. Brian Lane too. Even Downes lend a little
hand (curious how The Buggles helped different Yes warring factions).
The music was 70's-Yes 80's style (except "Teakbois"). "Quartet" and a
couple of other songs seem to send messages to Squire & company, even
citing classic Yes titles. Levin is a great bass player. Almost
everything was in place. Almost. But all in all, Chris Squire, THE REAL
SOUL OF YES, was missing. Even so, this is a more serious and successful
effort than the 80's "true" Yes. I give it 7/10.
ABWH finally released the recording of their show at California in
1989. The 2 CD album called An Evening With Yes Music Plus did
officially see the light of day four years after the concert, when the
quartet had lost a lot of market steam. But for godsake it is a damn
good album! The version of "Close to the Edge" (no matter how much I
missed Chris on that one) was the best up til then. The ABWH songs were
superbly treated. The solo sets were stunning, showing Rick in top form
and including a Bill "Heart-of-the-Sunrise"-esque circus proving once
again (to me at least) why he's a lot better drummer than good ol' Alan
(not meaning at all White's not a top rock drummer in his own way). The
album, though, misplaced "I've Seen All Good People" maybe for timing
reasons and one song from the show (can't remember which one right now)
was left in the can. The Dean cover was once again a sign that this was
a Yes album without being named as that. Best live record from this
gentlemen up to that time. Excellent sound. And Jeff Berlin was lucky
enough to apper both in the album and the video having briefly replaced
Tony Levin on bass. Another 9/10.
- hijinks@utarlg.uta.edu (Thomas Rickert)
With all the other Yes stuff out there, good Yes stuff, even recently
remastered Yes, stuff, why bother? Why waste your money. There is
nothing here. Nothing. Except maybe contracts. And since the Yesguys
can't say "contracts" half as cool as ole Bon Scott did... you see my
point. Just say no.
- TJFRACASSO@aol.com
The line-up in itself is screaming YES at every fan with half a brain! The
music
measured up to the group Yes was. ABHW are the most YES any band has been
since Tormato. ABWH are more YES than Yes-West or the Drama Yes. The album
basically said "we're back!" Brother of Mine is a strong hit and really
rocks
while staying in the Yes format created in the early seventies. I saw the
now-famous
Mountain View show in September 1989. The concert blew away the partial-YES-
group concert I saw in 1984( 90125).In '84 Trevor and friends could't play
the complete versions of "And You and I" and "Roundabout". Therefore I didn't
bother
seeing them during the Big Generator tour. When ABWH played live it was
everything I've ever wanted from a YES concert.
- slimchandi@hotmail.com (Andy Carter)
Oh dear. With this album, the remains of Yes have tried to recapture
their original state. This fails miserably im afraid. Songs like "Teakbois" im
sure are just there to annoy fans. Buy it for "Fist Of Fire" and
thats it. I have an old recording of Yes playing this live inconcert and it sounds so
much better! "Brother Of Mine" should have been played faster,
as it sort of plods slowly along without purpose. "Let's Pretend"? Oh please give it
a rest! Bruford should have stuck to real drums, or Yes should
have stuck to Alan! (Bruford could have never done "Sound Chaser") We should be
greatful for the 6 majestic albums Yes have gifted the world
with, namely, Relayer, Close To The Edge, Tales, Going For The One, Fragile and The
Yes Album. Isnt this enough? i.e. stop churning out crap!
- guppyslayer@msn.com (Ben Henderson)
Chris Squire might have made this record work. But, if he
had been there, I guess they would have called themselves Yes, wouldn't they.
Weak, weak, weak...
- ian.moss@yale.edu (Ian Moss)
Wow. This album is pretty cheesy. Especially "Fist of Fire"--what's up
with that awful late '80s keyboard sound? And yet it's the most catchy tune...
I don't know, it's not horrible or anything, but I think even a rating of
six might be on the generous side. At least they were trying, but
unfortunately it took them another dozen years or so to get it right.
Add your thoughts?
ABWH Dialogue Demos - Bootleg 1990.
Don't ask me any questions about this at all, because I have absolutely no
background information on it. All I know is that I bought it from a guy on
ebay and it features a TON of beaturiful Jon Anderson compositions that, as
far as I know, were never released elsewhere (let me know if you recognize
any of these titles - "Hold You In My Arms," "Touch Me Heaven," "Make
Believe," "Is It Love" - anything? And don't tell me that "Is It Love" is
an excellent Mr. Mister song. I already goddamned well know that!!!!).
That man can write a lovely melody, cannot he? Yes, he canneth indood. So
supposedly these are the demos for the never-recorded second Anderson
Bruford Wakeman Howe record, but the only one they ended up using on
Union was "Take The Water To The Water," which isn't even one of the
best of these twelve Anderson-sung, keyboard-backed spiritual pop tunes.
There are also a few keyboard instrumentals that may or may not be by Mr.
Richard Wakeman IV, and three weak Steve Howe tunes. Don't worry about
those. We're here tonight to celebrate Jon Anderson, god fuck you!If you
can illegally buy this from a bootlegger, do so! I did, and I've never been
more proud of my police for placing me behind bars.
Add your thoughts?
An Evening Of Yes Music Plus - Caroline 1994.
Oh that's nice. The best live Yes album yet isn't
even a dang ol' YES ALBUM!!! It's Anderson Bruford Wakeman Howe again, being
silly and doing things to make you chuckle and spread mustard on your testicle.
So why is it so FUCKING good? Because the sound is fantastico good and because
half of disc one is devoted to presenting the songs DIFFERENTLY than you heard
them on the album! Anderson does an acoustic guitar medley of "Time And A
Word," "Owner Of A Lonely Heart" and "Teakbois"! Wakeman plays a lovely
instrumental version of "Madrigal" as well as two of what I guess are his
solo tunes or some nonsense! Howe dicks around during his two classics!
"Long Distance Runaround" slowly builds up from a keyboard solo into a full
band arrangement! And...That's it! But all the other Yes and ABWH tunes
are performed splendidly/perfectly and foo there are some good ones. Who'da
thought they'd play a lost rarity gem like "Roundabout"? Did you hide my
horse?The big "H"?
- Reader Comments
- valet@ccgnv.net
All-around good live album. I bought this late in my Yes collection
which consists of everything they've ever put out minus "12 inches on
tape." (for more than obvious reasons) I have only one request:
GOD, PLEASE STOP BRUFORD FROM USING THOSE ELECTRONIC
DRUMS!!!!!!!!!!!!!!!
Seriously, everything else about this album works nicely, but hearing
the old classics thrashed with that incessant "boink, boink, boink" is
just too much. I actually have to eject the cd sometimes just to keep my
sanity. For that mere fact alone, I have to give this one a 7.
- guppyslayer@msn.com (Ben Henderson)
Mustard on your testicles? Doesn't that burn, dude?
- hderby1@home.com (Holly Derby)
Tony Levin is sorely missed on bass for the live performance. Jeff Berlin is a great bass player, but he just doesn't have the 'feel'. Band sounds
good though.
Bruford's Simmons drums do get annoying at times, but lets face it, who ever did electronic drums better than Bruford?
Add your thoughts?
Yesyears - Atlantic 1991.
A box set! Has tons o' goodies, but they threw on
a lot of rare stuff that sucks butt. There's lots of great pictures, and the
album tracks are still top-of-the-line, but that bonus stuff is rotten! Hey!
Speaking of rotten......
- Reader Comments
- rjohnson@jax-inter.net (Richard E. Johnson)
A good box to get to fill out your Yes CD collection, but the 3rd and 4th
disk contain a lot of filler. Especially the Live stuff from the 90125
band, peeeewww. Why couldn't they have used more live stuff from the older
band? The acoustic "Long Distance Runaround" would have been a lot more
welcome than crappy 3rd rate bar band versions of "And You And I" and
"Heart
Of The Sunrise." And why no "Siberian Khatru"? ...
- la314w@crown.icongrp.com (Jesse Lara)
My brother gave me this album and it came in perfect condition. Though
some songs I wish it would have skipped on. I agree with Richard that
the 3rd and 4th c.d.'s pretty much sucked. Hate "I'm Down" because every
band does a remake of that song! I HATE THE BEATLES! Must they abuse me
in that manner? Did enjoy "Amazing Grace" & "Money".
- jrichter@texas.net (James K. Richter Jr.)
Just how many Yes releases must contain the same recording of "Heart Of
The Sunrise?" I'm really starting to hate that song!
- dembones@pond.net
I bought this box set after only having heard Union, 90125,
Generator and
Fragile, and I was BLOWN AWAY. I had never heard music like this before!
As a whole, Yesyears is a wonderful career retrospective, although I
would've added one more disc to include "Siberian Khatru," the Yesshows
version of "Gates of Delirium" and Tales' "The Ancient." I agree that the
Rabin era live cuts are TERRIBLY weak... Kaye is obviously over his head,
Anderson's singing is uninspired (and he is constantly sharp on "Heart of
the Sunrise"!) and while Rabin is certainly a competant guitarist, he
doesn't quite fill Howe's shoes on the pre-Rabin tracks. I actually like
the bonus song, "Love Conquers All."
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
I just got this set, and I have to disagree with just about everything
that's been said about it. I ESPECIALLY liked disks three and four.
After hearing bits of "Make it Easy" used as the intro for "Owner of a
Lonely Heart" every time they do it live, it's good to hear how the
original version went. The demo of "It Can Happen" was fun. I REALLY liked
the Rabin era live stuff. I only wish some more of the Big Generator tour
material were on CD. I also liked "Love Conquers All." It was like a
sneak preview of Yes to come. It sounds like something that would've fit
on Talk, and was also a sneak preview of Billy Sherwood, who is now a
member. I also liked most of the bonus stuff on Disk three. However, why
do disks one and two exist? It's all the same stuff. We've heard all
this before. There's nothing new there. Well, that's my opinion on
this set.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Yesyears was a good package. Maybe not all of the "new" tracks
were that good, but they made this box more interesting and appealing to
buyers. It's a pity that many more (and good) unedited tracks were not
included. "Money" is funny, but come on, it's not too Yessy to say the
least. My main complaint about "I'm Down" is the sound quality. As for
the live versions by "Rabin Yes", they were fine. Only "And You And I"
has some guitar/drums heavy thumps that occasionally ruined the dreamy
effect. But "Sunrise" prove this Yes could actually play faithful
renditions of the trickiest songs, even though its inclusion was
actually a bis of the studio track. "Changes" sounded better than in
9012Live and was longer, but why release it if there was the other one
mentioned? At the time a 2-CD album, Yesstory, was released as a kind
of abbreviated Yesyears. Note the guy who wrote the booklet had clear
preferences and dislikes regarding band members but whoever wrote the
photo legends had totally different oppinions. Wasn't this box released
after Union?.
It isn't part of the Yes discography, but there's an album called
Affirmative (very good title for a Yes-related CD). It comprises many
Yesmen solo efforts (suspiciously, as in Highlights, Downes and Horn
aren't part of the bunch), specially the ones with two or more bandmates
playing together. Take Squire's "Hold Out Your Hand" with Moraz and
Bruford on it; or White's "The Innocence Song" with Anderson and Howe.
Certainly there are other solo songs that should've been there (some of
Wakeman tracks with Squire, Howe and Bruford, for instance), including
the odd Buggles (read Horn & Downes) track. It contains "Dominating
Factor" from the then-new Peter Banks album Instinct, one of the best
of the collection (and, if you consider this record part of your Yes
collection, a curious way to have a Banks-penned song in a (semi) Yes
album). It's worth to have it and listening to it, unless you have all
the albums from which these tracks come from. 8/10 if it matters.
When Yesyears was released, Atlantic Records and the Yes guys
decided the 4 CD box was a little too expensive and even unattractive to
many potential buyers (save the diehard fans), so they decided to put on
sale an abbreviated compilation (another one!) called Yesstory. The
same cover and format than the CD box, this 2-CD album was all in all a
more compact and comprehensible tour through Yes music. Certainly, many
important Yessongs were left out, but how could anyone release a
collection of every Yes classic and worthy track in just two discs? The
problem was Yesyears did actually get so much attention hardly anyone
noticed Yesstory was also out in the streets. Taking it in its own
virtues, I consider Yesstory to be a 9/10 compilation (not that
compilations are my favorite ones, by the way).
- bozmn@shore.intercom.net (Cole Bozman)
My problem with Yesyears is the unevenness of the cuts. 5/8ths of
Time
and a Word? Who needs that much of that album? I don't even need to go
and buy Time and a Word... And one song from Tales? Why not add "The
Revealing Science of God"? Also, I think the smart thing to do would've
been to release a 3-disc box set of already-released stuff and have a
separate single-disc release for all the new stuff. It coulda been
called Yesstuff or something. Eh, whatever.
Hey, did you know that the first Yes album I ever listened to was Talk?
I got it for $2 at Montgomery Wards. I (later) got a tape of ABWH for
95 cents there, too.
- michael.blume@gte.net
This boxed set of songs is an almost perfect way of introducing yourself to
Yes, a chance for any individual who has never heard of the band that much
(or not at all). Disks one and two are the best disk because they contain
the classics (i.e. "Close to the Edge", "Starship Troopers", "Roundabout",
"All Good People", and more). I just wished they would have used all the
songs from Close to the Edge, but why the FUCK did they use a suck-ass
live version of "And You and I" done by the 90125 line-up on disk
four?
-SIGH- If only they would have used some live versions from Yessongs
and Yesshows. Plus, why didn't they use a full, complete version of
"Gates of Delirium"? All they used was a portion of that song entitled,
"Soon". Some of the bonuses are pretty good, but here are the bonuses that
I think suck ass: "Vevey (parts one and two)"/"Run with the Fox"/"Montreux's
Theme"/"America" (Single Edit)/live versions of "Changes", "And You and I",
and "Heart of the Sunrise" done by the 90125 line-up/a demo version
of "It Can Happen"/"Abilene" (B-side of "Don't Kill the Whale"). I also
think that they should have used "A Venture" and "South Side of the Sky" as
well, GODDAMMIT!!!!!! They are two of the best Yes songs ever (beside all
three from Close to the Edge). I give this a solid 8 out of 10.
Add your thoughts?
Union - Arista 1991.
Neither Anderson Bruford Wakeman Howe (who
inspired a Dead Milkmen song called "Anderson Walkman Buttholes And How!") nor
a Jon Anderson-less Yes were poised to earn rent money, it was deduced, so the
warring factions united for a monster tour and monstrous album, which combines
the BS production of the ABWH album with the wretched song stylings of...
well, a bunch of old bags who can't write decent songs anymore!
For the love of Troy, stay away from this overlong, underwritten, midrange....bad thing!!!! It's just a bunch of crappy adult pop. And sure we might have expected such tepid, boring, soft-touch compositions from ABWH, but what happened to the old Yes band of tough rockin' Big Generator/90125 fame? Their contributions to this release are equally pansy-lipped! Oh, did I mention that? None of these songs were written or performed as a full band. Some were unreleased ABWH tracks, others were unreleased Yes tracks. That's dignity!
"Lift Me Up"
is a catchy single, but nothing else on here even comes close to musical
decency. I can't believe how talented these men used to be! How
disheartening.
- Reader Comments
- yesman@smartlink.net (Lee)
Harsh humor, but I agree fairly well with your scorings of the Yes
material. I like the score of 2 for Onion. A little generous, though.
I tried to love it, but I have never been able to accept some of the
lyrics or music. Then I found out a lot about the making of the album.
It was actually two separate projects: AWBH and Trevor's Yes (Yes West)
The two joined only in a business sense. Most of the band hated the
product, which was destroyed by a producer or two. I was surprised one
day when I read that Rick Wakeman had himself called it Onion in an
interview. He said that Onion was an appropriate name since it made him
cry whenever he heard it! (or something like that)
- yescomm@worldaccess.nl (Gert Bakhuizen)
Now, five years after the release I still got different feelings
'bout this 'Onion' as Rick once called it.
A part of me says that it's great to have 8 musicians on one
album, another part tells me it's the worst that can happen ...
8 individuals on one album!
I think at the end I will choose for the second option as there
are maybe 1 or 2 songs on the album, with 15 songs, that I
really like.
That simply isn't enough!
Never the less, the shows, as an event, where great but when you
remember that it took an army of lawyers and managers to make it
happen you'll ask yourself; what the hell are they doing on that
age?
- wijo@euro.net (Wijo Koek)
I like your way of commenting on the Yes albums.
Sure, their music is often lengthy, and Jon keeps delivering those
cryptic lyrics, and the production of the music is sometimes way over
the top... but aren't they fantastic?
- rjohnson@jax-inter.net (Richard E. Johnson)
Union is not a Union, but true corporate rock at its worst. Otherwise
promising ABWH material is ruined by a producer who hired half of
California to pretend to be Yes. How much of the Drums were Bill, or the
Guitar Howe or the Keys Wakeman??? Precious little! Except for two Rabin
tunes, the non-ABWH stuff is even worse!
This deserves one star if only for the Howe solo and the Levin and Bruford
duet, which are the best things on the disc. (Then again you might be
better off spending your money on Howe's excellent Not Necessarily
Acoustic solo album...)
- sford@mcs.com (Steve Ford)
Oh poo!
I wants a new Yes disc, so I goes out and plunks down my ten bucks.
Get home, hit "play", and fire up Netscape. During the second cut, I
find myself in ~scottp/reviews/yes.htm and start working my way
through it. As my disappointment in Union grows, your reviews are
growing on me. Finally I get to your Union review, just as I'm almost
disgusted enough to turn off the damn disc.
WHERE WERE YOU TWO HOURS AGO?!?!?!?!?
- monkey37@localnet.com (Scott Moore)
Alright, once again brace yourself. I loved Union. It had everything
despite its horrid production and corporate-rock interests that ruined
the mega-album that it could have been. I agree, at the time YESWEST, as
they are called, was washed-up and it was a waste of talent. Jon's lyric
style, and Sherwood's input made their contribution. The corporate rock
did manage to unite two different-sounding bands, under the banner
of Chris Squire and Jon Anderson's lyrical styles. Trevor Rabin's guitar
was good, and I loved the Sherwood track, "The More We Live-Let Go." Yes
reached a point with this album that was epic. It was a step higher than
the ABWH, and it had strong showings of the talents of Tony Kaye, Trevor
Rabin, Steve Howe (Or the people doing his stuff), Bill Bruford (or the
people doing his stuff). Chris Squire is amazing, as is what might be
Tony Levin. It is SAD what became of Wakeman's part in the album. It
would be horrifying for me, if I were an artist working on that band, I
would downplay the album and say it was awful, too. And if I were a
stupid, freakish, homophobic, overly-analytical dork who overly criticizes
everything, I would also hate it. Sound familiar?
- James@jpb-s.demon.co.uk
Hey, I really like Union and was suprised to see such negative comments.
It would have been even better without "Saving My Heart" or "Give And Take",
but the rest of the material is quite strong. But what do I know?
- TempsFugit@aol.com
There's so many reasons to hate this album but when i listen to it i hear jon
anderson (there's a plus), "masquerade"...., bill bruford's impressive
drumming, squire's fiddling around in there somewhere, cambodian poetry,
water, mountains, rivers, anyway...i guess i'm saying, i don't know...i like
"Dangerous."
- HODGESIII@aol.com
If you loved Tales from Topographical Oceans the chances are pretty good
that you won't be too impressed by Union. I did like some of Steve's guitar
licks and parts of many other songs, but that was it...only parts. The main
chorus and rhythm of most of the songs left something to be desired. A good
lyric or guitar lick would wet your appitite your for a great song only to be
let down by a "pop" like chorus. My favorite song is probably "Take the Water
to the Mountain".
- akdxmy@hotmail.com (Andrew Davis)
I listened to Union once again. I must agree that
this simply is not Yes's best cd. Certainly, the cover
artwork by Roger Dean is magnificent. But the cd, well
that's another story. The best tracks seem to be the
ones written by the "Trevor Rabin group." "I Would
Have Waited Forever," "Shock To The System," "Masquerade,"
"Lift Me Up," "Miracle Of Life," "The More We Live-Let
Go," "Angkor Wat," and "Evensong," are not too terrible,
but "Without Hope You Cannot Start The Day," "Saving My
Heart," "Silent Talking," "Dangerous," and "Holding On"
do not impress me. I have reconsidered and decided to
give Union a 5/10.
- robertk@jove.acu.unt.edu (Robert Linus Koehl)
Ok, bits of it finally grew on me. I still like "Lift Me Up",
"Miracle of Life", and "Shock to the System". "Silent Talking", "Ankgor
Wat", "The
More We Live", and "Dangerous" finally grew on me. I think that the last two
tracks should have been combined into one, they're both so short. The
rest still sucks as far as I'm concerned. This album is TOO LONG!!!
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
"Take The Water To The River", and "The More We Live..", made this album
work. Trevor Rabin's parts suck, as usual.
- rderby@erols.com (Robert Derby)
owww.... more Trevor bashing. At least he played his parts. Jus' ask Steve
Howe how much he liked Jimmy Haun posing in his stead. "Miracle of Life"
and "Lift Me Up" are the two best (and only listenable) pieces on the
whole record AND THEY'RE RABIN'S!!!
- tabasco@worldnet.att.net (BOB's)
It was an ok album but why the hell do they all have to be together? These
songs had no point into it. "Take the Water to the Mountain" and "Holding On"
had no musical touch into it. The album was the 4th worst album Yes has ever
made. PERIOD!!!
- psul4927@odin.cc.pdx.edu
"I Would Have Waited Forever" is the most exciting intro song on a Yes
album since "Going for the One", and "The More We Live- Let Go" is their
most moving ballad since "Onward".
- dembones@pond.net
Union came out when I was 15, and it was the first Yes album I had ever
bought (although I was familiar with 90125). Even then in my musical
immaturity, I knew something was off. I pray Jonathan Elias can sleep at
night for the sin he commited against the holy grail of Yes. Even in wading
through song after song of utter crap, there were a couple shining moments.
I like the opening cut "I Would've Waited Forever," and the pop simplicity
of "Saving My Heart." I hate Rabin's Yes mockery in "Miracle of Life."
"The More We Live-Let Go" is pretty good, and of course "Masqarade" is Howe
at his best. I wish Bruford had misplaced the power cord to his Simmons
kit...
THE SAVING GRACE OF THIS ALBUM IS if indeed these songs represented the
best that both ABWH and Yes had to offer at the time, Union granted us only
one horrible album when we could've had two. Who says corperate
intervention is all bad?
- windstorm@geocities.com (Robert Reynolds)
Please shoot me. I listened to Union a dozen times or so, trying
valiantly to love it inspite of its blatant commercializm, but alas, the
CD now gathers dust nestled between a Ministry disk and Asia's Astra.
The solo guitar song....egad, I can't remember the name even...is the
best song on it (it was nominated for a Grammy, after all!)
- mrowley@pacbell.net (The Rowley Family)
The only stuff worth listening to was done by Trevor Rabin. Pretty
pathetic. However, The show I saw when they toured behind it was
great. Fortunately they didn't do much material from the album they
were trying to sell.
- tomr@ix.netcom.com (Tom *****)
Go to a "used" record store.
The shelves are full of Union and Big Generator. I also saw of couple
copies of Talk.
Wonder why.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Union is quite an ironic title for the most disjointed "piece of
work" Yes has ever produced. The news that eight members were to put an
album and tour together was exciting at first, but this record brought
us all down to earth with a hammer. Not only there's not really an
eight-man band anywhere in this hour-plus record, but the stuff isn't
top-class either. There aren't bad tracks, strictly speaking, but there
are not enough YES tracks in there. The ABWH songs (the big lot) show
that creativity and freshness was gone this time, not repeating the
level of their debut record two years earlier. The first two songs are
OK, but no more than that. "Shock to the System" sounds even as if Rabin
has half-penned and played on it (didn't those of you who attended the
Union tour think the same?).
The "true" Yes (the one with Rabin on guitar) only had four tracks, two
catchy but easily dispensable and two who stand as the album's finest:
"Miracle of Life" and "The More We Live - Let Go". This lineup wins the
trophy. Besides, Kaye, White, Squire and Rabin played all the
instruments, something that didn't happen in the ABWH tent where even Rick
doesn't know what keyboard bits he actually played in the final version.
Levin played bass with the ABWH team and even included a short
instrumental with Bill, while Chris guested on some of these tracks
doing vocals. Offord helped a bit to the "true" lineup. Dean was really
back in the Yes fold with a cover and the new "spotted" logo.
With every part arranged and played by a Yes member, this record could
be a 7 or even an 8, but as it is I give it 6/10.
- hijinks@utarlg.uta.edu (Thomas Rickert)
You dropped the poop bag dead in the dumpster with that review. Now,
just cut and paste this review to everything 90125 and later, and wow!
Fabulousness!
- ssvsoft@online.no (Snorre Serigstad)
The only listenable stuff on this album is the "YesWest" songs. "Lift
Me Up" is absolutely brilliant. So is "The More We Live-Let Go". Trevor is
as usual great. Yes should have made their own album and let ABWH put out
this garbage themselves. Jonathan Elias has to be the worst producer ever to
walk on this planet! "Dangerous" stinks! What sort of super-commercial crap
is this? "Give and Take"; Americans, be glad you don't have to listen to
this one! (European release only) Ankor Wat: W(h)at is this? It MIGHT have
worked if it was a two-minute long part of a Yes song la CttE. Wakeman
does a horrible job, Kaye was AT LEAST 100 times better than Rick on this
album! ABWH make complete fools of themselves with these "songs"! They
should've written "Mind Drive" six years earlier and put it on UNION. Now
THAT would make a great album (but on second thought, "Mind Drive" with
Bruford's electronic drums?)
I'd like to change a part of my opinion on the UNION album, as it appears
that my statement is very easy to misunderstand. When I wrote that "Kaye was
at least a 100 times better than Wakeman on this album", I meant the final
mix, not Wakeman's keyboard playing. The reason I don't like the Wakeman
parts on UNION, is because Mr. Elias remixed and edited the sounds again and
again and again, until he'd choked Wakeman's contributions totally,
something he also did by hiring tons of other keyboard players to re-record
Wakeman's parts. I find these producing methods disgusting. My apologies and
No bad feelings, Wakeman, I love your music!
- melmuka@palubau.ch (Jochen Melmuka)
Wow what an album!!
I just need three records of Yes: Fragile, Darma and this holy shit
here.
W re diese Platte eine Frau, w rde ich sie wahrscheinlich ficken.
- Melodie83@aol.com (Joe)
The only good Yes album of the 1990's.I remember buying this album in the
spring of 1991 when I was still in High School and I hoped it would be as
good or better as my other Yes albums.well I thought some great songs and
some fillers the Yes songs with the 90125 lineup are great and a few of the
AWBH songs are great.I would have Waited Forever is the best Yes song in a
long time great vocals by Jon Shock To The System has a great chorus and
vocal Life Me Up is a great song lyric wise and great melodie Saving My Heart
is catchy but to poppy the other songs Miracle Of Life has a great start and
then drags to long Silent talking has some great guitar from Steve and vocal
harmony,The More We Live Let Go is one of the best songs how was'nt this song
a big hit?the rest of the songs that song with the girl speaking in foreign
is godawful Holding On is good for the guitar solo only Dangerous is okay
only for the randb influence I love randb but Yes is not the Temptations,the
final song should of been left off a 7 rating could of been better but it is
one of Yes only truly great records they have made in 15 years. Talk Open
your Eyes have decent songs but they suck
- michael.blume@gte.net
Dude, I think you're being too damn harsh about the album. A two out of ten
ain't gonna cut it because there are nine songs worth listening to. They
are: Tracks 1, 2, 4-8, 11, and 12. The rest are mish-mosh shit sticks,
especially Track 13. EEEEEEWWWW!!!!!!!
I hate Track 13, it's too goddamn short. G2G. See ya!
- stoo@imsa.edu (John McFerrin)
Me and my stupid need to own all of the recordings of the groups I like.
Union is one of the absolute worst albums I have ever heard in my life. I
have no idea which songs are ABWH and which are YesWest, all I know is
that with few exceptions, they all suck. Most of the Rabin stuff is like
the title track of BG but _worse_, and I was sickened at how awful much of
the ABWH stuff was
It's a good thing I only paid 7 bucks for this. I ordered to know what all
the hubub was about, and now I completely understand. I don't think I'll
ever listen to this shit again as long as I live.
- Adrian.M.Rush.8@nd.edu
A black mark on the history of Yes. At least it spawned a fantastic
tour, even if it was heavy with nostalgia. That being said, it's ironic
that the best music on the album comes from the Rabin camp. Jonathan
Elias should be publicly executed.
- richbunnell@home.com
Yeah, it blows. It's not because they're making awful music, though. They're not even
really making music at all-- it just sounds like they laid some instrumental and vocal
tracks down and had the producers program "songs" based on the results. "Miracle Of Life"
is good, "Lift Me Up" and "Waited Forever" are okay, the rest just puts me to sleep. The
overly-corporate and contrived "union" of the two bands isn't a disaster, per se, it's
more of a cold mechanical monolith that isn't really offensive but still looms over
you in a 1984-ish way. A three.
Thank god for Napster. It's justified if you only use it to download crap, right?
- grant@grantedmonds.com (Grant Edmonds)
I felt I had to write to give support where support was needed. There's
been plenty of compliments thrown around to all previous Yes albums (except
Tormato, which didn't deserve any), except this one. I absolutely love
Union! As well as Fragile, Close To The Edge, Going For The One, & 90125.
Union may not live up to the expectations one would normally have with all
of Yes' members getting together and creating songs (it is more of a
corporate effort than one would hope and expect), however, the songs are
still quite good--combining some old, with mostly new, sounds. There is a
dud among the group: "Angkor Wat," and a few instrumentals, but the other
tracks are all catchy, with better lyrics ("The More We Live--Let Go,"
"Without Hope You Cannot Start The Day," "Shock To The System," "Silent
Talking," etc.) than they've come up with the last ten years. Musically,
it's just as tight and hard-hitting, whether it's the rock of "Dangerous"
and the aforementioned "Shock", or the delicate beauty of "Lift Me Up,"
"Miracle Of Life," and "Holding On." If the members of the band did not
compromise as much as they did, Union would have been an even more diverse
and listenable album, but as it is, it still ranks as one of my faves...
- pedroandino@msn.com
OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO STIIIIIIIIIIIIIIIIIIIIRIIIIIIIIIIIKE 3 YER OUT! TITO! YOU SHAVED YER TESTICLES! HA HA HA HA HA AH HA HA HA HA HA HA HA HA HA HA HA HA HA! hear ye hear ye! I did not hate yes! the 2 albums I typed and reviewed were the best I wrote! now there is something that is been bugging me all of a sudden. in 1991 slick pop shite like wilson phillips and mikal bolton hit the charts. (blurrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrpbarfffffffffffffffffffffffffffffffffff!) so jonothan elias did not like this kind of beautiful prog yes did and he is more of a goddamn moneymaking scumbag! hey remember the last time I did a nasty spitefull attack was kiss unmasked! disposable crap! now this is one of the many albums I hate! check my list:
1.unmasked.
2.korn.
3.changes by da monkees.
4.90210.
5.y kant tori reed.
see what I mean? this is far and beyond the worst recording I have herd sinc billy joel played the atila album! while recording, producer elias who is better off making pussy records for anal latrine and kelly kuntson has an army of session gangs! SLICK L.A. STUDIO POP AS IF IT WAS 1986 ALL OVER AGAIN! ACK!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5 guitar players! 3 bass players! 6 drummers plus drum machines! and 11 synth players! golly gee what a fuckin mess! shock to da system is a insipid rock song! I wanna wait now makes you go to the toilet! COME ON MR. PEEPEE! without hope you cannot poop your ass! let go is an anal latrine cd full of piss and poop! masterpice, saving my heart are so sappy! ok I am done! say what you will but I hate onion! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1! 1!
Add your thoughts?
Symphonic Music Of Yes - BMG 1993.
I actually bought this as a joke 'cuz it was only four dollars,
but I was proven wronger than a schlong bong (and how much more incorrect can
you get than a stoner boner? Ha ha! Huh? Yeah! How's about a beefer reefer?
Huh? Ha ha! Yeah! How's about a marijuana cock'n'Donna? Eh... Ah.). This
is a beautiful CD, and don't let those bastards down South tell you any
different. Steve Howe and Bill Bruford play on every track, Jon Anderson
sings
a couple, and the rest of the instruments are strings and horns and lovely
things of that nature. Wonderful music! A bitchin' seven and a half minute
version of "Close To The Edge," anyone? How's about some "Survival" with a
gospel choir? Oooh! And how's about a silly, even discoier version of
"Owner Of A Lonely Heart"? Oh, okay, there are a couple they could have
rethought (especially since neither Bill nor Steve had a damn thing to do
with the original hit), but most of this just outlines exactly how talented
this group of songwriters is. How many rock bands do you know whose work
could be played as forkin' "classical" music and not only make SENSE, but
sound DAMN good? I guess it helps that they were classically influenced to
begin with, but wow! And I just bought it as a joke! Who's laughing now?
Never mind.
- Reader Comments
- lledesma@amag.edu.pe (Leonardo Ledesma)
Three-quarter of ABWH got together in a couple of tracks for
Symphonic Music of Yes, mainly a Howe project he even produced and on
which Bill Bruford drummed. Jon appeared here and then, greatly but
sparsely enough to keeping the listener wanting for more of his
angelical voice singing lead or in the chorus. Had Rick contributed some
grand piano laying this could be a third ABWH effort. This was not so.
The orchestral treatments were good on the lot, with Alan Parsons
helping in the proceedings. I know there was a tour presenting this
album. Any information about this? Some other tracks were considered or
even recorded, having Jon included "Hearts" on his solo symph album
"Change We Must" (and ignoring, by the way, that Tony and Alan actually
co-wrote that song with the others credited). Steve and Bill even
promoted this album under the Yes trademark, upsetting Chris (and me,
after I heard them attempting to play "Roundabout" live on TV). 8 out of
10 on its own merits, 6/10 if someone try to put this album in the Yes
bag.
- rderby@erols.com (Robert Derby)
Scmaltz.
- Borart@aol.com
You want to hear a real symphonic album? Check out Symphonic Music of Pink
Floyd. That is what this should have sounded like reinterpretations of rock
music using anything but traditional rock instruments. Except for Soon and a
few passages in Close to The Edge, this is dreadful. Next, please.
Add your thoughts?
Affirmative: the yes solo family album - connoisseur Collection 1993.
the whole is greater than the sum of its farts. it's nice though, to
hear them all by themselves doing their semi=Yes thing - it's as if they
TOOK as mucch from yes as they added. i',m really really drunk. i like most
of the sonbgs. They really picked the est of each solo album. I don't
thimnk I'd want to buy amny of their solo albums. Steve Howe has an aweful voice,
so they were sure to include two tracks with no vocals. Jon Andreson has
suchg a beau7tiful voice. I think it's beaut;fiufl. Someone called me and
said they liked my web site. that was neat. They all have good songs.
Every9noe in Yes is very talented and creative, wjhich sis a lot more
than you can say for lmost bandas, unless yiou're speaking in smope other
launguage of which i don't sopwak,e, in which case, bite it,
foreighner. I am really really really really really really really drunk,. a guy at
barnes and noble was staring at me. he was security. i can't open myt eayuses.
i A QWWENYT SO LONGW TIHOUT DRINKING AND NOW I DARINk a lot. so bite ti
you fucking asshopjle /. Not Rich Bunnmell, he is a good guy.Most of you
are special special people. It DOES hurt my feel;ings when yoiu dln't like
my writingkl but i uinderstand it because i'm such an ashole someimte.s
i'm really siorry,. it's all just my opinion, and opinions change every
day. I just don't understand why we all have to die in the end. it doesn't
make szense to me. what are we? goddammit it's all so stupid. i love
evertything wjem o , i'm drun k. if you get drunk, make sure your hgirlfriend gets druink
too. it's fun. i fucked my girlfriend earlier. it was so wonderful. i
love ber so much. i love her. i9 lover her. i lover her. i lover her. GOOD
ALUBM! if you like Yes at all, yiou shoud hera what they can do on
theuir own. I LOV YTIOU TOO~!!!!!
(the morning after)
maybe i should stop writing reviews when i'm really drunk
- Reader Comments
- pd6941@albany.edu (Pat D.)
Mark, its a good thing you were drunk when you wrote that Jon Anderson
has a beautiful voice. ;-)
- oneofakind151@hotmail.com (John Sieber)
I have never laughed so hard in my life. thank you, prindle.
- nikus80@hotmail.com (Nicol s Perez Santoro)
Damn you, Prindle. I mean, I really like your reviews and I usually laugh a lot (specially at that "17 inches" "When Flaccid" joke. Man that was wonderful), but this is the best review you've written. You should get drunk more often.
And yeah. I love you too. In the same way I love my sister, that's it.
Add your thoughts?
Talk - Victory 1994.
One darned fine Survivor album. Pretty weak Yes album,
though. Squeaky clean generic cheeseball melodies abound, some better than
others ("The Calling" will stick around, and the harmonies in "Walls" are the
loveliest we've heard since "Love Will Find A Way"), but all pretty effortless.
The main advantage this has over Union is that there are only SEVEN
songs on it. I'd say two are memorable, another (the Caribbeanny "Where Will
You Be") is nice in an ABWH kinda way, and the rest are kinda yawny. Not
wretched, but not particularly necessary, either. The only truly interesting
part on the whole record is the weird chord sequence at the end of "The Calling,"
where suddenly it feels like we're listening to Steve Howe beautifully
scrunge up the end of "Awaken" again. Too bad it's Trevor Rabin and it doesn't
quite feel real. Yabba-dabba-shoe.
- Reader Comments
- yesman@smartlink.net (Lee)
I really enjoy Talk, but not everyone does. I also enjoy a lot of the
solo work that the Yesman are putting out, including Jon's Toltec and
Steve's Not Necessarily Acoustic. I like Peter Bank's last two LPs
quite a bit as well.
- yescomm@worldaccess.nl (Gert Bakhuizen)
I think you should check out Talk, I'm not saying that it's a great album
(Jon Anderson himself once said that it only contain 10 minutes of real
Yes music) but there are some good tracks on it, especially "Endless Dream."
Yesshows on the other hand, is more a less the same as Yessongs, a bit
too much repeating that what we already know but maybe you should
listen it as well in order to complete your album review list.
That would be nice.
- wijo@euro.net (Wijo Koek)
Talk is one of my favorite albums. I think Trevor Rabin has been
one of the best things that has happened to Yes.
- Limbeck@sprynet.com (Cody Barrow)
Yes Talk is Great!!!!!!!
- monkey37@localnet.com (Scott Moore)
A shot to ABWH. This album is great, and sets a hard standard for the
new group of YES men to reach. Keys to Ascension is coming, so it's
their show, but as far as Yes goes. The Fragile band hasn't made a
great album since ABWH, and many are undecided upon it. Most hate
Union,
so that leaves the YESWEST as the Yes of the future, SCARY! The Keys
band HAS to give up a solid excellent Yes album in order to prove once
and for all who the best Yes band really is. Many would say that Yes
hasn't had a solid album since before DRAMA, and KEYS TO ASCENSION
just
may prove them wrong.
- bringer@earthlink.net (Fred)
Was good!!! No?
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
This is my hands down fave. It rocks more than the others. And
"Endless Dream" is like "Gates of Delirium" for the 90s. I like the more
heavy guitar oriented approach this album takes.
- James@jpb-s.demon.co.uk
This is the first time I felt ripped off by Yes. Talk tries to
follow the path the AWBH/Union albums, but nobody
bothered writting any songs. At least the Yes West
albums had tunes you could sing in the shower.
The highlight of the album is the 1:56 minute bit at the start of
Endless Dream, and that just isn't enough. Altogether boring,
self-indulgent and utterly pointless.
- axon45@rocketmail.com (Andrew Davis)
I recently purchased a recycled version of Talk. I
thought that Union was bad! This is absolutely
horrid; what were the members of Yes thinking? Thank
goodness for the release of Keys To Ascension! In
any event, "The Calling" is very good and the rest of
the album sounds like too much of the same thing, for
one thing- every song is too long! This cd will bore
you to death!!! After listening to this cd; I had to
reevaluate Anderson, Bruford, Wakeman and Howe! I
have decided to increase my rating of ABWH to a 7;
Talk gets a 3!! I'm certainly glad that I didn't
buy this disc new!!! Oh, incidentally, "The Endless
Dream" is endlessly tedious!!!
- dembones@pond.net
I was anxiously awaiting this release, especially when I heard it was
back to the 90125 linup. (Still not the original YES, but unquestionably
better than the ONION gang!) If it was as good as BIG GENERATOR, at least
it would be a good rock record. But no such luck... The musician's
identities are completely lost amidst Rabin's ungodly over-produced
sound. What a Poser! His attempts to sound tough are laughable, Squire's
unique bass playing is completely lost, and poor Alan White is reduced to
cave-man style pounding with a drum sound that makes one wonder how much
sample triggering went on. Even still, there were some good moments. "The
Calling" is listenable. "I'm Waiting" is nice until Rabin's dumb-rock
bridge. "State of Play" is THE MOST EMBARASSING thing Yes has ever
recorded! Finally, "Endless Dream" truly has some majestic moments, but
the pseudo-yes instrumental intro is so rigid I would swear it was
sequenced! How disappointing!
- windstorm@geocities.com (Robert Reynolds)
I think Talk (which should have kept its original title Dialogue) is
the best Yes album to come out since 90125. Sure, it's a little annoying
at times with its religious over/undertones, but it still has a nice
variety of tunes that aren't afraid to rock a little. Excellent, and
deserving of a better rating than the one given here.
- lledesma@amag.edu.pe (Leonardo Ledesma)
We're talking about a "true" Yes album at last, the one after
Union. In 1994, the group released Talk (a more common name than
Dialogue, originally thought as ABWH second solo album title). This
record was recorded since 1992, so the wait made us all think Yes was
cooking up a masterpiece. Even the definite lineup was kept almost in
secrecy (Anderson told me in May 1993 that Rick was also in the fold). I
know this is one of the fans' less favorite albums, but I actually like it
a lot. True, this doesn't fit in the classic Yes style nor in the "hit" Yes
of the eighties, but is a welcome change and progressive-rock was
perpetual change after all. The sound is maybe much too clear to sound
natural (due to the computer recording techniques), but the songs were
strangely original. What this album lacked was promotion. I confess this
time I liked Rabin at last, feeling his parts were finally suitable to
the ensemble and noticing he let Jon be alone on the forefront (save the
odd line here and there). Kaye was strangely strong in a couple of songs
and in others (knowing Trevor played synths keyboards) remotely absent.
Squire continued his progressive comeback started in Union (by
comeback meaning he started to sing and play more than in the eighties)
but this was more evident on the tour that followed. Even White seemed
to awaken in certain passages. The last two tracks are the best this lineup
ever produced (and were not in the "commercial hit" trend). The biggest
fault in this album is the cover, who must have kept the few loyal fans
from buying this record. Peter Max has done more damage to Yes than
more. And if you think this record is far too off the right track please
listen to Open Your Eyes and then we'll talk (Ha,ha... talk). I give it
7/10.
- ssvsoft@online.no (Snorre Serigstad)
So you give 90125 8/10 and you slaughter TALK? What is the world
coming to? TALK is the best Yes album since CLOSE TO THE EDGE!
(KTA2 is a
strong challenger but "Foot Prints" ruins the whole thing) "The Calling" is
great! "State of Play", too! Yes, "Where will you be" is a bit, uh, weird
but "Endless Dream" kicks butt! Thank you Trevor!
- Melodie83@aol.com (Joe)
Here is where Yes starts to lose there songwriting touch, there are a
handfull of great tracks The Calling has a great chorus,singing, drums by
Alan ,Walls is a great song too nice harmony singing, State Of Play is pretty
rocking but the rest are either really slow ballads with even more corny
lyrics I Am Waiting,Real Love,or songs that are really awful like Endless
Dream,Where Will You Be if they want to go back to the classic Yes style
write another And You And I ,at least some songs are enjoyable on this album
the next one is a disaster.Jon said in an interview in 1994 that this was the
album he dreamed of making he had to be joking.it did not deserve to bomb
like it did since it was a lot better than the trash on the radio by 1994
including other 1970's bands who had hits that should of retired by then. a
6 rating
- stoo@imsa.edu (John McFerrin)
BORRRRRRRRRRRRRRRRING
I mean, it's not horrid, but you're right about the effortless part. Man
oh man. I agree with the 4, maybe a 5
- Adrian.M.Rush.8@nd.edu
The best album of the Rabin era. It was good to see Rabin go out on a
positive note. "I Am Waiting" is gorgeous, "Endless Dream" is simply the
best Yessong of the past 19 years, and the only thing that would have
made "The Calling" better was to have left in the lovely little
ambient/floating section in the middle. It changes the entire complexion
and mood of the song. (It exists on the Japanese version, as well as a
promo CD; find it if you can; it's worth it.) Plus, Alan's drumming is
more invigorating than it has been in years, Jon sounds in top form, Jon
and Trevor finally click as a songwriting team, and Tony gets in some
tasty Hammond licks. (I suspect that Tony never played much more than
organ and piano in '80s Yes anyway--the credits on Talk are just more
honest about it.) The weak link is Chris, but hey, you can't win 'em
all.
This was a fresh, new, exciting sound for Yes, blending the best of the
'70s and the '80s into something brilliantly different. A shame that it
couldn't continue, and an even bigger shame that Wakeman wasn't able to
participate, as was originally planned.
Easily Yes' most underappreciated and underrated album. Buy it if you
don't have it.
- michael.blume@gte.net
I don't get it. A lot of people seemed to have put down Talk for no
particularly good reason at all. They (and the critics, of course)
complained before that the songs weren't distinctive enough. That is total,
utterly complete bull. Seems to me that the songs ARE distinctive, and that
Jon and Trevor proved that they were an impressive Lennon/McCartney-like
pair of good songwriters. It's definitely an 8 out of 10 in my book. I just
wished that most Yes freaks shouldn't have started bitchin' about Rabin in
the first place. Hell, I like 90125 better than Tales, and the
same goes for Big Gen. I've also decided that UNION, or
ONION deserves a 4 out of 10 in my book. Man, most of the songs on
that piece of shit really sucked donkey dick. Talk and OYE, on
the other hand, were a definite improvement over that lump of Yes coal.
Trevor, if your reading this, thanks a bunch! You were one of the finest
additions that ever happened to Yes. I mean, 90125, Big Generator, Talk,
those albums were amazing! Again, thank you! Talk ROCKS!
- terribledrummer@webtv.net (Jeff Fowler)
I thought that the talk album was excellent! I don't think alot of yes
fans really gave it a chance because they made up their minds not to
like it even before it came out. I thought the tour was awesome as
well.
- richbunnell@home.com
Unlike the preceding "album," the songs on here resemble songs, but unfortunately
the production finds at least twenty new definitions for the word "sterile." "The Calling"
and "Walls" are both classics in a poppish tradition distinctly not of Yes yet still good,
but I'd never be able to remember the melodies to "I Am Waiting" or "Where Will You Be" even if they
somehow became overplayed to the same level as "Owner" and "All Good People." And "Endless Dream,"
though definitely part of the album's better half, just doesn't merit its length like earlier
long-form Yessongs. I give the album a four.
Endless Dream - bootleg.
DAMN. Excellent double-live CD. Features the 90125 line-up putting their
own special generic stamp all your favorite CLASSICYES tunes, plus running
through lots of Talk tunes that you just know you'll NEVER hear in concert
again now that Steve Howe is back. Here's a shocker -- you know those
slick, overproduced songs on TALK? They sound emotional, beautiful and
powerful in a live setting! Very, very pretty. Too bad about that slick,
boring production that marred the studio album. I totally underrated that
one though. Raise it to a 7 or so. Also, in a few minutes, you'll hear me
whine about The Ladder and only give it a 5. THAT WAS A MISTAKE. That
album has grown on me like a beard and now I can't stop listening to it!
Sure, it sounds like a Jon Anderson solo album, but a really good one! I'd
definitely up that one to a high 7 or 8 at this point. So ignore everything
I say about that one. Or write your own review of it. I don't much care.
Honestly, my life is just an endless whirlwind of psychotropic drugs and
psychiatrist visits at this point, so do whatever you want with my shoes.
Just don't touch my shoes!
- Reader Comments
- stoo@imsa.edu (John McFerrin)
100% agreement, Mark. Bootleg or no, this is an absolute necessity for
anybody who is even remotely a fan of the Rabin era. My only gripe is
what they did to Roundabout - eliminating the arpeggios in the interludes
was just not a good idea. But the Talk material all sounds wonderful
(especially I Am Waiting), as does the 90125 stuff, and I really
appreciate how they messed with And You And I. Substituting the
beginning acoustic parts with piano was a simply wonderful stroke of inspiration,
and provides a beautiful twist.
That being said, I really wish they would have gotten rid of the 'synth
vomit' noises in the 'tin Jesus' chunk of the 'title track' - they're
just as irritating here as they were before.
Add your thoughts?
Keys To Ascension - 1996.
How did this happen? 1996 rolls around and all of
a sudden, Yes contains Steve Howe and Rick Wakeman again? No Rabin? No Kaye?
Fine with me, sugar! This is a mostly-live double CD featuring the (almost)
classic '70s line-up doing amazing versions of some of their finest and most
obscure album tracks. "All Good People," you ask? No. But how about "The
Revealing Science Of God?" "Onward?" "Awaken?" Big time Yes freakers like
myself are going wild about this release all over the world right now - or at
least, they'd better be!!! These are complex epic anthem tracks that
the Yes-men somehow still remember how to play more than fifteen years after
throwing in the towel as a collective unit. Unbelievable stuff. Great
production, too. Hardly even sounds live! And they even make Paul Simon's
"America" come to life without making it really irritating like their original
cover (okay, that's just me talking - most fans love the original). But
the big news, of course, and what everybody wants to know is this - are the
two new tracks any good? Well, no, to be quite honest with you. The twenty-
minute "That, That Is" starts off with about five minutes of the most creative
and exciting guitarwork we've heard from Steve Howe since Going For The One,
but the actual SONG sounds a lot like that really long one on Talk - in
other words, like a Jon Anderson solo record. The ten-minute "Be The One" doesn't
even have a good intro. It's a bore through and through. Pity. Maybe the
creative flame is gone? Unfortunate if true, but let's not write 'em off without
giving 'em a few years to show us what's up, okay? At least they're still
an amazing live band!
And apparently Keys To Ascension Part II is due
out in March or something. Keep your ears open!
- Reader Comments
- sod1995@ix.netcom.com (Stephen Odell)
Keys To Ascension is a wonderful disc, the best to come from the real
"YES" in far too many years. I didn't think they had it in them but
this is the absolute best collection of live material they've ever
recorded. The sound quality is remarkable combining the studio
perfection we've come to expect, while somehow transferring that sound
to a live performance which is not sterile, but instead brings back
many of the same feelings experienced hearing these songs the very
first time years ago. The 5 man symphonic orchestra of YES is back!!!!!
Despite admiral and often very satisfying efforts by other
configurations of the YES family over the years, THIS IS THE ONE AND
ONLY YES (except for Bill Bruford); although even Alan White sounds
pumped up here and perhaps somewhat Brufordesque. Only regret is that I
would have liked other songs to also be included since the band
absolutely nailed it during these performances of March '96. Hopefully
other material will show up on a later release. This stuff is simply
too terrific to leave in some studio somewhere. The new material (2
songs) seem very interesting initially and perhaps will become new
classics. I don't know them well enough yet, but in the past it was
always the new material that took some getting used to which ultimately
had the most staying power. This disc is a must have for anyone who
preferred the 1971-1977 period; it may also convert newer fans who
thought they were following YES and never truly experienced this
tremendous period. Welcome back Jon, Steve, Chris, Rick, and Alan.
Please try to stay around a bit longer this time and prosper. We missed
you and the music, thanks for bringing it back in such remarkable
condition.
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
Oh Yes!!! This album rocks. "Roundabout," "Starship
Trooper," and "Awaken" never sounded so good. And "Khatru" sounded cool,
not cheesy like the original. But the best part for me was the new song
"That That Is." I think it's one of the best tracks Yes has ever done.
- sbachini@uk.mdis.com (Steve Bachini)
Well, I never thought I'd be buying a new Yes album again but I have it...
Disk 1: The live tracks are a real treat. The track rundown on disk one is
like a dream come true for Yes fans. The versions are top-notch as well. A
couple of things on the playing though. Chris is right up there and Alan
seems to have brightened up his sound enormously. But I find Steve's
playing is rough at times and he is occasionally strumming along instead of
leading from the front. This is only minor though; at no time do I get the
impression that they are just going through the motions. They're doing it for
real.
Disk 2: Well the live versions of "Roundabout" and "Starship Trooper"
are fine
and then we come to the studio tracks. The 10 minute "Be The One" is a standard
plodding rock song I'm afraid. Then we are given the Steve Howe introduction
to the 20 minute "That, That Is". It is four minutes of brilliant emotional
guitar work on a par with "Turn Of The Century". I'm having to ration my
listening at the moment. Sadly the track goes severely downhill after this
with only the occasional good idea. There are a lot of repeated musical lines,
some of which are almost shouted instead of sung. This harks back to the bad
parts of the ABWH album. Rick's synths are very reminiscent of ABWH as well.
And finally, why can't they put some instrumental passages in like they used
to?
To sum up, an album greater than great in parts but dreadfully flawed in
others. I agree with the 8/10 rating. I just wish we could've had separate
live and studio releases. I think that fans will combine the two Keys albums
into one long live album on tape and forget about the studio tracks.
- borg@win.bright.net (The Borg)
An overall great band. It's strange that they keep switching around
members; they could conceivably go into the next millennium, even after
all of the original members are dead and their ashes are being smoked by
someone else. Anyway, I saw them on their Talk tour in 1994 in
Milwaukee, and it was the best concert I've ever been to, save "Weird
Al" Yankovic.
- "patqlizq@bellsouth.net"@BELLSOUTH.net (Elizabeth Quevedo)
I think the album is great. "Awaken" is a glorious song, and "Starship
Trooper" sounds really good. The other live tracks are ok.
I love the new songs too, but i consider that the live tracks are more
interesting.
I'm very impatient for the second part of Keys...
The band sounds incredibly good.
LOVE FOR ALL!!!!
- lesieur@montr12.hcc.com
Great album with great songs!
What a surprise to hear a live version of "The Revealing Science Of
God".
With this album, Yes sounds like in the good old days. I really like
"That, That Is".
- TempsFugit@aol.com
I really enjoyed it. I think there are parts of "That, That Is" that are
some of the best things YES have ever done. 9/10
- rderby@erols.com
90's version of YESSONGS sounds great! studio stuff shows promise but
is a bit stiff and talky. i read a recent interview in "nfte" in which Rick
says the follow up "Know" is greatly superior. (now if they'd stop fighting
and put it out!!!!)
- mop01606@mail.telepac.pt (Helder Santos)
A Yes album is always good, but I think the next one should be always
better.
Go on studio, go on tour, but never stop (and come to Portugal).
- akdxmy@hotmail.com (Andrew Davis)
First of all, let me say that I do not think of Rush as a weaker
band, different but not necessarily weaker. Second of all, I feel that
Tales From Topographic Oceans still stands the test of time as one of
Yes's best cds. Why not give Fragile, Close To The Edge,
Tales From Topographic Oceans and Keys To Ascension all 10's.
Personally,
I believe that Keys is the best Yes album of all-time and the best Yes
studio album is undoubtedly Tales From Topographic Oceans.
Okay, here are my ratings of the Yes cds which I currently possess:
The Yes Album 8/10
Fragile 9/10
Close To The Edge 10/10
Yessongs 8/10
Tales From Topographic Oceans 9/10
Relayer 8/10
Yesterdays 7/10
Going For The One 8/10
Tormato 5/10
Drama 5/10
Yesshows 8/10
90125 7/10
Big Generator 6/10
Anderson,Bruford, Wakeman and Howe 6/10
Yesstory 9/10
Union 5/10
Keys To Ascension 9/10
Keys To Ascension II 9/10?
Since, I have never owned either, Yes or Time And A
Word; it would be inappropriate for me to make any
decision.
- tabasco@worldnet.att.net (BOB's)
Andrew buy the first two albums. They were good for Yes's beginning with
Kaye's organ and piano and Peter Banks's guitar playing, all of the songs on
Yes' debut was folk rock and classic rock, on Time And A Word it was half
rock and more orchestral. "Then", "Everydays", "The Prophet" and "Astral
Traveller"
were good. On the first album "Beyond And Before", "I See You", "Yesterday and
Today", and "Sweetness" was also great. I give the first album a 9 and the
second a 7.
- Bbhmdr@vmmc.org
Well...I had mixed feelings on this album when I first got it, and well,
for the most part, they're still there. So I'll probably just divide up
into my positive and negative feelings about the album.
The Positives:
1. For the most part, the live stuff is GREAT. It is wonderful to
hear a bit of the classic Yes material performed with some real
style and variety (see "Onward" w/ intro)
2. Nice to hear Rick again on the pieces, as well as S. Howe.
Negatives:
1. First and foremost, the lyric writing on the new tracks in
places is *abysmal*. I don't know whether they got up on the
wrong side of the bed one day, or what - but one of the most
enjoyable things about Yes lyrics has been the (generally)
positive ethereal mysticism and spirituality that comes across
(even off of Talk ["Endless Dream"]). It really disturbs me to
listen to lyrics about "crack time", drug use, etc., from a band
who has never: 1. dealt with these issues and 2. have been this
literal about it. But, hey, there is some nice music throughout
"That That Is".
2. Billy Sherwood's production - please, please, PLEASE find the
BASS control and turn it down one notch (something tells me it's
at "11"). I'm not quite sure why it's so overdriven, but this has
been a running thing through all of the B.S.-produced albums (See
World Trade -Euphoria) that I've heard.
3. Both new tracks sound like that they were individual ideas
that kinda got stuck together with short instrumental pieces to
hold them together...at least to my ears, they sound a little too
separate to hold together as a convincing epic piece like CTTE.
(Call it TFTO syndrome or something). But comments on all of the
above would be welcome. Thanks .
- john1@frontiernet.net
I have been a fan I think for about 50 yrs. No, they havn't been around
that long, but I hope they are. On the KTA album, "That That Is" should be
acknowledged as one of the band's all time grat pieces of music. It's great
to see the band is not afraid to still try different approaches in their
music. Let us also remember that this is 1997 not '73, and it should be
expected that the music would sound a bit different. In many ways the
music reflects the things as seen by band members that are now much more
mature. It's also obvious from the lyrics in "That That Is", that Jon
Anderson has spent time living in L.A., and gotten a taste of big city life
in the U.S. Anyways, the themes change often, and hit the home stretch
with an extended instrumental riff that pumps and pumps, then enters quite
an interesting finale. Also, I must add no one else seems to know how to
end a tune like they do.
I'm really looking forward to the KTA 2, and I've already got my concert
tickets. I have to say there will never be another band quite like them.
Looking forward to hearing Ivan Koroshev. Too bad Rick left the group, I
wish it were possible to figure out what his real problem is. He often
states it as Religious differences, but I think the religious differences
are more like MONEY and his fear of flying. Oh well, I'm sure he'll be
back again....and quit again....and be back ag......
- jwhat@merlin.ebicom.net (SIBERIAN_KHATRU)
"Revealing..." was done ver ver very very well. "Starship Trooper" was good
as well. "Awaken" was done as well as possible I guess, it's hard to
replicate the original. Parts of "That, That is" was real good, but really,
who cares about the crack heads anyway, listen to rap and crap for that.
This is YES, not Coolio or whatever the hell his name is. Ever listen to the
remix of "Close to the Edge" done with his son, it's a dang rap song. Check
the disc out. It's called Close to the Hype featuring Jon and Damion
Anderson. WHAT THE HELL WAS JON THINKING ON THIS, AM I THE ONLY FOOL THAT
BOUGHT IT????????????????? Anyway it's out by Griffen Music.
On to KTA, America with Chris and Alan sounded really tight.
- dembones@pond.net
A dream come true for Yes fans, including myself. I was THRILLED to see
live set featured "Revealing Science" and "Awaken," but irritated that they
felt obligated to throw in yet MORE versions of "Starship Trooper" and
"Roundabout," Great songs, sure, but YAWN... Time to change the oil,
fellas! Of their new stuff, I felt like both efforts were kinda unstable.
"Be the One" was somehow wishy-washy, and the attempted epic "That, That
is" is the first time Anderson's lyrics have interfered with my enjoyment
of the music. "Strung out on crack time..." "the Gang life?" Anderson
sounds about as socially aware as Nancy Reagan's "just-say-no" campaign.
Despite that, the piece has some of the strongest music in years, and shows
great promise for the future. Nice to hear Squire come out of his identity
crisis from TALK.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Your best critique is the one concerning Keys to Ascension,
describing very well how we all felt when 1996 turned the band (and the
fans) upwards by bringing back Steve and Rick. The SLO< concert(s) showed
Yes back to his roots, a la ABWH but with Chris this time (and without
Bill). The live treatments are the very best in years, but some parts
are at least controversially adapted or modernized. I think "The
Revealing Science of God" and "America" are excellent. The fact that
this lineup recorded two new (and lengthy) songs is just good enough,
and hearing "That, That Is" is better news. The track has parts that are
reminiscent of glorious days past, showing Chris is actually BACK to
splendor and featuring Steve's talent at its best. "Be the One" is just
fine, with Steve providing bass with maybe too much effort. All in all,
the live set is the most exciting part of the album. I give it 8 or
maybe 9/10.
- compserv@vettweb.net.au
Siberian Khatru
The guys are sounding really relaxed, the sound is clean and hearable,
and the crowd is not too loud.
The Revealing Science Of God
A really good job. Their sound avoids the heaviness of the studio
version; it has good clarity and maintains the musical integrity of the
original song.
America
The whole hog! Not some smashed up single version.
Onward
A beautiful rendition. Steve has a really nice touch on acoustic guitar.
Awaken
I'm sorry, but this song does not transfer well to the live format. I
really love this song in the studio, but I've heard two recorded live
versions now and neither of them have done justice to the song. However,
Rick does do some nice parts in this one. Don't ask me what Steve was
doing.
Roundabout
Y'know I think I've heard this song somewhere before... Okay, the
acoustic version. Nice to hear it.
Starship Trooper
This song has appeared on about 5 million Yes albums in various versions
and formats. I wonder what would happen if they actually did something
else in the encore. They probably wouldn't know how to play it!
Be The One
Not the best song they've ever done, but remarkable for Yes in that the
whole 9 minutes seems to be in 4/4 and the same key, or its minor
counterpart. Such restraint! Apparently it's almost live too. That muddy
sounding rhythm guitar is Chris on his Photon.
That, That Is
The disjointedness of this song doesn't come in the different parts of
the song, but in the transitions between them. It's like they're just
taking a sip before plunging into the next bit. Ranked against the other
Yes epics I would probably put it last. There is some good music and I
like the song, but it just seems to sound too thin.
- ian.moss@yale.edu (Ian Moss)
Well, I suppose this renders my earlier statement about Yes "suck[ing]
now" a bit unfair. They don't suck, although they're not quite as masterful
as they usta be. The first disc is wonderful; I wasn't familiar with any
of the middle three tracks and they are all incredible, while "Siberian
Khatru" and "Awaken" make for excellent bookends. Of the live
selections that I was familiar with, they aren't quite as good as in the studio,
although "Roundabout" comes pretty close. I really hate the way they
turned the "Wurm" part of "Starship Trooper" into a dumb wank-jam as if
they were fucking Lynyrd Skynyrd or whatever. I read a review of their
concert in Boston (which I could have gone to by just calling my local
radio station and answering a trivia question which I knew the answer
to, but I didn't call, FUCK ME!!!) that made the following observation:
"Yes would do well to dispense with the whole 'rock star' persona." I agree
wholeheartedly. Yes is many things, but they are not teen idols or
guitar heroes or anything like that--and when they try and pretend, they just
look silly. Anyway, the new tracks pretty much define "mixed bag." "Be the
One" definitely has its nice spots, but the lyrics are horrendous and
the chorus gets a little sickening after a while. It's more cohesive than
"That, That Is," but its musical objectives are also a lot less
ambitious than classic Yes standards. In fact, "Be the One" reminds me rather
frighteningly of late-period BOSTON. There's nothing quite like that
"washed-up '70s rocker" sound. With "That, That Is," Yes almost
succeeds in recapturing their earlier form. If you take out "Crossfire" and the
related part towards the end of the song, you have a truly excellent
14-15 minute semi-epic. But "Crossfire's" overly poppy music and mundane
lyrics nearly invalidate the whole song. Frustrating, but also promising....I
can't wait to check out Keys 2. 8
- orderdesk@centralreprographics.com (Byron)
JUST A QUICK NOTE ON KEYS TO ASCENSION VIDEO
You would think that the single most progressive rock band around could afford to do a decent video, well
you'd be wrong, because this video ( like most of their videos) sucks! I can't understand how they let it
happen with every video they release. Don't get me wrong- the band rocks- the music rocks- but whoever
edited this video should be shot. In the first ten minutes you will see every video special effect known to
man. In the next ten minutes you'll see them again. Give me one video camera and a blindfold and I could
do better. Yes is my band, but if I ever get my hands on the idiot who chopped this video up- I'l strangleate
the poor bastard. Just once I'd like to see a decent, straightforward production- oh, and one where the
camera doesn't cut away while Steve is jamming the lead to Starship Trooper to watch some moron in the
front row (you know what a mean).
Keys To Ascension II - 1997.
This one came out in March or something. It also
is very good! The live stuff is phenomenal (although I for one didn't need
yet another version of "All Good People"), and even some of the studio tunes
are good this time around, accentuating a funky, heavy bass sound that we
haven't heard since Drama ("Footprints" in particular is a catchy as hell
pop tune). But man, and I know this is heresy but I
have to be honest, the 20-minute "Mind Drive" doesn't do a thing for me. It
just goes and goes and goes, and none of its several parts really scream of
creativity or interestingnessness. It sounds more like an Asia epic than a
classic Yes epic, and who the hell needs an Asia epic?I mean, aside from
the extended dance version of "Heat Of The Moment"?
- Reader Comments
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
Well, it's here. Keys To Ascension Part Two. I absolutely love
it. The concert material is GREAT! They do "All Good People," "And You
And I," "Turn Of The Century," and a few others. "Time and A Word" has a
cool piano intro like "Awaken" from the previous one. "Close to the Edge"
is excellent. The church organ part is even darker than the original.
But there is one problem. The fast and furious part after "I get up, I get
down" sounds almost like some Irish dance tune. You can almost swing to
it. I dont care much for that, but the rest is great. They also do
"Going for the One" which is the hardest rock moment of the entire
concert.
The new material is even better. Granted, the intro track "Mind
Drive" has its weak moments, but at times, it's like they're
re-living "Revealing Science," unfortunately, other moments sound more
like the Powell album that ELP put out in the 80s. "Footprints" is one
of the best Yes tracks EVER!!! It starts a capella like "all good people,"
but turns into one of the most haunting songs ever. It shows Yes
experimenting a bit with different instrumentations (like harmonicas),
and breaking out of their usual mode. I LOVE THIS TRACK.
"Bring me to the Power" sounds like something off Tormato. It's
still a good song though. "Children of Light" is a masterpiece. It's as
good as "Footprints." It features a return of the sitars that Steve used
to play. The final track (I can't remember the name off hand) sounds like
three minutes of the "Evensong" thing from Union. This is easily the best
Yes album of the 90s.
The songs are long too. "Mind Drive" is 18 minutes, "Footprints"
is 10 minutes, and the others are 6 or 7 each. There's no boring material
on here, unlike the last one ("Be the one" . . . yuck) and the long songs
actually flow, unlike "That That Is." What's more, the material on this
album is STRONG!!!!! (with the possible exception of the first 5 minutes
of "Mind Drive").
I would strongly recomend trying out this album. What's more,
they've got another new one coming out in about two weeks!
- john1@frontiernet.net
Well, Keys 2 is out, I bought it, and I love it. The first half of
the album I could live without, as it's just more of the old stuff done live
(which I've heard a million times. It's quite good, bur I've already got
every album.)
As for the new stuff, "Mind Drive" is kinda of a cross between the styles
in Close to the edge, Relayer, and Drama. As with most
yes music, it sounds "pretty good" the first time you hear it, but after
5-10 times you've got to say this is one incredible piece of music. Rick
Wakeman has NEVER sounded better on any of their albums. (This also proves
what a total a.. hole he is for leaving the group again.) The rest of the
new tracks are very good, although it would be hard for them to match up to
"Mind Drive". Crank it up, sit back and pretend you've gone back twenty
years with that odd smelling smoke in the room.
P.S. Saw Yes on the new tour, quite good but would've been better with Rick.
- rderby@erols.com (Robert Derby)
Keys...2 is the best thing YES has released in over a dozen
years and the best Steve Howe since Going For The One!!! Why? Well
let's first forget the live disc and concentrate on the studio disc shall
we. This new studio effort has every strength YES has ever represented
in past albums plus some new ones. The first of which is a joyful
playfulness evident in "Footprints" and "Bring Me To The Power". These
songs sound fun (with a nice dose of Yes pretension) and throughly
enjoyable. Hell, YES SOUNDS LIKE THEY ARE HAVING FUN PLAYING IT.
Admittingly, I intially thought "Mind Drive" was going to be stupid and
it did take four passes to relize how damn good it is. We all thought
that songs "ENDLESS DREAM" and "THAT,THAT IS" were as close as we would get
to witnessing YES utilizing that "concept" format but "MIND DRIVE" blows
them both away. It has very nice melodies and does succeed on taking you
on a journey (that is if you let it).The secret here is the themes tie
together better than they did in those aforementioned songs.
The live stuff here is vintage YES (not as strong as Keys...1
though) but this time it is overshadowed by exceptional strong studio
work. Kinda the opposite of the last Keys....
This is in no means any buff on Rabin (and God knows I've defended
him withih these pages!) but it is finally great to hear the classic YES
back on track. AND A BONUS!!!! I only have to wait two weeks until the
NEXT YES album comes out!!!!
- tabasco@worldnet.att.net (BOB's)
So it all comes out to this huh. KTA 2 kicks ass totally doesn't it.
Man, this is great I thought I was going to be the first person to get it
but I guess I thought wrong. I don't even have it yet because it is not out
in stores in my state but when it does I'll be jetting in that store, buy
it, put it in my cd player, and that'll be it until Open your Eyes comes
out. This kicks ass, I stopped liking Yes after a while when I got Talk
because I thought they weren't going to come out with an album but how
wrong I was. I'M GETTING IT THANK YOU VERY MUCH.
- daniel@fhsk.skurup.se (Daniel Reichberg)
When I first heard Keys1, I was totally blown away by "That, That Is".
The riffing at he start and the end is really exciting and those middle parts
are VERY Anderson (meaning very beautiful)! The song is, with no doubt,
the best Yes work since the seventies. OK, there are great things on all
Yeswest albums as well as ABWH and Union, but nothing is as good as
"That, That Is". Finally Yes dare to experiment again!
Like many others, I thought that was the most experimental we could
expect from Yes these days, but so came Keys2! And once again we're
swimming those Topographic Oceans! 'Cause that's exactly as "Mind Drive"
sounds. Topographic for the next Millenium! I've listened to the song for a
few days now, and each time it grows. In the first place, I found the
contrast between the "hard" and the "light" parts a bit exaggerated. Was
this Yes trying to sound like Yes (if you know what I mean)? But that
contrast makes more and more sense for each time I hear the song. I
haven't actually made up my mind about the other songs (I post another
entry when I have), 'cause "Mind Drive" is so damn impressive!
About those live records: OK, the music is great, especially "Onward",
"Starship Trooper", "Going for the One" and "Turn of the Century". But
we've heard the songs a zillion times before, and I think Yes should've had
been focusing on the new songs instead. With "That That Is" and "Mind
Drive", who needs yet another version of "And You and I"?
Finally, it's an odd feeling that within two weeks ANOTHER Yes album will
be released! I've heard that some songs on Open Your Eyes are even more
poppy than "Love Will Find a Way". What will that lead to? Accomplished
experiments and AOR pop within a month... Yes history has always been
weird...
- daniel@fhsk.skurup.se (Daniel Reichberg)
Now I've listened to Keys vol 2 a bit more, and I can only tell you that
it's unbelievably good! I've already mentioned the amazing "Mind Drive"
above, so I won't talk about that one again.
Track by track:
*"Foot Prints" starts as a weird gospel, but turns into something
completely else. Intriguing bass/guitar riffs compete with brilliant vocal
harmonies intensely.
*"Bring Me to the Power". My favourite song. Some real great riffing in
the beginning and end, and some typical Jon Anderson hymning inbetween.
One part has similarities with of a part of "Endless Dream" (from Talk),
but this song is far more entertaining. Of some unknown reason, the word
"me" is not on the cover to the CD.
*"Children of Light". Perhaps the least impressive of the set. It's strange
that Yes have chosen only this one for their live set. Still, a great song,
again very Anderson.
Part 2, "Lifeline", is a fabulous Steve Howe guitar
solo, only accomanied by Rick Wakeman's synths.
*"Sign Language". Not so much of a song, but more a vehicle for some more
beautiful interplay between Howe and Wakeman. Great!
I can't understand why the Keys 2 thing wasn't thrown away and this
album was released as the new Yes studio album. If this was the reason why
Rick left, then he was bloody right! And if Yes happen to read this: PLEASE
include "Bring me to the Power" and "Mind Drive" in your live set when
you come to Europe next spring!
- thutley@e-z.net (Thomas Hutley)
Keys to Ascension 2? Catchy title. Sounds... familiar...
This is what Yes was going to sound like... until Wakeman decided he
just couldn't give up those damned steak sandwiches! Actually, who
really knows why he left? Who knows why he ever RE-JOINED? But before we
all burn Rick in Hades, let's give him a big ol' hug and a thank you for
doing the live music... oh, and for the studio stuff, too! This really
is some good music. Probably the best they've made in a long, long time.
Why it must be set up in a 2-CD set where only die-hard Yes fans will
even consider forking out $23 for it is beyond me. I guess they really
aren't in the business for the money because this thing is NEVER going
to move off the shelves!
Obviously, the live songs are good. They've been good for the last 20
plus years, so why wouldn't they be good now? And for someone who's
never heard "Turn of the Century" live before, well... it was a pleasure.
In fact, I'm retrieving my tissue box right now just thinking about it.
But the studio disc is better. How, you ask? Well... Howe, actually...
and Rick... and Alan... and Chris... and Jon. Did I mention Howe? This
is exactly what Yes fans have wanted since '80... for Yes to take us all
back to the 70's. And they've finally done just that. Every fan that's
been screaming for the return of the 'classic' Yes line-up should be
able to sleep at night from now on! Well done, my British lads! Now you
may burn Wakeman. That is, if you still want to. I don't personally. But
that's just me...
- axon45@rocketmail.com (Keith Davis)
After waiting over a month for Keys 2, I now have it!
How good is it? Well, the five studio songs on the
second side of the disc are the best songs that Yes has
composed in a very long time! This cd set is even
better than Keys 1 and is probably Yes' best cd
overall!! The live tracks are as great as the live
tracks off of Keys 1!!! My second favorite Yes song,
"Turn Of The Century" sounds absolutely magnificent!!!
"Time And A Word" has an absolutely great intro!! The
magnum opus, "Close To The Edge" is even better than
the original version!! So, also are: "And You And I,"
"Going For The One" and "Your Move/All Good People!!"
The second cd, with "Mind Drive" is superb throughout!
The other individuals who have reviewed this cd are
absolutely correct!! Now let's hope that Open Your
Eyes is as great as this is!! Keys To Ascension 2
receives the coveted 10/10 and CTTE goes back to
9/10!
This album is even better than Power Windows!!
- dembones@pond.net
Oh, Keys to Ascension 2 is amazing, marvelous... An orgiastic feast of the
senses! Previously bored to tears of "All Good People," I was stunned to
hear how fresh and inspired it sounded. "Going for the One," CTTE," and
"And You And I" sounded MUCH better than their studio versions, in both
production AND performance. Only "Turn of the Century" sounded a bit weak
in the beginning with Anderson sounding a bit too aggresive. The band
sounds like they're playing like their careers depend on it, and maybe they
did.
For the New stuff, it is ten times more assured than Keys 1, with much
stronger material. I feel guilty as a keyboard player for saying this, but
I'm afraid Wakeman's contributions remind me of why the likes of Yngwie
Malmsteen can't find a job anymore. Too many notes, way too fast, with some
extra pretense for good measure. I respect the man tremendously, but his
keyboards are the only thing that sounds like prog-nostalgia to me. (Maybe
Howe's voice was a little high in the mix) :-p Otherwise, a GREAT album
from a revitalized band! "MindDrive" and "Bring Me To The Power" Powerful
stuff! 8.5 of 10.
I wish the new stuff was a seperate disc from both Keys 1 & 2, but then
maybe I wouldn't have bought the amazing live stuff!
- lledesma@amag.edu.pe (Leonardo Ledesma)
For the average guy (the occasional buyer), the best Yes lineup has
to be that of 90125, even if he doesn't know who the members actually
were. For Yes fans connoisseurs, on the other hand, many consider the
Fragile/CTTE lineup as the definite. But for merely "Yes fans", the
lineup they admire and want most is the one consisting of Anderson,
Squire, Howe, Wakeman and White. This lineup recorded, by the way, more
records than any other. Keys to Ascension 2 is the last of this lineup
(for now, at least). When Wakeman talked about having the album called
Know instead of KTA2 he had a point: the sense of continuity or
"second part" takes away much of the perception of this album's own
merits. This time the best part is the studio one, with one hour of
truly exciting Yes music. Maybe it would be better if they had released
one live 2CD album with the entire SLO concert and another album with
the studio tracks. It would have made more sense. For me, Wakeman was
right. Sorry he left because of that (was it really that big a reason?).
One cannot think of this record independently of the first KTA. But it
IS a different record. Forget the similar Dean cover and the similar
name. Forget even the good live versions in KTA2: the studio tracks are
the true comeback of the 70's style adapted for the 90's. "Mind Drive"
and "Take Me to the Power" really deserve to be considered classic
Yessongs for years to come. The current lineup will not play these songs
live (maybe one or two, and without the same touch). What a pity! Rick
should have stayed at least to play on tour one last time. And Alan
White made me not miss Bill at all. It is 9/10 because of the live set.
It should be a 10.
- compserv@vettweb.net.au
I have to agree with Rick Wakeman, that this album should not have been
called Keys To Ascension 2. The studio tracks are much too good to be
simply included as bonus songs on a live album.
Mind Drive
Beautiful acoustic intro. I like it even more than the intro from That,
That Is. There's a nice bass solo in it by Chris too, that almost goes
unnoticed. The following 7/8 section sounds very Drama-ish and was
actually written post-Drama when Jimmy Page was playing with Chris and
Alan. I don't really like Steve's part though. Steve needs to know what
he's going to play next. It just sounds like he doesn't know how to get
this tune off the ground. The fuzz on his guitar annoys me a bit too.
Still the song moves along quite nicely. They play the acoustic part a
different way every time. I really like that. Then after the quiet
interlude, which is just sublime, comes Rick's keyboard solo. Now I
happen to think that Rick's keyboard solos are the highlight of a lot of
Yes music. I've always thought that Rick played better in a band and Yes
is the band for him. It just brings out his best. The song is just
brilliant from here to the end. It's what we've all wanted to hear.
Steve picks up his playing, although he's always trying to be different.
The final few minutes are just awesome. Then it all shuts down into slow
motion and dances off into the twilight. Unbelievable.
Foot Prints
Change two words in the opening lines and it would be a gospel song. I
wonder where Jon gets his inspiration from sometimes. This song is
great. Chris's 5/4 bass line is a ripper. Everything about this song is
a pleasure to hear.
Bring Me To The Power
I really like this song, but gee it sounds dated. It's like a time warp
back to the seventies. But I really like this song. Actually I hate
dating music. To me music is music and the sound of the music is not
restricted to a certain period of time. It might sound 70's or 80's or
90's but it doesn't make the song less relevant in a musical sense. If
it's good music I'll listen to it. I might go out tomorrow and buy an
album that was released in 1964. So what. I'll play it after the new Yes
album that they're rehearsing for now (Dec 98).
Children Of Light
Y'know I would've liked to hear Rick's intro to this song. The song is
okay, not much of a melody line. Nice piano, nice sitar, sounds
electric. The ending is just rocket fuel. There you go, you're a
shooting star. You can actually hear the whole band flying in there, not
just Steve and Rick. That's the good thing about Yes music, one of the
many. The subtlety of their seriously spaced-out sequences is simply
superb.
Sign Language
Not bad. Bit of a time filler. A weak ending to a strong album.
- ssvsoft@online.no (Snorre Serigstad)
"Mind Drive" is ALMOST as good as "Endless Dream". Almost. "Bring Me
To The Power" is quite good too, but is "Foot Prints" supposed to be a joke?
They sing "My Eyes see the coming revolution-my eyes see the glory of the
world" in a gospel-like melody where Jon manages to make his voice utterly
annoying.
- stoo@imsa.edu (John McFerrin)
Well, of course the live tracks terrific. I agree that throwing All Good
People on there was a bit superfluous, but other than that it's all good.
The studio tracks tho, for me at least, are a different matter. The first
time I heard Mind Drive, I loved it. Second time, I only thought it was
ok. The third and fourth times have made me really dislike it. And that's
the first time I've really been able to say that about a Yes extended
piece. Despite the fact that I've only had really heavy exposure to the
band for about 5 months now, I consider myself a pretty big fan, but I
still don't really like what they did on this album. Footprints is catchy,
but I really don't like Bring Me To The Power, and while Children of Light
is ok, I don't excitedly wait to hear it.
I know that many Yesfans are happy that they're experimenting again, but
for me, the experiments fall flat.
- RUIZDELV@aol.com (Vic Ruiz)
Well, I can't say enough about how good I think KTA2 (disk 2, forget the live
disk) is. I'm one who loves 70s YES. I like the long, self-indulgent,
20-minutes tracks (that's what I love about PROG). The truth is (imo),
KTA2
is worth getting just for "Mind Drive." In my opinion, that song is every bit
as good as CTTE (not better, as good as). "Mind Drive" doesn't even feel like
it's 18 minutes long (to me). I just love it. It has everything I'd want in a
YES epic; Rick Wakeman, Chris Squire, Steve Howe (just to name 3), cool
keyboard riffs, great harmonies, bombastic bass and drums, etc., etc., the
song kicks some serious prog/rock hiney. The rest of disk 2 is GREAT too.
"Footprints" is killer, YES prog. The other songs aren't as strong as those
two but they are much better than anything on Big Generator in my opinion.
It'll just be a matter of time when the studio disks on KTA 1 and 2 get
released as a standalone YES album. It is what they should have done, and
they know it too.
Open Your Eyes - Beyond 1997.
I am filled with glee. I realize that a "7" isn't
something you would generally rave about, but you've got to understand - the
last two Yes studio records were Union and Talk. I thought that
their days of making great (or even GOOD) music were long gone. I am thrilled
to report that I was mistaken. This line-up of Anderson, Squire, Howe, White
and Billy Sherwood has really pulled together a winner this time - probably
the most genuinely enjoyable and uplifting collection of poppy Yessongs since
90125, which is saying something!
That was like 14 years ago! "Owner Of A Lonely Heart" is a teenager now!
Smoking reefer and looking at the Sports Illustrated swimsuit issue!
Oh never mind.
Yes, a lot of the music is corny, and yes, certain moments do have an overly
jaunty Styx-esque feel to them (especially "Man In The Moon," which may actually
be my least favorite Yes song of all time, except for maybe "Don't Kill The
Whale"), but man, the BRAINS are back! You can tell that they actually put
effort into coming up with smart and moving melodies, and the vocal harmonies
are simply phenomenal. I can honestly say that these are probably the most
consistently beautiful vocals that you will hear on any Yes album, which is
doubly incredible when you consider their ages. Usually, old guys have trouble
with the harmonies (Moody Blues, CSN....), but not our Yesses, no sir. Even
with a dipshit little melody like "New State Of Mind," the harrowingly lovely
vocal explosions manage to pull the song as a whole into the ethereal realms
of enjoyitude. (?)
So what holds it back from a higher grade, you're wondering.... Basically, it's
the same thing that holds Metallica's Reload back from a higher grade
(I just picked that one up too, so it's fresh on my brain like a meat patty);
Yes have pretty much given us half a record, roughly SIX songs worth, of
incredibly beautiful pop music that will get stuck in your head for weeks on end.
The other half of the record is just okay. Not BAD (except "Man In The Moon,"
which is abysmal, as far as I'm concerned), but just okay. And we all have
our favorites so I won't name names, but let's just say that, while half of
the CD makes me shake my head back and forth and go, "YES!!!! They're back!!!,"
the other half is really just okay.
Enough negativity. If you're a Yes fan, BUY THIS CD!!!! And give it a few
listens, because I hated it at first too. It takes a while to get into, because
the slick '90s production kinda hides the great melodies at first, almost making
it seem like you're sitting through Talk II. But you're NOT. There may
not be an "epic" on this record, but the tunes are all slightly different,
some enhanced by sitars, others concentrating on weird rhythmic disturbances
(well, okay - only ONE, but it sure is a bizarre rhythmic disturbance!), and
others just ringing out the joyful cry of positivity or some such silliness.
You see, unlike the last couple of Rabin collections, these
songs - well, hell, I'll name names - If I could spend the rest of my life
listening to "Open Your Eyes," "Universal Garden," "No Way We Can Lose,"
"Wonderlove," "Love Shine," and "The Solution," I would eventually get sick
of them, but it would take a while, because I LOVE them!!! Great positive
uplifting tunes, man. Corny? Crap yeah! But so's your
old man!!!! This may not be the greatest album of 1997, but it definitely
contains some of the greatest songs of 1997. And that's a surprising
and wonderful thing for me to say about a band that I had almost completely
written off as dinosaurs. Go Yes Go! Keep that faith a-rollin'!
- Reader Comments
- robertk@jove.acs.unt.edu (Robert Linus Koehl)
Well, the NEWER new Yes studio album for 1997 is out. It's called Open
Your Eyes. Why they changed the title to that from Know is beyond me.
Billy Sherwood makes a great replacement for Rick Wakeman. (especially
since he mainly plays guitars instead of keys, which makes this album
quite guitar heavy) Billy makes a great addition to Yes. He's actually
been working with the band for a while. He co-wrote one of the songs on
Union, and then played backup guitar with Trevor on the Talk tour, then he
produced KTA II, and now he's a full fledged member. I love this
album. There are also a lot of sitars. I personally like it
better than KTA II. The KTA material was great, but this stuff is fresh
and original.
- john1@frontiernet.net (John)
Well, I never thought I would say it but........Don't waste your money on
this one. After the Incredible "MIND DRIVE" on KTA2, (possibly the
best song EVER by Yes),I was really looking forward to this album.
Unfortunately this album SUCKS. It's almost impossible to tell one song from
the next. Each song has an almost identical beat, the exact same
instrumentation, the exact same harmonies, the same song lengths. I would
dare say a Yes tribute band would have done a MUCH better job. I wish they
would "Open their Eyes" and realize this could signal an end to their group
if they make any more albums like this. I wonder if RICK had an idea they
were headed in this direction, or is this just what happens without him?
This album makes UNION look like a classic. I really believe there
is something headed in a very wrong direction with this album, and I hope
they get it turned around right after this. I am still sitting here
wondering how the KTA2 studio tracks could be soo good, and this
could be so bad. By far THE WORST EVER. Getting my point. I hope I am
not disheartening any fans too much, believe me no one more disheartened
than me. Well I guess I better go back and listen to "MIND DRIVE" again
and hopefully drive the thoughts of this out of my head.
- thutley@e-z.net (Thomas Hutley)
This is what Yes sounds like NOW... and every typical "I can't stand
how bad Yes music has gotten in the 90's" fan is crying in their
Espresso. Is it really that bad, though? Well, no... not really. Is it
campy? Yes. Is it cheesey? Sometimes. Is it going to make the top 40?
Definitely not. In fact, your average O.G. Hipster kid probably won't
even know it's on the CD rack. But it's got some good stuff on it.
Honestly. Sure there's moments where the foul stench of over-used drum
beats and lousy lyrics makes you want to toss your cookies. But then
Howe steps in, lays down some pre-chewed chops, and makes everything all
better. He's Pepto-Bismol with a guitar! And he's one of the biggest
highlights on the disc. And besides, not ALL the lyrics are bad. Not
ALL the drum parts are bad. Not ALL of any of it is bad. And when you're
listening to "Fortune Seller" wondering where in the world Rick is, well,
he's at home eating another steak sandwich. But Igor Khoroshev's here...
sometimes... and he does a darn fine job. Plus they've got Billy
Sherwood doing the recording... and playing music... somewhere... I
think. And except for the 16 minute mix-fest that Billy spent WAY too
much time and effort on at the end of the disc, I'd say he's doing a
darn fine job, too. So sit back. Relax. Take a few doses of the pink
stuff. And listen to some genuinely ok music...
- PF90125@aol.com (Patric Satex)
open my eyes.
this album is outstanding. i did like all of the studio stuff on keys 2, but
it did at times lack power...and compelling melody. but it was good.
but this open your eyes stuff is just concise and powerful.
i have been a big fan of billy sherwood since he was first on vinyl with
a drama sounding band called lodgic. and both world trade albums are
so very yessish....and i love his work with my fave yessir chris. so of
course
this album strikes it big with me.
back is the power..the melody..the tight production.
steve hasn't sounded so strong in a long while. jon and chris vox are tight.
this is a killer collection. each song...exept maybe steve's "balcony".
"open your eyes", "universal garden", "the solution", "new state" and "fortune
seller"..
are my faves.
how anyone could not enjoy hearing this modern direction is beyond me.
let them grow, let them make their sounds.
if there is one knock, it's that at times this sounds a bit too much like the
last world trade album/euphoria. the bass and drums are very similar in
texture to that album. so sometimes it sounds like jon is doing some vocals
for w.trade....
otherwise. bravo. bravo..........
- MKST246@aol.com
I just heard OYE this week. Do we really want a "Yes of the 90's?" Yes fans
are a very particular bunch, and love (most) of their music recorded over the
decades (especially w/o Trevor). How can the music be so different from the
fine studio tracks on the new (recorded one year ago with Rick Wakeman...Is
that the difference?) album? It's not bad at all, but why is Steve's guitar
so deep in the mix with few melodic solos? Keyboards, for the most part are
also deep in the mix and sorely missing (ie., Rick's creativity and his
"simpler" piano parts so integral to the "classical' sound) on a number of
tracks.
Some of the newer sounding harmonies are fun (lots of "singing" on OYE), but
none of the songs are the epics that we love to listen to a hundred times &
hearing & finding & discovering something new in the music each time. The
standouts are "Universal Garden" and "Fortune Seller", but nothing stretches
the outer limits of their talents and creativity. "Open Your Eyes" is a fun
single, but may wear thin upon repeated listenings. Listen to KTA2..."Mind
Drive" and "Bring Me To The Power"...They still have it in them!!
I attended the recent concert in Milwaukee (11/15/97), and Yes has never
sounded better. (I've seen them 6 times since 1972...Saw them on the
CTTE
tour first in '72!)
I know they still have it in them! OYE is a nice album, and even fun at
times, but it is definately not Yes at its classic best (ie., what is known
as their "main sequence"...between The Yes Album and
Going For The One).
Give it a listen and have fun, for it is "YES"!
- brill@netsites.net (Brian Brill)
When I began listening to Open Your Eyes and formulating a review, I
was going to be mildly apologetic for the album and the band. But as
I have listened to the music over and over, grooving on the fantastic
sounds, soaring with the wonderful message, and discovering the
subtle textures, I have realized this album needs no apology. It
rocks and the elitist, musically myopic whiners ........well, it
doesn't do them much good to open their eyes since their heads are up
their...........Oh, I'm straying from the positive sentiments of the
music in question. Let's just say it's their loss. I would take a
few more Mind Drives though, I sympathize with that.
- daniel@fhsk.skurup.se (Daniel Reichberg)
My first listen was a disappointment (as is their decision to ignore all
five Scandinavian countries on their upcoming European tour), but Open
Your Eyes have grown on me. At least a little bit.
"Wonderlove" and "No way We can Lose" are still highly unnecessary.
Four songs are very good indeed. They are "Universal Garden", "Man in
the Moon" "The Solution" and "New State of Mind".
The rest is sort of...OK.
NOTHING is as good as the studio tracks on Keys to Ascension 2.
- newsnuts@weir.net (Joe Lawler)
This blows, and there's no defending it...
Worse than Union, and I didn't think that was possible...
What they need is a keyboard player, and a few good songs to go with it...
The 80s stuff was concise, and going in a different direction, which was good
and exciting...
This is just mindless....From the Balcony sounds like THEY'RE NOODLING AROUND
AND PRACTICING, FOR GOD'S SAKE...
This is the first Yes album I've listened to that was so bad I couldn't even
listen to all the songs in one sitting....
Even the cover art looks tired and `let's
get-this-done-quickly-so-we-can-make-some-bucks.'
Buy a Yanni album instead...it would be more fun...
- dembones@pond.net
Someone pinch me... I must be dreaming! This is the best, most consistant
thing Yes has put out since GOING FOR THE ONE, Maybe even CTTE. The vocals
are once again the prime focus of the music with INCREDIBLE arrangements.
The music is very guitar driven with Howe in the forefront (where he should
be) and some parts from newbie Billy Sherwood. Although it's not always
obvious where Sherwood contributes musically, he seems to work VERY well in
the band, and his engineering is excellent. Keyboards are very tasteful,
remeniscent of Downes' work on Drama, and Squire has found a renewed
passion for his instrument. White reclaims his status of world class
drummer and Anderson's voice has never sounded better. Every song is great,
with the exception of the mildly irritating "Man In The Moon." The musical
part of "The solution" is maybe the strongest song on the album, and then
following a 2-3 minute silence, the listener is subjected to 15 minutes of
forest sounds, random wind chimes and wierd spontaneous vocal bursts
lifted from the other songs on the album. It's a little strange, but
hearing the complex vocal parts accapella is a treat, and besides, after an
hour of incredible music, they can do whatever the hell they want! 9.5 of
10!!! :-) YES IS BACK, YES IS BACK!!!
- Doggybag@panda.com (Lance Manion)
OPEN YOUR EYES is not TALES, but if it were, I would've finally written
YES off as has-beens. I love KEYS 2 as much as anyone else, but as so
many contributers have so eagerly pointed out, it is indeed the YES of
the 70's, only nostalgic rather than cutting edge. I know of no other
music that sounds like OPEN YOUR EYES, and while it may not have the
grand structures of "Gates" or "Awaken", it is inventive, original, complex,
and RELEVANT, and definitely warrants repeated listenings. Really worse
than TALK or UNION? I think not! There's nothing wrong with nostalgia,
those who critise YES for moving on with their careers and their music
should crawl back in their caves, dust off the quad hi-fi, Lower the
needle on their Fragile picture disc and play it 'till their ears rot
off. :-)
- D.R.Brown@wlv.ac.uk
Review on OYE. My First impression was of a bad one but I've grown to
liking some of the songs, following is a review of the album.
"NEW STATE OF MIND" - Quite a good song; only cause it belongs to Chris
Squire. However, Steve Howe's guitaring is awful.
"OPEN YOUR EYES" - "Open their eyes" as someone said before. No, it ain't
that bad. A bit of chessy chorus though i've grown to liking it, but
poor backing vocals from Billy Sherwood, who frankly can't sing for
shit..
"UNIVERSAL GARDEN" - Good Chorus "Flowering endlessly though the garden"
or something like that? Bit of dogdy solo from SH, there's a mix half
way though the solo, fading one in and the other out. They should of
made this one into a long epic like "Close To The Edge."
"NO WAY WE CAN LOSE" - If they stuck to D, A, Em, and G in the verse an
chucked the crap overall feel to it, it would of sounded a lot better.
Again, good chorus, nice and melodic. Harmonica why? Crap solo and gtr
fills once again from Steve, it's definitely the sound he's got and
possibly some of his rank guitar playing. Good backing vocals only cause
Squire's singing them. I love the bit from Jon "ready or not" quietly in
the right speaker. Crap ending.
"FORTUNE SELLER" - Like the start, nice bass line but then the song falls
to its doom. Steve why do you always play crap notes? have you heard
them in the chorus? it's awful. It makes you want to cry!
"MAN IN THE MOON" - Why? Very poor song indeed, sounds like some indie
band. The lead vocals done by Billy Sherwood, I gather? sound terrible.
They're way too low, and besides it's an awful melody. Very poor ending.
"WONDERLOVE" - The start sounds promising, but, Ah!, just as I thought,
a big pile of shit!
"FROM THE BALCONY" - "From the balcony they should of hung themselves!"
"LOVE SHINE" - Christian love perhaps? same old faults.
"SOMEHOW, SOMEDAY" - Okay, a bit more like it. though I reckon they could
have done with Trevor Rabin on this one.
"THE SOLUTION" - Cool start, then again plummets downwards. Chorus not too
bad. I hate Howe's guitar playing, he is so bad at making up a good solo,
and generally filling in.
This album isn't really worth buying, as my good friend said after I
showed him the tape "Well I've saved me self 10 there then!" Billy's
backing vocals are crap and too high up in the mix, he can not sing.
Howe can't play properly anymore! I noticed it on the Union and AWBH
tours. The music uses the same form and textures for virtually all of
the songs. Repeated backing vocals in all similar places, drums mostly
driving in 4/4 (though I don't blame White, he's still the thunder
machine to me), crap endings.
There are however some good ideas on this album, dump the craps ones
like "Man in the Moon", "Wonder Love" and nearly all of side B, Get rid of
Billy cause he can't sing properly, and exchange Howe back for Rabin to
redo all the guitar work, if can you call it guitar work? and then you
might have a good album worth buying. It's still good to hear that
Squire's contribution is still as crisp and precise as ever, and so's
Jon's singing.
- jarendo@ibm.net
My friends, OPEN YOUR EYES... This album really SUCKS...! THE WORST
EVER... Don't waste your money on this album...!
- pht@lacasa.com (Peter H. Tag)
I have spent much time listening to both KTA 2 and OYE and
surprisingly, since OYE came out, I haven't listened to KTA 2. Even
though I feel that the studio songs from KTA 2 are excellent, it has
become apparent to me that OYE is 90's music more so than KTA 2, i.e.,
more appropriate for the times. OYE is a very, very well done album
that has really grown on me with more frequent listenings. There is a
bit of everything that makes Yes what they are incorporated into this
album. Meter changes, major to minor key changes that nicely parallel
the lyrics, crisp and imaginative guitar work from both Howe and Squire.
One of the songs ("Somehow Someday") even has two meters layered on top
of each other in some sections (6/8 melody over 3/2 rhythm section
lines) and is quite interesting. Throughout the album, Squire basslines
and White drum lines are often unpredictable and synchopated which I
find to be a refreshing change from most of the standard 4/4 rock-beat
work put out during the Rabin era. One of the aspects of OYE I find most
appealing are the vocal harmonies. Something is a bit different here
than in most Yes efforts and I find it to be very pleasing as it adds
yet another dimension to the music. While no piece of music in this
album will likely be considered a Yes classic, the songs are tight, well
integrated and innovative (within the domain of rock and roll music). I
feel that this album conveys the spirit of the band nicely as each song
differs significantly from the others signifying the "perpetual changes"
that we all go through. From the range of comments made by other
reviewers, it is clear that this is not an album for everybody. OYE has
hit me the way Jon Anderson's Animation did. I almost threw that one
in the garbage after the first few listenings thinking that all the
songs sounded the same and that they had departed too far away from the
Jon Anderson sound I had grown to like. But, I hung in there with it
and discovered a new sound that I grew to like and appreciate. Only
time will tell, but I think this album will be recognized as one of the
more original Yes pieces of work.
- freddot@cajunnet.com (Alfred Landry)
After waiting so long for a new studio album with this almost classic
lineup, what a disapointment. The new material on KTA2 was so good. What
happened between these two albums?
- windstorm@geocities.com (Robert Reynolds)
Just got Open Your Eyes for Christmas, which, to my chagrin, I had no
idea was even being produced! Doh! Nice marketing! Slip in the CD, and
it's a thing that makes you go "Hmmmm!" The first two tunes are
excellent....in fact, I think I'll tape a copy of the title track and
stick it in the divorce papers..hehehe! This is a different album, for
sure, one that I find I must judge on its own merits because it doesn't
really compare to anything else Yes has done. I DO like it, though.
- rderby@erols.com (Robert Derby)
Ya know, it amazes me that so many people really have no idea what
making music is all about. Do the fans really think that a group like
YES sits back and says to themselves: " we have to replicate "mind
drive" or we have to get the vibe of 90125" or some damn thing? Here's
some news folks... THEY DON'T!!! I'm sure YES would always prefer that
their newest work is accepted by the music listeners but it is more
important that they accept it. That is how a band grows and the music
remains inspiring. A stumble here and there may occur (and incidentally
OYE is in no way a stumble!) but if it is a true musical effort it
remains acceptable. This by no means suggests that Yes has never
stumbled.
OYE is different than the studio work on KTA2. So what. That
makes it bad? Sometimes Mark's "Celestial masses..." opening is
approprate for some YES fans. This is a pleasant "pop" album from YES.
Some really good songs and some that don't quite work. "State...",
"Open...","No Way...","Fortune..." are very enjoyable and include many
"YES stamps" in them. The "misses" are hardly unlistenable. This album
seeths effort! AND FOCUS. I've enjoyed it and look forward to what YES
is inspired to do next.
- lledesma@amag.edu.pe (Leonardo Ledesma)
Open Your Eyes came, for a start, just too quickly after KTA2. And
it's ENTIRELY different. The cover reminds me of the original Brit
edition of Yes in 1969 (and this is because this record was first
considered a rennaissence for the band and it was to be called simply
Yes, a most confusing decision luckily abandoned). The inclusion of
Sherwood gave Yes something it distinctly has not all those years: an
American member. Billy was kind of a second-rate member from some time
ago and now the weight of being officially the "newest" is upon him. The
songs of this album remind me in places Drama and Union. The first
single, the "radiophonic" title song, seems a bit like the Rabin Yes
without Rabin. I didn't think this could actually happen, but in some
songs I even miss Trevor for good. The main input seemed to have come
from Chris this time, with Billy's help, including some tracks intended
for his new solo effort. How come "Man On the Moon" is in this album?
I like "Universal Garden", "Fortune Seller" (with some silly parts but
with Steve calling for attention), "Wonderlove" and poppy "Love Shine"
(or whatever the hell it's called). Chris sings a lot, actually. The
track following "Wonderlove" (think it's "From the Balcony") has guitar
intro part that is a rip-off of Lennon's piano part in the song
"Imagine". Many of the other tracks sound very similar. I know Billy's
doing a lot in there, but can't put my finger right on it. Igor's keyboard
guest parts are few but noticeable. Porcar'?s part is not so distinct
(Billy could handle it). The overall sound has keyboards in the
background and I missed Tony this time (how can many blame him of not
being Wakeman and at once praise this virtually keyboardless album
instead?). Steve is a mystery on this record. I doubt he contributed
much composition-wise and his guitar parts come to the front just in
three songs (some other solos even sound as Billy's playing them). And
even these bright exceptions from Steve don't stretch his very-known
formula much. For most of the record, I had to reread the record credits
to convince me Howe was actually there (and, since Union, even this is
not so reassuring anymore). The main merit of Open Your Eyes seems to
be its keeping the flame alive looking at the new millenium, with Billy
maybe equalling Rabin's role in the 80's. Let's hope this doesn't mean
the music will be as such. I give it 6/10. But later listenings can make
me change the qualification, for BETTER or WORSE. And let's forget the
collage of sounds at the end of the album, seemingly going on forever.
Something's Coming. Now this is what I called a good album. Since
I knew the BBC taped some Yes radio shows, I dreamed of it being
officially released someday. Some low-to-almost decent quality bootlegs
appeared featured some sessions, but that wasn't enough. The two BBC
tracks on Yesyears were the tip of an excellent iceberg of music, both
in sound as in content. The musicianship of the original members of Yes
should not be, IMHO, put to question. Banks is a damn good guitarist,
always has been since Yes early days. His jazzy feel in many songs give
that extra edge that makes the difference. And Kaye WAS a musician fond
of tricky fleeting-finger parts (not just on organ, as many think, but
on piano as well and a bit later on moog). Bruford's mastery shone from
the beginning as well as Squire's bass. It was Anderson's voice that
sounded a bit lower and wilder for what we hear from him nowadays. The
list of the tracks include many reprises, looking for completion of the
songs actually played, and each version has its own feeling. Those songs
originally featured in Time and a Word are played without any
orchestral backing this time, letting the five guys show all of their
talent. There's even a "new" song, "For Everyone". Let's hope some day
many more songs from those days will come the light of day (bootleggers
had secured their sales for awhile longer). More important, we have
Peter Banks in a "new" Yes album since 1970, and he also helped with the
notes. Having heard the officially released BBC sessions of The Beatles
and Led Zep too, I think Something's Coming is (apart from the songs
themselves) the best of the lot because it contains all the shows and
excellent sound all the way. The 2-CD album has material for what would
be a 3-record set in the vinyl days. A MUST for your collection and a
precious piece of history (including the not-so-attractive but original
Yes logo on the cover). But I would prefer a different cover (that
band's photo is so 60's-ish), maybe a Dean painting, disregard of the
Yes period it would evocate. My qualification oscillates between 8 or 9
out of 10.
- Crlwrt@aol.co
I have been a yes fan since 1974, have enjoyed their soaring and goofy moments
alike. What I am so tired of is the vague and far and away "cosmic spriritual
message" that is ingrained on so much of yes's recent work, I think it peaked
on Union, but you see it start to creep back on this disc. Jon, if you have a
message, just write it on the sleeve. The Music on OYE is tremendous to say
the least, and Howe definitely puts the last coffin nail on old Trevor's
dirtbox. The one song that sucks of course is "man in the moon" (is there a way
to burn tracks off a cd?). The songs are a bit packaged for the likes of yes,
but they are for the most part good. "Somehow Someday" borrows some old lyrics
from a long forgotten Anderson solo album I used to have but have lost the
tape and forgotten the name (can someone help?) I particularly liked that
track. All in all, if you like Yes, take a chance on this one, its much better
than the last few.
- tabasco@worldnet.att.net
I must say it looks like a boring album but damn it it rocks like a rocking
chair. Open Your Eyes and discover Yes is back. "New State of Mind" opens up
with a great lyrical mellow. Squire even does the lead vocals. Sounds great
but i should have waited until next month when the surround sound comes out.
Title track, i first heard the mono version of this it sounded good but the
stereo version sounds a hell of a lot better. "Universal Garden" was my least
favorite track to much scratch in this. "No WAy We Can Lose" shows an
improvement. "Man In the Moon" (Round and Round And Round I Go) I love this
song. Yes never in my opinion had silly lyrics but on Tormato
"Arriving UFO" was kinda funny. "Wonderlove" is totallly One In A Million
things a band would ever do and get it to sound right but Yes did. Great
track. "From the Balcony" is a true song about me when it all Starts off Now
I've Heard You Singing, I heard a sweet voice from the balcony in my high
school auditorium. SHINE SHINE SHINE on you crazy Diamond. "LOve Shine".
The chant sound sounds so spectacular. I love it. "Somehow Someday" was
like a Country Song like a song you would here on vacation. Dreamy sweet
notes of Jon. "THe Solution", well this song better tell me a solution
about failing Biology because i'm on the verge of doin it. Nah, sorry for
blurting that out but what can i say i liked this cd.
- suomi@ozemail.com.au (Keio Sandvik)
This album proves that YES have still got it (whatever IT is).
Still able take you where you don't expect (pleasantly).
What's good is that they're always willing to try something new.
Not perhaps their best but definitely one of their better ones.
The more I listen to it, the better I like it.
"NEW STATE OF MIND" - Clever. Plenty of (vegetarian) beef. Yes are back!!!
Chorus borrows melody from theme in "The Revealing Science Of God". I wonder
if there are parallels (sic).
"OPEN YOUR EYES" - Power pop. Catchy. Did you know you could sing The
Beatles "Eight Days A Week" to the chorus. Many elements of this Yes track
are in the same "mode". I must try listening to the Beatles song backwards
and see what else happens. I think my medication is wearing off!
"UNIVERSAL GARDEN" - Shades of "Awaken" and "Shoot High Aim Low". Powerful
stuff. This track demonstrates Yes' magnificient ability to combine joy and
positivity with awesome power. (As it should be).
"NO WAY WE CAN LOSE" - An acoustic guitar sing-along that grew and grew and
grew and was then given the Yes polish. Great sentiment.
"FORTUNE SELLER" - Hang on if you can. Full of surprises. Classic Yes.
"MAN IN THE MOON" - This one will annoy the 'Yes-police'. Sounds as if it
was influenced by a lullaby or a childrens song. Fairytale imagery.
I didn't like it a first. To me it sounds as if the lead vocals on Man In
the Moon are sung by Chris and Jon, not Billy. However the phrase "on my
own" is by him. Stop picking on the man!
"WONDERLOVE" - Almost great. Gets better with listening. A few vague bits.
A Howe/Anderson baby, I suspect. Steve, were the guitar parts your
definitive takes? Nice ingredients, should have been baked a little longer
before finishing though.
"FROM THE BALCONY" - errr....nice. Intention and execution doesn't convey
enough to the uninitiated though.
"LOVE SHINE" - Straight 4/4 positive sentiment Yes-Pop. Would have been
mind-blowing in 1968's California.
"SOMEHOW...SOMEDAY" - You know, I'd like to hear a cover band try to do
this one! Especially the 3/4 melody over the 4/4 rhythm with backing
vocals. Chorus melodies are based on "To Be Over" (Relayer) whereas some
verse components are from Jon Anderson's "Boundaries" (Animation). A most
unusual Yes piece, but then, isn't that what Yes are all about?. Love it.
"THE SOLUTION" - Hold on to your hats. We are now entering final track
territory. Great build-up. Echoes of Drama and 90125. What? Oh...it's
finished?!? What happened? Should have gone for a bit longer.
"SOUNDSCAPE (?)" - Collage of bird noises (some from a Korg synth. Cheap
and annoying), ocean waves and bits of vocal from the album. Had you
removed the cheap sound-module noises, I would have been more impressed.
Good album. 8/10
- bozmn@shore.intercom.net (Cole Bozman)
Okay, good album. Not good for Close to the Edge reasons (long,
intricate songs), or Drama reasons (grace under pressure...ha ha! rush
reference!), but it's good in its own right. Although what that is, I
can't quite say... Anyway, the real point I wanted to bring up about the
cover was, it's a Yes logo in the center with the album name in small
letters. Exactly the same layout as Yes's last album, Talk. Odd
coincidence, or Roger Dean having some fun with Peter Max? The world
may never know.
- DUGTURN1@aol.com
YOU CAN GRASP AT STRAWS ALL YOU WISH, TRY TO FIND THINGS IN THESE LAST 2
DECADES OF YES MUSIC THAT CONVINCE YOURSELVES THAT THEY HAVEN'T "LOST
IT"....BELIEVE ME I HAVE TRIED....HOWEVER, FOOL YOURSELVES AS YOU MUST, I HAVE
CONCLUDED THAT THERE IS NO USE TRYING TO CONVINCE MYSELF THAT YES DOES NOT
SUCK NOW. SURE, THEY WERE ONCE GREAT...SO WAS RUSH, VAN HALEN, BLACK SABBATH,
IRON MAIDEN, KING DIAMOND, JOHN DENVER, METALLICA, OZZY OSBOURNE, STYX, ELP,
ALICE COOPER, MELANIE, PINK FLOYD, DEEP PURPLE, PAUL MCCARTNEY----YOU GET THE
IDEA---NOW THEY ALL COMPLETELY AND HORRIBLY SUCK. NOT JUST KIND OF BAD, BUT
HORRIBLY TERRIBLY OFFENSIVELY DISAPPEARING INTO THE ABYSS WITH ABSOLUTELY NO
CLUE AS TO WHAT MADE THEM GREAT AT ONE TIME. IT IS SOOOO SAD, BUT I WILL NOT
LISTEN TO A BAND'S NEW ALBUM 400 TIMES THEN DECIDE "HEY THIS IS OK!" WHILE
TRYING TO DENY THE FACT THAT IT IS SHIT. YES ALONG WITH THESE OTHER BANDS
SIMPLY HAVE NO IDEA ANYMORE OF WHAT MADE THEM GOOD, AND SEEM TO DIG THEIR
GRAVES DEEPER RATHER THAN JUST LEAVING WITH DIGNITY. BUT I MUST SAY THANKS
FOR RICK WAKEMAN AND CHRIS SQUIRE'S INPUT ON THE LAST GOAT ALBUM "HAMMER THE
CHICKEN MACHINE".....THE COMBINATION OF CHRIS AND GEDDY LEE ON THE TRACK
"DWARF IN A BUBBLE" IS AMAZING!!!!!!!!!!!!!!!!!!!!!! AND MUCH TO PRINDLE'S
DISMAY, GEDDY INTERJECTS THOSE HIGH NOTES AGAIN OVER GOAT'S AMAZING
VOCALISTS.....WOW!!!! THANKS, GUYS!
- compserv@vettweb.net.au
This album reminds me of Going For The One in its ringing, trebly vocal
intensity. Also because it is so different from Keys 2, as Going For The
One is so different to Relayer. They've almost fallen into a Rush album
structure, with songs between 4 and 6 minutes, mostly with a similar
sound. The complexity of the song structure is still there though.
New State Of Mind
Strong start to the album. This song and The Solution have a strong
World Trade/Billy Sherwood influence.
Open Your Eyes
A really strong song. One of my faves on this album.
Universal Garden
I'm still trying to work this one out. The reasonably ordinary chorus
almost jars against the weird time signature of the verses. Being the
longest song on the album, this is actually the shortest 'longest song'
on any Yes album. Just a bit of useless trivia there.
No Way We Can Lose
This reminds me of a 'let's just slouch about on the couch and play
guitars and smile and be happy' kind of song. It's got that relaxed,
singsong feel to it. Spread your arms and smile at the world. Chris
sounds like he should be sitting around a camp fire at night while on
some cattle drive. Some people can really play the harmonica. Chris is
not one of those people.
Fortune Seller
Another one of my favourites. No that's not misspelled. Let's just hope
that Igor gets promoted to full band member. From everything I've read
and heard, he's the man with the keys. The only thing that gets me about
this song is Steve's steel guitar doesn't quite make the high notes. For
some reason the vocals just seem too intense following No Way We Can
Lose. Strange?
Man In The Moon
Oh well. Give Chris a break. He is a bit of a clown. It's not a bad song
really.
Wonderlove
Starts off okay, but the vocals seem really disjointed, giving the song
a kind of tunelessness. Things improve when the song switches to a minor
key.
From The Balcony
When this song starts, it sounds like Jon's trying to stand something up
that just keeps falling over. The melody flops around a bit before
taking a turn for the better. Then when he does his 'lalala' bit, it
just sounds so much like they simply lifted it from some old Simon &
Garfunkel record. In the end it's a nice song.
Love Shine
Yeah well, what can I say? This sounds like Kylie Minogue, back when she
could be so lucky. Does this song grow on you? It's trying to grow on
me, but I'm not sure I want it to.
Somehow... Someday
This is a very interesting song, with it's combination of 3/4 and 4/4
time signatures (not that they haven't done this before). They sound
like they're being real careful when they play this song, as if they
might muck it up at any moment.
The Solution
Jagged guitar, Billy plays a lot on this song. Those guitars are thick!
Two Minute Silence
Undoubtably the quietest song Yes have ever done, and probably the
easiest to play.
Close To The Beach
Up in North Queensland they have a saying to entice tourists: 'Where the
rainforest meets the reef'. Well that's where they must have recorded
this track. That is, if we had electronic rainforests and rather windy
sounding electronic reefs. I wish they made this a separate track from
The Solution.
- jose.neto@eruorscg.pt
yes, they are bad. yes, they are worst than that. no, they're not the
worse.no, don't listen to it. yes, you'll feel much better. no, i won't
say anything else.
- ssvsoft@online.no (Snorre Serigstad)
I used to like this album, but my perspective has changed a
bit. "New State Of Mind" is great. "Universal Garden", too. The title track
is, well, acceptable. But "From the balcony"? AARRRGHHH! This HAS to be a
joke! Jon used sing some great vocals, but he must have damaged his throat
before singing this one. "Wonderlove" is dangerously close to the 80's, and
"Love Shine" is THE WORST GARBAGE I've EVER heard! "1-2-3-4-5-6-7-all good
people" and "I won't sleep again until I sleep again with you" combined with
a pathetic, cheap melody= NO! NO! NO! Close Your Eyes!
The new Yes album that is being recorded at this very moment is supposed to
consist of "longer songs". If I have listen to fifteen-minute-long "Man In
The Moon"s THEN I'M GOING TO DIE! Sherwood did a great job with "The More"
on UNION. Why isn't there any tracks like that in OYE? I know the current
members of Yes are capable of making sooo much better music than this! OYE
has its moments, but it's faaaaar between them.
- Melodie83@aol.com (Joe)
I wish Yes would listen to the title of this record ,there is not at least
five great tracks total making this album a must to buy I mean nothing,I
bought this record a few years ago and I listened to it maybe five times .any
great record i listen to at least 20 times the title track is the only decent
song.where has all that talent gone?Jon's voice still hits those high notes
and the band still plays very well but the songwriting is awful, for those
Trevor Rabin bashers don't you wish he was back now at least he could come up
with great material now there is none.just listen to old Yes and let's hope
the next album will be 20 times better than this.I will give it a 3 that's
being to kind
- Borart@aol.com
It's astonishing how bad this album is considering the level of four out of
the five musicians involved (I'm not counting Igor in this because his role
was, unfortunately, perfunctory). I'd rather hear them belch for 45 minutes
than play this disc, surround-sound or not. At least the belching would be
interesting and, more importantly, more honest and creative. There's a reason
why on their last tour they chose only to do Open Your Eyes live because the
rest of the songs are an embarrassment to their talents and their legacy.
There's a reason why Steve hated this album, and it's got to be because: A.
the songs are all overlong and underexecuted, B) the sound is too thick and
it's hard to differentiate between the different textures and instruments,
and C) it has just one style and not a combination of Alan, Jon, Chris and
Steve. I'm leaving Billy out of this because after seeing him live twice with
the band, my freinds and I agree: he brings nothing good musically to the
table. If the next disc, The Ladder, is anything like this, then, Houston, We
Have A Problem.
- stoo@imsa.edu (John McFerrin)
YES! I love this album! Man in the Moon is a little irritating, but that's
it. And, I don't see what's so offensive about From the Balcony. I give it
a high 8, low 9.
- johnbenn@hotmail.com (Ben Haryo)
OPEN YOUR EYES sucks. I will give it 4 stars, and that's only for
Igor's nice organ solo. The songs are poppy-chopsy that's too weak
to make it to Top 15 and too weak to give us similar impact of
CTTE. The guitars are uninspiring, the basses weak, the drums are
OK, Jon's vocals are excellent as usual, but the keyboards is
really really weak, except for the aforementioned Igor's organ
solo. I love YES, and I will keep OYE at my collection, but if
YES ever comes out with an album like this again then I will
boycott their show.. should they ever come to Indonesia ;-)
just kidding. Please bring back Pat Moraz to play keys!
- michael.blume@gte.net
OPEN YOUR EYES. The only great album of this here "UNION Yes" era so far.
I do agree however with you about giving it a few listens. The production is
too slick to do the album any justice, but after a few listens, you finally
begin to appreciate it more than before. "New State of Mind" is a perfect
example of how Yes still maintains that "Perpetual Change"-patented
creativity, where they play that same melody over, but in different styles
to make it sound like a futuristic juke box enhanced by the enchanting
choral force so unique and beautiful like they've always done throughout
their career, and never lost the knack for it (especially in their elder
ages). In fact, they pull off great chorus harmonies throughout this album.
"Open Your Eyes" is an upbeat, exuberant tune so damn catchy, it's the
"(I've Seen) All Good People" of the '90's. "Universal Garden" is what I
consider the "And You and I" of the '90's as well because it's applied
with the organic, orchestral-sounding formula that "And You and I" has maintained. "The Solution" is a lot like "A Venture" in many ways that
makes it sound so adventurous, even if it's only five and a half minutes.
"From the Balcony" begins with a lovely acoustic guitar chord played by
Steve Howe for a few seconds, and then comes Jon's pleasurably
brilliant voice that hasn't deteriorated at this point. That song (besides
"Somehow, Someday" of course) proves that even today, Jon had aged very well
through his voice. The only stinker in this album is "Love Shine". The
lyrics sound totally dumb, and the music to it sounds like generic
electronica music as far as I'm concerned mainly due to those suck-ass
keyboards they used in the album. The really strong points are: A) The
beautifully harmonized vocals
B) Steve Howe's amazing
guitar playing
......and finally C)
Their songwriting is at
an all-time high (except
in "Love Shine")
Overall, I give this album a 9 out of 10, regardless of the slick production.
This ain't "CLASSIC Yes" or "RABIN Yes", but a different
breed of Yes that fits well into the "UNION Yes" era. UNION and
TALK had
some good songs too, but they reek in consistency.
- haryohimawanto@hotmail.com
John, you're a PRICK! How could you boycott YES just because you
don't like OYE? OYE is bad, but not disastrous and YES still play
old songs in concerts. I'll be the first to greet them on the
airport should they ever come to Indonesia. In the meantime,
I hope you become LIMP, John! ;-[
- Adrian.M.Rush.8@nd.edu
KTA 1 and 2 have a few nice moments but are mostly '70s redux.
The band
doesn't break any new ground and tries too hard to replicate its own
sound. Same goes for Open Your Eyes, except it's just '80s redux. Nice
harmonies, which hearken all the way back to "Beyond and Before" on the
first album, but for the most part the songs are bland and
interchangeable. Sounds mostly like an unfortunate collision of Big
Generator, Tormato, and some Asia album. Bleah.
- michael.blume@gte.net
OK. Maybe I exagerated about their songwriting on Open Your Eyes
being at an all-time high. What I meant to say was that the songwriting is
stronger than on UNION and TALK. That was what I meant to say
about OYE. Anyways, I'm changing my rating to an 8/10. No more, no
less. It's not as good as the Rabin-era stuff, and the Howe-era stuff, but
it's as good as TALK. I still think that "Love Shine" (which has to
be my least favorite Yes song of all time) sucks, and that "Man In the
Moon" is just OK. Wonderlove is terrific in its first half, but then shows
itself as being half-baked by the end. Now here is my TOP 10 Yes albums
list (of all time, that is). If you had read my Top 5 below the GFTO
review, that was of the Howe era only, not of all time. Anyways,
here you go:
TOP 10 YES ALBUMS OF ALL-TIME
1.)CLOSE TO THE EDGE (That album can still kick the living shit out of
TALES anyday.)
2.)GOING FOR THE ONE
3.)THE YES ALBUM
4.)RELAYER (Yeah, it's messy, but it ROCKS!)
5.)BIG GENERATOR (IMHO, it's better than TALES.)
6.)90125 (Same reason w/ Big Gen.)
7.)TALES FROM TOPOGRAPHIC OCEANS (The reason it's weaker than
90125 and Big Gen. is that it meanders at points!!!!)
8.)FRAGILE (A couple of the solos drag the grade down from a 10 to an 8.)
9.)OPEN YOUR EYES
10.)TALK (Not as consistent as 90125 and Big Gen., but is still an
8 out of 10.)
Well, that's about it for now. 'Til then, I bid you good day, and tell 'em
Rabin-bashers to eat dirt for slamming Trevor Rabin too.
The Ladder - Beyond 1999.
The more i listen to it, the more I love it. Yes, it sounds like a Jon Anderson
solo album, but I'm fairly certain that he never made a solo album with songs this endlessly
catchy. Just WONDERFULLY catchy songs! I really hated it when I first heard
it, but, like the ABWH album, it eventually grew on me and made me love it.
Original grade - 5. Here's my original review, explaining why I used to
hate it so much. I was a dumdum!
I nearly shat myself with sadness when I listened
to this CD for the first time. After all those promising years of comebackitude,
THIS is what they've decided to do? A bunch of simplistic, boring adult pop
songs? Where did the angelic harmonies from Open Your Eyes go? And
what happened to all the beautifully catchy litle melodies? This
sounds like a damn Jon Anderson solo album, for Pete Banks' sake! (and not
a very good one....)
So I, of course, listened to it a few times, hoping
to find some light in the din. And I found the light. There ARE some really
nice passages on here -- simplistic, yes, but still catchy and at times pretty.
Both of the long songs have lots of good parts and "Face To Face" does a real
nice job of integrating those hip electronica sounds into the traditional
modern-Yes formula. But most of these songs are just icky. Embarrasingly
generic - like Phil Collins generic. That's why I'm kinda blaming Jon for it,
even though it might not be his fault. The songs just SOUND like stuff he
would write. No surprises. No fun. And the single, "Lightning Strikes,"
HAS to be the dullest single they've ever released. Jesus, it's essentially "La
Bamba" in 7/4! Or "Teakbois," remember that one? Ah me.
Now let's get
something straight here. The album doesn't SUCK ASS. It's actually okay, and
may very well provide you with a good deal of entertainment. It's just a
major downer because the last three albums were so promising. For a while
there it seemed as if Talk and Union were just a pair of Rabin-inspired
mistakes. It no longer feels that way. And all I can say about that is "rats".
But you know, this IS their fourth album in four years. And that's a hell of
a lot of material from a band this old. Maybe they just stretched themselves
too thin. It's very likely that if they take a few years off to rejuvenate
as a band and work really hard on their next batch of tunes, it'll be their
best in years. Sure! Why not?
- Reader Comments
- stoo@imsa.edu (John McFerrin)
I hoped, and hoped, and hoped that you were exaggerating what you were
saying about The Ladder, but after listening to the album a number of
times on real audio, I have to agree with your assessment. Besides the
fact that these songs are far too generic for their own good, there's also
the fact that I _really_ don't like the vocals on this album. I mean, they
don't sound bad or anything, but there's too much Jon and not enough
harmonizing, just like you said. Grr.
Oh, and some of the lyrics make me feel really uncomfortable; there's just
something wrong about hearing Jon Anderson singing "everybody wants some"
(although, as somebody pointed out on alt.music.yes, it would've been
worse if we had had Squire singing in the background "I want some too").
That being said, I really enjoy the hell out of the two long songs.
They're really gorgeous, catchy, and all those good things. Oh, let's see,
I like Finally for some reason. All in all, I'll give it ... ehn ... as
much as it pains me, it only deserves a 5.
It's odd; so many people have commented that in many ways, KTA2 is to
Relayer as OYE is to GFTO, which is fine, except that inevitably, the next
album was going to be like Tormato. Urgh
- windstorm.geo@yahoo.com (Robert Reynolds)
Alright now...it's not often that I disagree with the general sentiment
established by other reviewers, but this wicked lambasting of The Ladder
goes too far. This is the best, most original, most ani-sellout album
they have released in a long, long time. It sounds to me like they
finally gave up that propensity to over-instrumentalize,
over-spiritualize, over-produce and over-cater-to-the-masses. This is
Yes back to being true to Yes, saying "stick it" to the rest of the
world. It is defiantly Yes, a mature Yes, neither old or new, but
something evolved and extraordinary. There isn't a dog on this album,
which can't be said about their last...hmmm.....four? All of the songs
are original and surprisingly upbeat. There's a vocal and melodic
variety on this album...when was the last time you heard Anderson really
belt out a song like he does on "Finally"? When was the last time you
didn't have to force yourself to stay awake through a drivelling
lullabye? It doesn't even have to "grow" on you like Talk and OYE had
to. The Ladder is remarkable achievement that deserves respect and place
with the greatest of Yes albums. A Tormato redux? Insane.
- johnbenn@hotmail.com (Ben Haryo)
I want to comment to all you people who keep on dissing Jon Anderson, Geddy
Lee, Dennis De Young and Uriah Heep because they sound "sissy". Ah come on!
High-vocals harmony are cool! That is what gives the soul to Yes songs from
the beginning to The Ladder. No high-vocals, no "Close To The Edge", and
no "Owner Of The Lonely Heart", you asses! And don't you ever dis the
musical talents of Styx! Can you do the keyboard solos on "Come Sail Away",
the accordian and sitar on "Boat On The River", the guitars of "Sweet Madame
Blue" or the organ on "Southern Woman?" You can't? Then shut up!
I can, personally!
- Jconlin@irvinechev.com (Jim Conlin)
Although The Ladder is not the equal of CTTE or Relayer (what is?),
it is still a pleasing artistic record. Surprisingly, it seems to
harken back to the Yeswest period as much as their 70's classic. It
acheives a nice balance between the two. It is certainly better than
OYE, which to these ears anyway, sounded very trite and derivative.
Igor Koroshev fills in ably on the keys, and Billy Sherwood remains, at
least in the recorded music sense, invisible. Chris and Alan remain
solid and Chris even manages to restore his bass to the rumbling
semi-dominance that it truly deserves. Steve plays like he is actually
enjoying the procedings. Jon's babbling brook like lyrics seem to be
more Earth based than usual, even if he isn't (Divine Mother my ass).
Yes at least show that they still have viable ideas after all these
years, unlike other prog veterans such as Genesis, whose Calling All
Stations album was almost an insult to the greatness that Genesis was.
Are Yes capable of CTTE 2 or even a 90125 follow up? Probably not, but
if they continue to record music of this quality they will still be
light years ahead of most bands operating today. 7/10 as Yes album 8/10
against the rest of the music world.
- Borart@aol.com
Houston, not only do we not have a problem, we are in orbit! What a breath of
fresh air this album is, given the putrid Open Your Eyes. From the opening
notes that Steve plays, with some nice support from Billy, I knew I was in
for a treat. I find very few adult-contemporary passages on this disc, with
the exception of It Will Be A Good Day and If Only You Knew. But even then,
rather than have the songs wallow in a vat of treacle, these songs are given
the appropriate Yes touches. Listen to any Phil Collins or Michael Bolton
single and then listen to If Only You Knew and tell me which song shows more
maturity and which you would more likely drive into a brick wall at 80 mph
while listening to these artists. Just make sure you have air bags because I
want to hear your opinion. Lightning Strikes is a great radio single, and I
heard Chris' explanation of the opening music to Lightning Strikes as coming
from an old mellotron. That, to me, proves that they had a great time making
this record and wanted he listener to share in their sense of fun and
camaraderie. My favorite track has to be New Language. The instrumental
beginning reminds me of the Boston instrumental Foreplay off their first
album, but the rest of the song is so buoyant and energetic that I can
forgive them this. Steve's acoustic solo shines on this track is so sublime
that you think, yes, he doesn't need an electric guitar to make a great solo,
that the acoustic fits perfectly into the structure. Chris is thunderous and
inventive throughout, and Alan just gets better and better with time (not
age), but what else do you expect? Igor's keyboards are terrific and a nice
complement to this more mature-sounding Yes. He doesn't try to imitate Rick
or reinvent the keyboards. He simply brings his gifts to the table and lets
his talents speak for themselves. Billy contributes some really nice vocal
harmonies and doesn't try to muscle in when not needed. I think the axiom
less is more is appropriate in Billy's role in the music. Jon's lyrics, while
they may sometimes be impenetrable, are direct here and speak of an unbridled
optimism here. His voice, of course, continues to amaze. Nine Voices is a
great song to tie the whole album together, and is reminiscent of All Good
People, which reminds the listener that everything old is new again. I
cannot say enough good things about this disc, except that I look forward to
seeing them in December at the Beacon in NYC. Thank you, gentlemen.
- stoo@imsa.edu (John McFerrin)
I've changed my mind about the album. Sort of.
After a bunch of listens, I have come to the conclusion that with a little
bit of editing, this would easily rate an 8 or a 9. Cut off the ending
chunk of Homeworld (from 7:45 onward) and chop out If Only You Knew and
To Be Alive, and maybe Can I?, and suddenly the album is about 46 minutes
of marvelous sounding modern-day Yeswork.
Oh, and give Lightning Strikes a couple of more chances; there's something
about the way Jon belts out his "take take take take me through the
lightning" that somehow makes the whole song worth it. Or whatever. As it
is, I've decided to raise my grade up to a 7.
- huckcherry@hotmail.com (Xavier Fabriano)
To listen to Jon Anderson sing about cell phones over music that sounds more
like No Doubt than Yes is too much to bear. But then again, what else do
you expect from the producer of Bon Jovi and KISS? No matter what language
they may cloak it in, their choice of producers was clearly a commercial
one. If they're lucky they might be able to hook up with Ricky Martin and
Desmond Child on the next album!
- SCainer@home.com (Selwyn Cainer)
Last night just went to my first Yes concert here in Toronto. At 48 yrs old
it was an eye opener and even got my 16 yr old son to join me and
agree.Could be the fact the venue was small and we are sick of the
20,000plus stadiums already.Nice to be able to see who we are hearing and
what can I say they were great and humble,we felt that we were appreciated
for coming.......
- RC248@aol.com
Dear Friends:
An " original " fan here. Meaning have been listening to them since the
first, bright album, all those years ago. I am moved to write at least a
small piece about the
group Yes. They have become, insidiously, a rather large part of my daily
soundtrack. I say insidious, since they have woven themselves into my sonic
lifestyle. In the past year, I have found myself endlessly listening to ALL
their body of work. Everything !
I can't get enough. Strange ? Maybe, maybe not. They have truly special
qualities that seem to transcend the "pop" world as we know it. I think their
devote millions
speak louder than I ever could shout.
I could go on and on, but I find it a great album. Understand the irony of my
small life, that I am listening to Topographic as I think about
The Ladder.
Ladder is a slight disappointment, I start with that. It has no opus to
really lead us to the new realms
of another Dean cover. Nothing approaches Tales or CTTE in it's pure poetical
distance of mystical other lands. It is that sense of the other, that is the
essence
of Yes to me. That ability to create the landscapes of the mind. Roger Dean
is so
appropriate for Yes. I think of Yes as a vessel. A vessel for you and I. And
you and I
fill that void nicely. I would rather not think that Yes had created a vessel
with
some market makers at their side. I think they hold the banner of iconoclasm
as
high as we can expect. Perhaps this is why we cling to them so desperately. A
final
gasp of the troubadour. This is who they are to me : The troubadours. We have
so
few of them anymore. The gypsy spirit, the wandering soul; in this corporate
world,
festooned with sqwaking spittoons of money and programmed EVERYTHING, it's
reassuring to us as a global village, that, here they come, those divine
asserters of
spirit transcendent. That which is not accessible is what we want. All is
excess, and Yes, give us - nothing.
Ah, sweet nothing. An endless dream, a vessel of hope and the bright light of
a new dawn. Now, isn't that something to wish for ? You seekers of the truth ?
- valet@ccgnv.net
One thought seems to strike me after reading all these reviews of all
these Yes albums: Do any of the albums really "suck ass" and why are we
arguing about which ones they might be? Hey, Yes has had so many
incarnations and changed their style so many times over the past 30+
years that they have found a way to reach almost any music fan of any
genre in one way or another. So my favorite album is Tales, does that
make me some kind of an idiot? What about people who love 90125? I'm not
going to bash them or that album, though the two may be on almost
opposite ends of the music spectrum and I have my own preference within
Yes' body of work. They've done it ALL! Man, what a band... The best
EVER!
On to The Ladder. I have to say it's pretty darn good. The tour was
excellent, especially for a bunch of "old guys." The new songs did well
in concert and the old ones were even better. "Awaken" was unbelievable,
even better than on Keys when Steve for some reason decided to lose the
guitar frenzy of the original studio track in favor of a more relaxed
approach (but still good). Wow! Who else other than Yes could come out
with a title song that's the soundtrack to a computer Game of the Year
by Sierra (Homeworld)? That sure shows me Yes knows how to keep up with
the times while still making great music. Don't expect this album to be
Tales or 90125, though. It's another step in the journey. Take it for
what it is.
The title track does ROCK, by the way, though the last 2 mins are a bit
incongruous with the beginning. And you've gotta like "Can I?" After
all, they're just making fun of themselves by remaking "We have Heaven"
and I for one get the joke and like it. "Hep Yadda" (you have to call it
that once you've heard it) is pretty catchy and upbeat. "Finally" has a
good pace to it and rocks quite nicely. I don't think "The Messenger"
quite hits the reggae note Yes was trying to work, but what the hell,
I'll cut them some slack because I love Bob Marley too. "Nine Voices"
harkens back to Leave It for some pure harmony work.
It finds a place in my heart like all the other Yes albums have, and as
long as I'm never force-fed "Circus of Heaven" I'll love Yes till the
day I die. I'll give The Ladder an 8. Next album please...
- tukangbanting@yahoo.com (Tukang Banting)
I think THE LADDER is a good album! Seriously!
"HOMEWORLD" is magnificent! I am a musician myself, so I understand
that performing the entire THE LADDER
section is NOT an easy task (although
playing CTTE is much harder off course).
I give this album an eight, in the same
grade with GFTO.
- hijinks@utarlg.uta.edu (Thomas Rickert)
I just picked up the Ladder this week, and I have listened to it about
5 times. There is definitely some progress at work here; I consider it
their best effort since Drama (which, I think, is criminally
under-rated). It might even be better than Tormato. My only complaint
so far is a certain creepy, creeping, creepin' me out adult contemporary
new age-y-ness. Martin Page syndrome. The horror, the horror. Ah, maybe
Trevor ruined 'em forever. What I don't hear, that I want to hear, is
the psychedelic influence. You can hear how they have abandoned that in
the keyboard and guitar tones and sounds. It all sounds produced,
processed. Whereas, during Yes' heyday, they through out some of the
most creative, even jarring and dissonant, sounds around. Critics of
the day complained about that! Which, you know, makes it cool. Totally
punk, in a strange sense. But can you imagine, critics bitching about
"jarring guitar noise"? Man, I say, bring on the noise!!
So, what I'm saying is, I don't want catchiness! I want angular
dissonant psych-out riffs and fills, like that totally out there riff
opening the song "Close to the Edge," filled out with other passages of
stunning beauty. But not obvious, new age, processed beauty. But then,
maybe I'm asking too much. They are older, established, creatures now
of habit catering to a fanbase, rather than being young, fiesty, having no
idea of a fanbase and creating out of a sense of the great
psychedelic-musical-spiritual unknown, and fighting endlessly with each
other while doing it. I can't hold it against them for being
comfortable, but sometimes I still do. And I especially don't want them
to make more comfortable music. I want the uncanny, the unheimlich,
that makes me a stranger to myself and see the world all newly and
differently and oddishly fantasically!
- richbunnell@home.com
A brilliant pop album, and just a hair ahead of 90125 in that department
because most of the melodies are instantly memorable. I guess Jon's a bit high
up in the mix, and the songs are more cliched than before ("If Only You Knew" comes
to mind, still a great song) but if Yes are going to abandon their prog roots
completely (don't let the two long songs fool you, they're long pop songs), I'm
glad it's with material like this and not with bilge like the stuff on Big
Generator. "Lightning Strikes" sounds absolutely nothing like Yes - so why
can't I get the freaking thing out of my head? So yeah, it's a great album,
and it continues Yes's rebound from their early '90s albums that started with
the pretty-good Open Your Eyes. A nine. Or at least a high eight (I'm not too
fond of "The Messenger").
- hderby1@home.com (Holly Derby)
Ahhh, so this is what happens when a REAL producer works with a band as talented (yet at times, unfocused) as Yes. Sorta like when Horn
worked on 90125...........
Great beautiful album. Majestic and graceful. 8 or 9 out of 10.
- sonicdeath10@hotmail.com (Eric B.)
strangely enough the FIRST yes album i ever owned. i didn't keep it long.
and then like two years later (seriously) i found this album really cheap (they sell it for like four bucks) and bought it again (as i was amasing a sizeable yes collection) and quite enjoyed the crap out of this cd thank you. homeworld features some of howe's best late period work.
Add your thoughts?
House of Yes: Live From House of Blues - Beyond 2000.
Wow! I have never in my life been so excited! Another live Yes album!
How did I ever survive without it? This is a double-CD, whose highlights
include FIVE tracks off of The Ladder (holy crapola, that album
is SO GOOD!!!!), "Perpetual Change" (sweet sweet "Perpetual Change" - I'm
fond of that tune), really great sound, a ridiculously stupid "blues" jam at
the end of the CD, a bit of bizarre Jon Anderson tween-song patter ("When we
were recording The Ladder, our great great producer -- Brucey! He's
in Heaven now, he's a great guy...."), and Howe-driven (I suppose, unless
Billy Sherwood is playing it) run-throughs of "Owner Of A Stale Pop Tart"
and.... "CINEMA"???????
Lowlights include the fifteen hundred millionth versions of "I've Seen
All Good People" and "Roundabout". They're not really "lowlights," per
se.... just predictable and somewhat unnecessary (except for the duds in the
House of Blues crowd, I suspect).
In short, you don't need the damn thing. You just don't. But if you
don't know Yes, this is as fine an introduction as any. And it makes it
clear exactly how fucking GREAT they still are -- the Ladder tunes are
every bit as exciting and catchy as the classics! Whose head did I
have my ass up when I gave that album such a bad review?
Oh! And one other thing. I really, really, REALLY hate how, in every
live version of "Your Move," they truncate and rush the John Lennon
reference to fit it in before the "doo doo doo doo"s. You'd think with six
different guys in the band, three could do the "doo doo doo"s while the other
three sing "Give Peace A Chance" as prettily as it's song on The Yes
Album. But who am I to smell a rat? Hell, I even miss the original intro to
"Roundabout"!
- stoo@imsa.edu (John McFerrin)
Yeah, it's a great album, no questions asked (except for that blues jam
that makes me want to up and kill something). I don't actually own this
exact version, though - mine is a mix-your-own/promo version that I
ordered from the yesworld.com website during the summer. Mine is
basically the same as this version, though, just with a different track order and
AGP thrown off in exchange for runthroughs of Siberian Khatru, Heart of
the Sunrise, and Starship Trooper from a '97 Japanese show.
Anyhow, I'd just like to point out a couple of things.
1. Cinema and Owner are primarily Sherwood. In fact, Cinema is all
Sherwood, while Owner has Steve coming in at the very end to throw in
some licks in his wonderful "progressive-country" manner. I'd go so far as
to say that they're the best part of this rendition.
2. Two cuts from the show did not make the CD - CTTE and Hearts. I
don't regret the former - every account of the concert that I've read and
heard says that this rendition of CTTE was an unprecedented disaster and
embarressment, which partially came from the fact that they hadn't
played it in over a year. As for Hearts, well, I don't know why they cut
that. What's interesting, though, is that when Anderson makes his
"Billy Sherwood on guitar, plays a mean guitar" comment at the beginning of
Awaken, he was referring to his playing on Hearts, and NOT Face to
Face.
On another note, even if you've bought the CD already, GET THE MOVIE of
this concert. It's fantastic! There are a number of things which make
it wholly worth while.
1. The concert was done on Halloween, and as such you get to see Chris
Squire and Igor in white labcoats.
2. The contrasts between the band members are simply fascinating. One
one side, you have Steve. He's old, wrinkled, looks like a human skull, but
watching him, you realize that he's the guitar version of an
80-year-old martial arts master who can crush you with his pinky finger. And he's
deadly serious about everything he's doing up there, mustering up all
of the concentration he can and then some.
On the other side, you have Chris Squire and Billy Sherwood. Billy
looks like an average garage band punker, with cheezy spiked hair, and Chris
... oy, Chris. A giant, balding bassist, growing a bad teenage
mustache, gallumping around the stage like he's 20 years old, except that he was
NEVER this much of a ham when he was 20 years old. It would be pathetic
if he still weren't so talented and didn't look so over-the-top funny on
stage.
3. It is hilarious to watch Jon Anderson prove almost conclusively that
he is the WORST dancer in the history of popular music.
4. You get to actually SEE Billy Sherwood make a fool of himself during
Awaken, when he's given his his one and only solo in the song and
doesn't even come close to keeping up with the rest of the band.
5. The visuals during the performance of Homeworld are various screen
shots of ships from the actual game Homeworld, and they work
surprisingly well in this context.
- RC248@aol.com
Well, I liked the concert. I think it's great for them to update themselves, and
not much worse for the wear. What can I say ? Steve, yes, a death mask walking,
but hey, his playing is right on the money. Do wish he would just relax, he's not
giving a genocological exam here. You can see he really is quite the surgeon
up there, and I wish he would have some vodka before the show. Jon, with pie eyed
innocence, over viewing the paradise, like some Microsoft COO, seems perfect
for the part.
Igor and Billy, now I like them both, and there they go - flying the coop, just when
we were getting focused on them. I can understand it. Kind of like some merger
lawyers who got better offers. Disappointed, but in Billy's case - letting him go
was a huge mistake. I just finished getting The Key, and Conspiracy, both great
cds and reveal him to be a VERY talented persona. Although, personally I wish
he had stayed, I can really understand it completely. He is a quiet force,
and in retrospect was the perfect traditionalist for Yes. He could have been that bridge
between the older generation and the new. He was a tactical mistake for Jon
and the rest ! He should have been indulged and encouraged ! His taste and
sense of the Yes tradition are special. Damn, the one that got away. And Igor !
He was great too ! What are they thinking ? I think you could keep the kids down
on the farm so long, and if you don't let them get some of the stage, they are
GONE. As well they should be. Imagine, if Steve's EGO could let go for ten
seconds - the duals he and Billy could have done ! ? Kind of a cosmic Allman
Brothers thing. They could have extended the Yes tradition, with some great
long, solos and instrumental pieces. Another opportunity missed. No opportunity ?!
Well, I digress. I thought they were very faithful; the tradition lives, the moment
goes on. We live in the amber dream of days gone, and yet, still here...
- yestrek@midrivers.com (Marc and Denise Hartse)
How many 30+ year old aging rock bands can induce such a disparity of
emotions from all-knowing individuals who can't even play an instrument?
Heck if I know. I just know that for all the band member's faults and
difficulties that they still turn the crank for me. I've followed these
guys more years than I can remember and I'm out in the middle of eastern
Montana where 99.9% of the population don't even know who they are. Enjoy
them and cherish them, because when they're gone they'll be gone for good.
Age is creeping up and I really wonder sometimes how much longer they can go
on. The mere fact they play so well is mind boggling. While watching them
during the Masterworks Tour I really marveled at their continuing skill
while playing The Gates of Delerium. Now we have another really good studio
album in The Ladder and another excellent live album in House of Blues (by
the way, they didn't butcher CTTE as badly as some would like everyone to
believe). I've got a bootleg version of that too. True, if I hear
Roundabout or Owner Of A Lonely Heart one more time I think I'll scream, but
even many of the older pieces they've been playing have been subtly altered
in the arrangements and instrumentations. Usually I don't dive into these
sorts of things, but this time I had to add my two bits worth.
You'll see perpetual change
- hderby1@home.com (Holly Derby)
Ohhh, with out a doubt the best live album the band has ever released.
Whoo weee, listen to Perpetual Change. Worth the price of admission right there.
I agree that I did not need another live version of "Roundabout" or "Your Move/I've Seen all Good People"
Smoking set though!
Not knocking Billy Sherwood, for whom I do have appreciation for, but I think I would have preferred to hear Howe interprete the solo in "Owner" in
his own way, Billy just attempted to 'cover' it and kinda butchered it.
Add your thoughts?
Magnification - Beyond 2001.
Features an orchestra playing along with Yes, which doesn't interfere with the sound
anywhere near as much as it did on Time And A Word (thanks to more sympathetic
production by somebody who understands the idea of MERGING the two bands instead of just
replacing the guitar line with horns). I'm always wrong about Yes albums the first time I
hear them, so forgive me if this grade goes down in the next few months, but right this
second, I'm pleased to say that Magnification flows as naturally and smoothly as
The Ladder, with lots of gentle midtempo pop songs with a really strong mix,
excellent guitarwork (with lots of different tones and styles), lovely lead and backup
vocals and a ton of neato melodies that -- though they are no "Awaken" -- are nevertheless
a heck of a lot more original than you're going to hear from most college rock bands. And
this isn't the uninformed opinion of an old classic rock fan who fears current music. Just
the opposite - it's the uninformed opinion of a guy who HAS heard some current music and is
disappointed how bland most pop music is. Even college pop tends to rely on simplistic
melodies that require no thought or talent. Not so these songs -- Chris Squire is playing
500 notes per song again (the frustrated lead guitarist has come home!), the lovely
violins, reeds and whatnot add a lovely Renaissance feel to the tunes and all the changes
and chord sequences honestly do feel *smart*. Like they sat down and concentrated on
them. By NO means are they as immediately catchy as the 90125 or even Yes
Album stuff, but stay with them and, just like Topographic Oceans, the light
lil' melodies will really win you over. There's no awkward transitions or hard-to-forgive
attempts at avant gardism like those you might have unenjoyed on the long KTA
tracks, nor atrocious by-the-numbers drumbeats like on Open Your Eyes. Just lots of
splendidly Moodybluesish dreamy song things. This isn't a new Yes (they didn't even bother
hiring a new keyboardist after Igor quit!) nor a revitalized "classic" Yes, nor even a
sell-out commercial Yes. It's just Yes and it just is. There is no way that it will have
any hits and there's no way that they could possibly expect it to [although "Don't Go" is a
catchier-than-FUCK (another uninteresting college rock band, btw) McCartney style
bouncer]. I think you should buy it and just dig away at it for a few weeks. It sure
beats Death Cab For Cutie!
I'd originally separated that review into several different paragraphs, but
I decided to get rid of all the paragraph-break HTML tabs. So now the review is a
free-verse poem.
Entitled "Harry Pothead and the Sorcerer's Stoned," if that doesn't
break any copyright laws.
And if hilarious Cheech And Chong style marijuana humor is as
popular with today's youth as it was with the generation before mine.
DAVE? NO! DAVE'S
NOT HOME! HA A HAH1!! AHAHAHAHF!!!!! NO NO! THIS IS DAVE!!! HA HAHAHA!!! NO NO!!!
DAVE'S NOT HOME!!!! HA AHAHAHH!!!! AHAHAHHHAHHAHHAHAAHAHAHAH (*dies to death*)
- Reader Comments
- robertkoehl@msn.com (Robert Koehl)
It's almost like clockwork. Every time Yes releases another album, about
half their fans hail it as a masterpiece and the other half bitch and moan
about how "the old days were better" or they "just need to get (insert
whatever member name here) back, and it'll be cool again." Well, I haven't
hailed a new Yes album as a masterpiece since Keys 2, and I wasn't expecting
to like this one. They gave Billy Sherwood the boot just before their 2000
Masterworks tour, and they booted Khoroschev after the tour was over. This
album, it's just the four of them: Anderson, Howe, Squire, and White.
There's no keyboardist, and in fact, no synths anywhere on the album.
Instead, they've got Hollywood filmscore composer Larry Groupe to compose
and direct an orchestra to back the band up. The result sounds NOTHING like
"Symphonic Music of Yes." Quite the contrary, this is possibly the best
album they've released since loosing Rabin. The opening/title track swells
with power and emotion before cross-fading into a kickass rocker called
"Spirit of Survival." About the only weak tracks on here are the over-sappy
"Soft as a Dove" (which sounds alot like "From the Balcony," and the single
"Don't Go" (which sounds like "Man on the Moon"). Another cool thing about
this disc is that Squire takes the lead vocal spot on one of the songs.
That, and the fact that this thing just flows like no Yes album ever has,
make it fantastic. I'm sure that after its US release this coming December,
Mark will be agreeing with me.
- jn01@mediaone.net (John Nicholson)
I'm reading through some posts above (which are quite dated by now), and I can't believe some of what I read.
One person was bashing all prog-rock groups and claimed KISS to be the pinnacle of music. Geez!
But onto Yes and their new release. Firstly, why are people who hate Yes even reading this site? Not to sound snobby but
it's high brow music and quite frankly Yes never aimed their music to the masses. Thank GOD! There is enough mediocre music
out there for the general population to absorb.
The newest release from the boys is Magnification and with it Yes revisited a 30 year dream of theirs to integrate an
orchestra with their own instrumentation. They never were quite happy with the end result of Time and A Word.
The orchestration back then was a times tasteful but also heavy-handed and added after the fact. With the release of Magnification
Yes comes full circle and realizes what no other group has attempted and pulled of successfully. It seems that the writing sessions
were done closely with Larry Groupe and it shows in the interweaving of orchestra and band. This album could be best
described as a concerto. The best songs IMO are Dreamtime, Spirit Of Survival, Give Love... and Chris' Can you Imagine.
Over Yes 30+ year career they have stretched musical boundries and demanded from the members that the music was the most
important mission and there were casualties along the way....Peter Banks, Tony Kaye, Igor Koroshev, Billy Sherwood, Patrick Moraz.
All in all, the musicianship, writing and creativity of YES is unequalled in any group before or since and they will be missed when they
put their instruments down.
- RC248@aol.com
Having not purchased Magnification yet, I see this as no reason to stop me
from presenting my review. Who actually needs to listen, and not comment ?
We are in the age of self indulgent cosmic doo doo, so here we go :
Magnification is just what I wanted ! A step into the Great Beyond of Yesdom.
A reduction to the essential basics of Yesdynamics. The loss of keyboard ?
Genius @! How better for Yes to indulge themselves more in themselves,
by simply addition and subtraction ? Just take one LESS member - and
there's more room for each ! Less notes to share ! I love it. The symphonic
grandeur, only heightens the ephemeral sense of Oneness, that is Yes.
The sparseness of this allows for tighter focus on melody and a firmness
that allows them all to look over, beyond , and gosh, even into the next
millenium of musical futures. They are higher than the Nasdaq futures
as I write this. We can see they, after thirty years - here's the key word -
KNOW each others. They are the ultimate roommates, and allow for
the exigencies of time and space, so we are redolent in the splender that is
their essential virtuosity. Who needs Rick, when there's more of ME ?
The songs flow elegantly from song to song. Is song ever a fair word ? I think
not ! Each one a carefully crafted life biography in every song ! I feel as if I KNOW
them all personally now. An autobiograpy that IS Yes. Yes as story, Yes as
song, Yes as - LIFE !@!@
I am speechless, which is just as well for us all. I return to the future, and
axiouxly await Union Two....
(a week later)
Actually, a day after I posted my fake review, I GOT Magnification ! LOL.
Anyway, here are some real comments....
I think this is the cd Yes has always wanted to make. My comments that
there is more room for each person, I think holds true - for good and for bad.
The excesses, the pretense are all there. Cosmic doodlings, over reaching
lyrics, you can find it all. And yet, who cares ? The indulgence, as someone
once said, is the preserve of the artist. After all, isn't this perusual of self part
of their joy and pleasure ? I think so. I could stand to see Jon's indulgences
restrained some, but I have come to love his sense of innocence and purity.
If he hadn't maintained that over the Yesyears, who knows - there might not
have been a Yes. Actually after I listened to this, I put on Jon's solo LP,
In the City of Angels, his homage to soul music. ( In my estimation )
I always tend to retrace other work from artists immediately after hearing
some NEW work of an artist. Seems to put things in perspective for me.
This is a great album as well. Jon sounds so fluid, and he seems to have retained
that talent over the years. Amazing. He shifts gears so simply; he wears
many hats now.
The orchestrations are great ! Hint, enhance, underline, nice use of it all.
Not too obstrusive, blend in perfectly. Not too sweet, I think they handled
it perfectly. I would guess this is their answer to Days of Future Passed.
Nice to hear from Chris Squire again. I also put on Fish Out of Water,
after hearing Magnification. Made me miss the sound of his voice, bass
and writing talents. Wish we could see a touch more of the others
composing for Yes. A bit too much of Jon. Some of what Jon does,
should be saved for his solo work. Some of his pieces scream out solo
work. Yes does deserve better than to be used as a back up band
for him in some cases.
Give Love Each Day - nice, smooth, with a touch of Victory at Sea
overture going on.....Just kidding.
Dreamtime, nice. Very nice opening. Segues nicely into the bass,
man I love these guys when they focus on the ensemble side
of their work. I would love to see a Yes instrumental album !
I think they should be able to do something as powerful as a
classical work, without words. Maybe it's time Jon DID put
the bible to music ! I do think this cd shows how strong the egos
are within Jon, Chris and Steve. Even Alan now shows signs
of life, other than just drumming. I was skeptical at first
without the guidance of Rick's playing, or Igor's or Patrick,
but they are showing the heart of Yes is not limited to one person.
I was also very impressed with Alan's contribution. Who knew !?
Lurking in the heart of this drummer was a great " song " In the Presence.
I hope we hear more from him in the coming years.
As someone else said, those who want to hate Yes, will do that.
And for those who love them, this is a terrific statement. I hope that
they continue on, to a new return to progressive roots. I think in
their hearts, they know that their fans want this from them. I loved
The Ladder, but feel of it as an interlude, a bus stop on the way
to this. I would like to see a return though, to a master keyboard
player. I thought Igor was great, and the whole lineage of them
has been great. It adds an esthetic and sober note to their work
that seems to demand it. But I love that Yes did Magnification
without one, and did look, or at least peek over the horizon.
One word about Steve - where was he in this ? Seems a bit
lost in the mix, or almost seems as though he is sitting this
one out. But I even like that idea. He almost seems like
a guitarist IN an orchestra, not alone from it. Perhaps they
will change their name to the Yesorchestra. Who knows ?
It seems they might ben headed in that direction anyway..
Some days, it's a mad world - let it be !
I will let this go for now, although, I may add another
addendum with more listenings.....
- ian.moss@yale.edu (Ian Moss)
So I went to see Yes on their "Magnification" tour this past fall, at the
Oakdale theater in Wallingford, CT. First real "rock concert" that I had
ever been to, that is for which I actually had to buy tickets and figure
out how to get there and everything. Bought a tour t-shirt for a ghastly
$32 (totally worth it), saw lots of middle-aged Yesfans with long hair and
longer beards waddling around everywhere; it was quite an experience. So
they played lots of old classics from The Yes Album and Fragile and Close
to the Edge and everyone cheered wildly after each one, and then in the
middle they played these two songs from the new album ("Don't Go" and "In
the Presence Of"). Politely received, but it was clear that the audience
was eager for more old favorites. As was I, I might add. "Oh well," I
thought, "seems like Yes still can't get it together with their new
albums. Too bad, really."
Well, I'm happy to report that they did get it together, after all. "Don't
Go" is worlds better on the album than it was live, with that cool phasing
effect, and "In the Presence Of" reaches some powerful, TFTO-reminiscent
heights after its incredibly cheesy opening. (seriously, those lyrics are
terrible.) "Give Love Each Day," the title track, and "Spirit of Survival"
are even better. Only a couple of clunkers, really, and even they aren't
too bad. It's quite an impressive achievement for a band so old.
In my own composition I run into the problem of combining rock textures
with orchestral writing a lot. I think Yes does it pretty successfully
with this album. They skillfully use electronic effects and studio
technology to smooth out the balance problems inherent with this
combination. They are definitely approaching the matter from an
"intelligent pop" perspective, as opposed to a truly avant-garde or
fusion-oriented one, so you hear your share of regular drumbeats and the
band members are (understandably) the stars of the show for most of the
album. However, you do have some beautiful orchestral interludes,
especially with "Give Love Each Day" and "Dreamtime," that show off
Groupe's versatility. Moreover, the orchestral arrangements themselves are
hardly stupid doublings of the guitar lines or lush string backgrounds a la
'40s movie music; they often are playing integral yet subtle
rhythmic/melodic/textural counterpoint to whatever the band is doing. I
can imagine it being done better, and there are some low points, but even
so it is an impressive technical and artistic
accomplishment. Bravo! Overall, I give it a high 8.
- crazydiamond@comcast.net (Alex Murray)
A Yes album without a keyboardist is like a Democrat politician trying to
tell the truth - it's unheard of. Went to see Yes 10-30-02 w/ Rick Wakeman
in glittering cape coat, and he played the orchestra parts in the
Magnification songs just fine. Oh well, at least it's not Metallica. I bet
the members of that orchestra really wanted to get the hell out of there as
quickly as possible.
Add your thoughts?
Remixes - Rhino 2003
If you're as tired as I am of unsympathetic producers presenting legendary drum 'n' bass DJs Yes in an unrepresentative light, you'll thrill to hear this fine assortment of razzle-dazzle thrown together by Steve Howe's son (not that he KNOWS about! Heh hheehe heh) Virgil (or "The Verge"). "The Verge" got a cranny in his nook to take one song from every Yes album between Wine And A Terd and Dramamine and TeChNoFiE 'em!!!!
Then he picked a second song off Fragile.
"No!," replied an upset Randy Bachman. "Not Fragile"!!!!
"Yes! YES!," shouted an exuberant Trent Reznor. "The Fragile is the one to beat!"
I love "The Verge." He has taken all these great (and mostly pretty obscure!) Yes songs that I know like the back of the gun I rob everybody with, and SHAKEN 'EM UP!!! Check this out. I woke up this morning and suddenly we were living in a magical, wonderful world where the opening guitar line of "Tempus Fugit" has been twisted and mucked about with until it sounds completely different than the album version! And then suddenly the "Yes!" chants are layered in! Then there's a slow dance beat, and it turns into a great dancey repetition bit! Then the bass line is BACKWARDS for a spell! And two guitar parts that don't go together are merged together into a new creation, all set to take over Tokyo! (how hard could it be? the whole country's like 1 foot 2) Then the song sort of happens and then it's OVER! This didn't go like that yesterday!!!! Nor did "Arriving UFO" have a lengthened intro and modern bass line! "Heart Of The Sunchine" kinda sucks, but in "Starship Trooper," he loops that amazing guitar break right before the guy goes "Follooooooooooooooooooooooooooooooooooooooow!" and then plays it over and over and over again -- then he takes just a creepy part of the acoustic part -- aw MAAN!!!N!!!!!!!!! N!!
Prediction: I'm the only person in the world who loves this CD.
Let's look at the facts. (1) Yes fans hate dance music. (2) Dance fans hate Yes music. (3) I have Downs Syndrome.
Yep! I'm the only one whose gonna love it!
(4) What kind of asshole makes Downs Syndrome jokes? Answer: Bil Keane! You believe that prick? Hey! Who just shoved the mongoloid down the basement steps? "Not Me!" "I Dunno!"
To sum up my college thesis in Female Anatomy, Yes Remixes is a work of genius. This bright young man took nine Yes albums, recorded them onto some mixer/sampler dipsy-doodle the kids understand, and suddenly everything old is new again. He samples the craziest parts and loops other samples on top of them. The 300-year-long "Ritual" is summed up in five minutes. The 35-second "5 Per Cent For Nothing" is extended into a 6-minute jazzy Beastie Boys breakdown. He turns the beginning of "Siberian Khatru" into Lenny Kravitz-style funk. He crams "Sound Chaser" into a 4/4 beat. He turns "Awaken" into dark trip-hop that would fit perfectly into a hip modern youth movie like The Anarchist's Cookbook or The Banger Sisters. And finally, in a Zappa-style pukebag of over-extended inspiration, he takes the "Roundabout" intro, the "All Good People" intro, the "Close To The Edge" intro, middle part, "Aaah!" break and church organ break, the "Fish" intro, the "Cha cha cha!" part in "Sound Chaser," those clicky evil drum noises in one of those Topographic songs, the "Heart of the Sunrise" intro, the "Parallels" intro, the walking intro of "South Side Of The Sky" and the "No Clowns" children's speech of "Circus Of Heaven" ---- goes back in time and records over the master tapes, completely destroying the record collections of every Yes fan in the world.
Luckily there's only like four of us left, so we'll just play The Ladder and beat the girls off with a stick.
- Reader Comments
- sonicdeath10@hotmail.com (Eric B.)
hey i agree. this is actually pretty cool. i remember i got this thing where this guy did something like this but it wasn't as good cuz he just was doing avant guarde style and it seemed random and all the song sounded the same. not here. he like does a dancey dancey techno beat.
laugh if you want but i just listened to the long long weird atmospheric thing that closes out the open your eyes album by Yes.
- Acaptgroovy@aol.com
oooh...hmmmm...?!?!?!????....what do i have to say about yes? i certainly would not classify the band as one of the best off all time, but for a brief period of time in the early 70's they were one of the most creative, challenging, enigmatic, pretentious, silly, self indulgent, confusing, beautiful, and problematic groups in rock history! as with most newbies to prog it was yes and floyd-the former offering peace, love, understanding, and hope for a utopian dream blossoming into reality and the latter bitterly criticizing everything under the sun(which waters wishes would just go away)while at the same time being just as creative, challenging........-i dug rush, too back in "them dayz"-they provided the perfect "soundtrack" for my D&D weekends! ah, this was the "end of the innocence"-to quote mr. henley-simple geekdom gave way to marijuana, which in turn became lsd -the very first album i listened to(or should i say experienced)was tales from topographic oceans-even as a punk in the late eighties i steadfastly defended my appreciation for the group-my friends and i would slam all night long in a club and then all chill out "jamming" to yes!-"fragile" was the default album of choice-how can one match the intensity and grace of "heart of the sunrise"?you can see why punkers dug this number!-i'm still partial to "close to the edge"-to be honest this was their zenith-yet they kept pushing the envelope further and in the end they eventually imploded long before they should have-selfishness and arrogance has always marred their contibutions to popular tatse , but that's the modus operandi of any artist regardless of medium- they introduced me to prog-and all the bands that folllowed--it's been nearly 20 years since i've revisited my ol' yes catalog and they are cooler to me now than they were when i was just a spoiled, stoned, and stupid teen-it's just sooooo easy to criticize them--they wear it on the sleeves of their "flowing jewel encrusted robes"-i still feel that they were not built to last-certainly not a flash in the pan as their shot was felt around the world-shit! thanks to yes we had journey, styx, kansas, head east, and whatever had you from pinochle, idaho!-americans never got it!!!fellow britishers and the "continent"; on the other hand, not only embraced it, but manipuated it into what was most tangible to their own individual exeriences-crimson, soft machine, elp, can, and the rest of the krautrock canon-from "the yes album" through "relayer" they broke bown barriers that most wouldn't even bother-even "drama" has it's moments-funny thing-a guy at work whom introduced me to mars volta-on my first listen i told him it reminded me of yes-deeply offended, of course-but after burning a cd i've found a new convert--prog is making a huge comeback! and it's more CREATIVE, CHALLENGING, ENIGMATIC, PRETENTIOUS, SILLY, SELF INDULGENT, CONFUSING, BEAUTIFUL, AND PROBLEMATIC as it ever was---same as it ever was...same as it ever was...same as it ever wes.....so let's just slip in the disc...spark one up...kick back...and dream on....on to the heart of the sunrise!
Symphonic Live - Eagle Rock 2009
Hey great news, it's a Yes live album from October 2001 with the European Festival Orchestra, Tom Brislin on keyboards and Jon Anderson singing lead vocals! I can't believe there are no 9/11 references though. WTF is up with that? Couldn't Jon have said something like "Starship Trooper" is dedicated to Muslim Troopers who fly starships into buildings? Or "Owner Of A Lonely Heart" is dedicated to people whose spouses were murdered by Muslims in the 9/11 attack? Or "And You And I" is dedicated to people who are dead? Or "Dead" is Deadicated to Dead Deadnesses? I'm drunk, also.
Symphonies are fags, but luckily (a) they don't permeate every song like in Metallica's S & M and (b) they're not very loud in the mix, so honestly they sound Bombastically Appropriate in the anthems like "Close To The Edge," "Ritual" and "The Gates Of Delirium." The only song they ruin is "Long Distance Runaround" which sounds all fagged out by gayfer orchestra players who'd rather be tooting each others' cots (cox) than playing their bullshit non-appropriate parts of this non-"The Fish"-including song.
Holy crap! Tom Brislin on keyboards! He's fuckin' classical!
They perform three songs each from Magnifuckation and Friggile, 2 each from Close To The Vag and The Yes Alcum and 1 each from 9012sac, ReLAYer (if you know what I mean by LAYer) and Tails From Pornographic Motions. I'm hilarious. Ha ha ha ha OH ha ha ha OH ha ha ha I can't get enough of how hilarious I OH ha ha ha OH ha ha ha OH ha ha ha OH OH ha ha ha ha ha ha ha ha
Jon Anderson's crystal meth stage patter includes:
- (before "Don't Go") "The idear is love is so wonderful."
- (before "In The Presence Of") "The idear of the song is that we're surrounded by the Divine all the time"
- (before "The Gates Of Delirium") "We should do a really wacky, crazy song about things that were going on in the '70s."
- (after Steve Howe performs "Mood For A Day") "I used to be able to play it just like that. It was this dream in 1972; I remember it vividly."
- (before "And You And I") "We've been playing it for a zillion years, and we're gonna get it right tonight if it KILLS us! Well, not really."
- (before "I've Seen All Good People") "We want you all to sing along, and then halfway through get up and boogie!"
It was nice of them to mix it up by releasing a live album recorded with an orchestra. That really helps to differentiate it from their five thousand other live albums. As such, here are some other great ideas I just had about future live albums they could release:
Acapella Live - The band members just hum their parts. It would rule ass.
Motorcycles Live - The band performs their songs as six motorcycles zoom back and forth across the stage.
Peter Banks Live - The band performs their usual set as original guitarist Peter Banks bitches, moans and occasionally throws in the intro to "Astral Traveller."
Toilet Live - The band performs their entire set four times in a row with no bathroom break. Eventually they all take a crap on whoever's playing the keyboard on that tour.
Fuck You Live - Yes plays their usual set, but with Jon Anderson simply shouting obscenities instead of the correct lyrics (ex: "Yesterday a morning came all over your wife's ass")
Burnin' Up Live - Yes performs their greatest hits while soaked in gasoline and set on fire.
ABWH Live - Trevor Rabin is forced at gunpoint to perform "Teakbois." The crowd screams in ear pain.
Some Guy We Found on YouTube Live - 2009 tour.
Yes Plays Journey Escape Live - The band sits on the stage playing Journey Escape on Atari 2600 for two and a half hours.
Yes Homonyms Live - Country singer John Anderson, baseball player Steve Howe, Oasis drummer Alan White, Christopher A. Squier, Professor, Oral Pathology, Radiology, and Medicine, and Director of Graduate Studies for the University of Iowa College Of Dentistry, and the entire City of Wakefield metropolitan district in West Yorkshire, England get together to jam on some AC/DC songs.
- Reader Comments
- joeleduc@sbcglobal.net
if "fuck you live" existed, that would easily EASILY be the greatest album of all time. better than the shaggs first. better than "elvis' greatest shit". better than vanilla fudge's "the beat goes on". just the thought of that angry high voice shrilly cursing over, say, "don't kill the whale" or "your move", man, that makes me weak in the knees.
Add your thoughts?
Live At Montreux 2003 - Eagle 2007
Most people don't realize this but, aside from 9012Live-The
Solos, the first disc of Keys to Ascension I, the first disc
of Keys to Ascension II, the double-album Yesshows, the
triple-album Yessongs, the double-CD House Of Yes: Live At The
House Of Blues, the double-CD Symphonic Live and the 4-disc box set The Word Is Live, Yes
has never released a live album. Well, take your nose and polish it
because "Problem Solved!" with this delightful new double-CD.
The all-star line-up of John Anderson, Chris Squier, Rick Wakefield,
Steve Hume & Barry White performs one song each from Tormato, Going
For The One and Relayer (if you count Steve's solo rendition
of "To Be Over," which you SHOULD because it's BEAUTIFUL);
two songs each from Close To The Edge, The Yes Album and
Magnification; and a full walloping SIX from
Fragile -- every song on that record except the Rick, Steve and
Bill solos! Ha, and you called me a diq for giving it a 10. I have
been proven right by this live album.
In addition to Howe's solo "To Be Over" and "Clap," Wakeman plays a
ridiculously speedy-fingered medley of his solo hits, Anderson performs
a protest-folk-sounding new composition called "Show Me," and
Squire/White present a nine-minute "The Fish" that interpolates excerpts
from Drama's "Tempus Fugit" and Tormato's "On The Silent
Wings Of Freedom" - unfortunately with way too much chorus on the bass,
so it sounds completely off-key most of the time ("Tempus Fugit"? More
like "Tempus TUNE-it," if you ask me!).
This is the first non-orchestra appearance of Magnification songs, and I must say, "Hoooeeee do they sound empty without that
orchestra!" Still, "In The Presence Of" is a fantastic song worth
hearing no matter the instrumentation involved. It's PRETTY! Then it
gets DARK! Then it gets sort of LIGHT again while retaining a bit of
DARKNESS! Indeed, "In The Presence Of" is literally a solar eclipse.
It's a major league awesome treat to hear The Yes whip out "South Side
Of The Sky" and "Awaken" this late in their career, but what the hump's
up with "Don't Kill The Whale"!? At what point in time did that song
shift from "disco-era embarrassment" to "legendary classic"? It
honestly may be the worst song I've ever heard in my life, and I own
like every Smashing Pumpkins album.
In other news, here's a shocker: they play "I've Seen All Good People"
and "Roundabout." I know, I couldn't believe it either. I was like
"Hay how's Jon gonna remember the words to 'Roundabout,' he only sang it
that one time for the album" and "Hay how's Steve gonna remember which
three chords to play in 'I've Seen All Good People' they're hard" but
somehow they pull them off with flying boredom.
A few other musical moments worth noting:
- The extremely slow intro, loud harmony vocals, and intriguing
line-ending bass bends of "Siberian Khatru"
- The gorgeous guitar volume swells during the 'Eclipse' portion of "And
You And I"
- The way the band plays and sings along to "We Have Heaven" vocal
tapes
- How good a song "Heart Of The Sunrise" is, even though I can't hear it
anymore without thinking of that shitty Vincent Gallo movie
The mix is rich and full; you can hear every instrument and vocal
perfectly. And most of the performances are of course flawless and
beautiful (particularly Steve Howe with that gorgeous slide thingy he
does). However, whether you actually need another Yes live album
or not is dependent on how big a fan you are. I, unfortunately, am
quite a big fan. :7(
Nevertheless, I find it quite amusing that they completely ignore the 8
studio albums they put out between 1980's Drama and 2001's
Magnification -- hey, WHO NEEDS those two decades, AM I
RIGHT?!?
HELL YEAH I'm right! Decades are for ASSHOLES!!!
- Reader Comments
- marc.kreienbrink@gmail.com
Yessss...another live album from Yes! Woo hoo! I'm really diggin' on this disk. Never thought I'd hear a live version of "South Side...". It rocks! This is one of the best versions of "And You And I"; Steve did it up right and didn't get all crazy with the cheese whiz. Actually, I think this is the best version of "AYAI".
Usually my Yes MVP is Chris Squire because he usually is the MVP, but this time I have to give mad props to Steve Howe. The old coot's playing is inspired and on-point...very tasty. His solo spot is most excellent. I was surprised with "To Be Over". I'll have to have a drink on him when I get back home.
My WTFs:
1. Not even a slight nod to the Rabin years. What gives? That's almost completely unacceptable.
2. "Siberian Khatru"'s sloppiness and crappy keyboard sounds, but at least Wakeman doesn't have that dumb beard anymore.
3. "Don't Kill The Whale"
I've always agreed with your 10 rating of Fragile, and I'm glad that you finally feel vindicated by this live set. Vindication is sweet, and judging by the amount of silver in my mouth I've been vindicated quite a bit.
8 out of 10
- billy.barron@tx.rr.com
"what the hump's up with "Don't Kill The Whale"!? At what point in time
did that song shift from "disco-era embarrassment" to "legendary
classic"? It honestly may be the worst song I've ever heard in my life"
Mark, Mark, Mark - while I agree that "Don't Kill the Whale" is a
"disco-era embarrassment", please listen to Tormato again. It can't be
worst song you've ever heard with the worse "Arriving UFO" and the
impossibly bad "Circus of Heaven" on the same album. Note: "Circus of
Heaven" is so bad I can't imagine how to make it worse. With "Don't
Kill the Whale", the music isn't so bad - it's just the lyrics.
I didn't know Who the Fuck Vincent Gallo was, but I found this picture
of him wearing a Yes shirt.
http://i205.photobucket.com/albums/bb52/The_Playlist/movies/vincent_gallo.jpg
That's enough to know to avoid him.
- thedude37@hotmail.com
AH
!
How dare you tear down the genius Vincent Gallo masterpiece that is "Buffalo '66"!!!??!!11!!1!one!
Nah, jus' pullin' yer chayne. I do like the movie though, and I think that "Heart of the Sunrise" is used well as background music. And, of course, Gallo uses "Sweetness" from the Yes debut album for the credits. Hu-ah!
On another note, let's talk about "Live at Montreux". They released a DVD, too, and the DVD is AWESOME!! Yeah, its just the songs from the CD, but in between songs, Jon Anderson curses at his malfunctioning acoustic-electric guitar ("What a beautiful guitar!! It's F***ED!!!). That, ALONS, was worth the DVD price!
Of course, I could be wrong about all of that. I'm on a nice wave of codeine right now, so... yeah.
Add your thoughts?
The New Director's Cut DVD - MVDVisual 2008
Hay here's my impression of your penis:
-
There, now that I've totally zinged you, let's talk about the new Yes DVD. But first, have you heard this new Brian Wilson album? Big Old Smellyass Sun Motherfucker? I know! I couldn't believe it! And did you hear that awful re-recording of "California Girls" he did on there? Now the first verse is:
"Well, East Coast girls are hip-pos
They should lose some fuckin' weight
And the Southern girls with the way they look
I'd rather stay home and masturbate"
Come on Brian! What happened to the Beach Boy we knew and loved? What happened to all the hits we grew up with, like "Johnny Carson" and "Kokomo"? Never before have I been saddened, but that's all about to change.
As for the new Yes DVD, I don't understand the name at all. What is this the new director's cut OF!? I checked the director's name on IMDB and his credits include Yes: Acoustic, Yesspeak, Rick Wakeman: Live In Buenos Aires, Rick Wakeman: Made In Cuba, The Other Side Of Rick Wakeman, Jon Anderson: Tour Of The Universe and The Hindenberg Disaster. But this DVD (or should I say double-DVD) doesn't mention ANY of those films in its packaging. Instead it claims to be "The New Director's Cut Of The Wonderous Songs & The Wonderous Stories Recorded Live During The 35th Anniversary World Tour At The N.I.A., Birmingham & Glastonbury." Which just sounds like a sack o' load o' shit to me, but here's what I think:
I've seen the Yesspeak DVD, and it's terrific. It's a huge bunch of interviews and onstage footage of Yes during their 35th anniversary. If you're a fan, SEE IT! However, if you check Amazon's Reader Complaint Section, you'll notice several tards giving one-star grades and complaining that "I was expecting a Yes concert, and this isn't a Yes concert!" because when one buys a DVD entitled "YesSPEAK," one naturally expects a musical concert, not a DVD of people SPEAKing. So my suspicion is that this is Director Robert Garofalo responding to just that sort of person, giving us not only several snippets of interview footage (much of it directly from Yesspeak) but ALSO letting us view two entire concerts from that tour! However, since Yesspeak isn't (as far as I can tell?) an MVD disc, they're probably not allowed to refer to it in the packaging. And WHAMMO! We get a misleading name like "The New Director's Cut."
Also there's three hours of Hindenberg crash footage on there.
But enough about the title! Let's focus on the important thing: the fact that there's already a Live At Montreux 2003 DVD on the market that has the exact same set list as this and was recorded 11 days later. But look - we're all Yes fans here, right? So can I tell you something? If you're a Yes fan, you have to buy this DVD simply to see Steve Howe's horrifying stage clothes during the Glastonbury Festival. He's dressed in this vomitous ALL-ORANGE outfit! He also looks like Don Knotts crawling out of the grave as a zombie hippie, but that's unavoidable.
There are other reasons too, though. There's Alan White making "I'm rocking so hard, I'm in PAIN!" faces the whole time. And Jon Anderson making silly arm movements and giggling like he's stoned on Gnome Dust the entire Glastonbury show.
And interesting facts like these:
- When Anderson joined the band that would become Yes, he thought that their current name was too long. So the next day they all came in with new shorter band name suggestions. Jon's was "Life," Chris Squire's was "World," and original guitarist Peter Banks kept saying "Yes! Yes!" The others, confused, asked, "You mean like 'THE Yes'?" But Peter kept insisting, and the rest is history! As was Peter Banks by their third album.
- Rick Wakeman was asked to join David Bowie's 'Spiders From Mars' band just HOURS before Squire called him to come try out for Yes!
- "Show Me" is not a new Anderson composition at all, but an old forgotten song he found on a Fragile-era cassette!
As well as adorable moments of joviality such as:
- White cradling his tiny (daughter? granddaughter?) as she sings the intro to "I've Seen All Good People"
- The entire Yes ensemble making fun of White's glammy silver shirt, culminating with Wakeman asking him, "So were you at the front of the Gay Parade, or the back?"
- Wakeman concluding his discussion of Yes' sordid history of line-up changes by referring to an old Squire interview in which, asked "Who's in the band now?," he responded, "It'll be the first five who turn up for rehearsal."
And don't forget such bizarre, possibly marijuana-enhanced pieces of Jon Anderson Glastonbury stage patter as:
- (before "South Side Of The Sky"): "Mountain climbing! Is very dangerous! But we've all gotta climb those mountains! There's no question about it! There's no question about it. Here's one now!"
- (before "And You And I"): "During the course of the same year, we wrote this next song. In those days, more than 30 years ago, there was no sort of, uh - how can you put it - no pressure from the record company. They'd just let us make our music, which was kind of cool, you know? Kind of nice and wonderful. And all you wonderful people - love! Love! Love is all you need! All you need is love! Love is so powerful! Love is everything! EVERYTHING! There's nothing else!"
- (before "Heart Of The Sunrise"): "Here's a song that me and Chris wrote about... a week ago. Or it was two weeks ago, actually."
Also, the music's good. And some pud at Glastonbury is holding up a Dark Side Of The Moon banner.
- Reader Comments
- jhmusicman12@gmail.com
Hey, I really like Big Old Smellyass Sun Motherfucker. Brian Wilson
is a genius.
- princess_vachtangov@yahoo.com
I wouldn't want to be presumptious and give you any tips on humor, but I think you missed an opportunity here. This whole page should've looked like this: big ornamented letters YES at the top, then little black letters under that saying "No." and then proceed to give a 0 to all the albums without any explanation. For once you would've been funny and right at the same time. And at the bottom you could've had a little link: Now go and listen to some real classical music and stop wasting time on hippies with synthesizers. Having read Walter Piston's "Harmony" and spent a couple of months practicing piano does not give you a right to pass off textbook chord progressions and modulations as your own original work.
- Ray; Salem, OR
I've been a loyal & diehard fan of YES since 1972. Why hasn't YES made it into the Rock & Roll Hall of Fame yet ? After the band being together for 40 plus years now . I and thousands of other fan's fell it's about time !!!
Add your thoughts?
Fly From Here - Frontiers 2011
As Yes prepared for their 40th Anniversary Tour in 2008, Jon Anderson was tragically struck down with a case of acute respiratory failure. Since his doctor recommended that he rest his voice for six months, the rest of the band did the right thing and replaced him with some guy they found on the Internet. This rogue charlatan has remained with the band ever since, which makes no goddamned sense at all but there you go.
When I heard that Yes planned to record their first studio album in a decade with aforementioned Internet singer taking the place of Mr. Anderson, I sent them a postcard demanding that they title the album Un-Union. But as the details and players fell into place, it became clear that a much more appropriate title would be Drama II: Eclectic Buggle-oo -- for this record features the artistic input of not one, not two, not three, not four, not six, not seven, not eight but ALL FIVE members of Yes who appeared on that fated blast of yesteryear! Check out the performers:
Guitarist Steve Howe of Drama fame
Bassist Chris Squire of Drama fame
Keyboardist Geoff Downes of Drama fame
Drummer Alan White of Drama fame
Producer Trevor Horn, Former Vocalist of Drama fame
Singer Benoit David, who was only 14 when Drama came out but undoubtedly would've been on it had he been able to skip school that week
But that's not all! As any Yes fan worth his weight in salt knows, the song "We Can Fly From Here" dates from the Drama era and was in fact performed live on that tour. Furthermore, Downes and Horn are solely responsible for the tracks "Sad Night At The Airfield," "Madman At The Screens" and "Life On A Film Set," all of which were once intended to be Buggles songs. In other words, in spite of the new vocalist, Fly From Here is not the product of a brand new Yes; it's the belated follow-up to an album they recorded three decades ago!
And it's good. A bit too gentle and borderline adult contemporary to be a Yes Classic, but definitely as good as Drama, even as it sounds little like it. Its strongest assets are the band's always beautiful vocal harmonies and several excellent melodies, its weakest the overly soft and polished mix and a number of corny '80s synth tones. Still, I can't imagine any fan of late-period Yes not enjoying this record to a certain degree. Steve Howe is playing lots of lovely acoustic guitar, Chris Squire is as busy a bassist as ever, and Benoit David sounds like an appealing cross between Trevor Horn and Trevor Rabin. His voice is high, but calm, clear and very tuneful. And those classic poppy Yes melodies are all over the place -- in the gorgeous chorus of the title track, Howe's goosebumpingly beautiful "Hour Of Need," the dark-to-light "Life On A Film Set," the tense and odd "Madman At The Screens," and especially the three-part harmonies of what is probably the album's finest track, the gleeful and energetic "Into The Storm" (tellingly the only composition on the record credited to the entire band).
Inerestingly, quirky touches like Howe's goofball instrumental "Bumpy Ride," Downes' oft-childlike synths, and Squire's wah-wah bass effect in "Into The Storm" make the record sound more like a successor to Tormato than a successor to its successor. Either way, it's a successful successor! 42 years into their career, Yes is still making creative and beautiful music for my ears to behold.
And by "Yes," I of course mean "Chris Squire, the only original member of Yes who appears on this album."
- Reader Comments
- Marc Kreienbrink
Hey, pharty. I wasn t really too surprised to hear such a good album from this line-up AFTER I heard that Chris Squire s Aliens Are Only Us From The Future wasn t going to be on this album. Once I heard that track wasn t in the mix, I sighed and I figured we d at least get a listenable, likeable Yes album (a 6 out of 10). And we did. But it was actually one better.
Fly From Here is solid. The musical quality is pretty consistent. I couldn t really point out a single or anything like that, but I don t feel that there are any songs that stink out loud. Starting the album out with a 20-something minute epic is pretty gutsy, but the boys pull it off well. The Fly From Here suite is great. Surprisingly cohesive, melodic, and atmospheric, but I wish it was a little more prog (which means more riff-based Wakeman-ery I mean wankery). Solitaire is a nice touch, unlike the bad touches I have tried to block from my memory.
Your Drama II comment cracked me up. I needed to laugh at something other than my sad state of affairs, so thanks for making me laugh. Also, I do wish there was more of an edge to the album, but coming from a band where the average age is 87, I understand.
I concur with your rating a worthy 7/10 but I have a feeling I may like this album even more in the coming months. Also, I give your review of the album a 7/10. So, taking what I learned in school, 7/10 + 7/10 = 14/20. So, simplifying this fraction, I get 7/10. Nice.
P.S.: I can t wait to hear the end result of the Jon Anderson/Trevor Rabin/Rick Wakeman collaboration! What ? You haven t heard about it? It s all over the news!
- Simplius
This is a successor of 'Adventures In Modern Recording' by Buggles, not to
Tormato or Drama.
This is Yes playing Buggles' songs, not Buggles adjusting to Yes sound (as
in Drama).
This is Trevor Horn's production sans all of its trickery that made it
famous.
This is Squire's bass subdued as never before.
This is a singer who looks like Richard Kind on some photos.
This is a band who became a Styx opening act in the end.
This is a bland 5/10 album.
- TA-Lee
I think time will tell whether or not it really is a good album or some of us are just grateful it doesn't suck. I personally don't miss Jon Anderson's cod-mysticism and misplaced sojourns into worldbeat music. He didn't want to tour, he didn't want to make a new Yes album, he should be happy his wishes were honored.
If I have one major critique, it would be that there is a scarcity of actual rock on this album. Lots of pretty passages and plush production, but no rock. And yeah, very telling that the majority of the material on FFH is outsourced; not encouraging considering the guff of time since Magnification.
Hopefully, Horn and Downes interest will extend beyond this one effort, because whether its Buggles or Yes, they've got too much to offer to us, rather than fade away. I doubt they got another 3 decades to wait to record another Yes album.
- Billy Barron
I've spent the past couple of decades pretending that "Union" and
anything since hadn't happened. "Union" was so bad I've never been
interested since.
Maybe the time came finally for me to accept a new Yes album or maybe it
is that they went back to the "Drama" sound and apparently music written
from back then. I'm willing to accept this album. But the problem is
that this sounds like the material that wasn't good enough to make
"Drama". In fact, it is so similar, I keep feeling like I want to sing
"I am a Camera" during the "Fly From Here - Overture".
It doesn't suck, but I have a feeling it will never make it into my
permanent music collection on my music player. 6.5/10
The next album we need to shuffle the Yes musicians again. How about
David Benoit, Peter Banks, Bruford, Patrick Moraz and Squire?
Add your thoughts?
Say... I'm looking at your CD collection through the computer here and - man, you don't have anywhere NEAR enough Yes albums! Click here to remedy that tragedy post-haste! (and click on the album covers to access CHEAP USED CD prices)
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