3. "Yesterday and Today" (2:37) a more pastoral jazz-folk sound that bears more resemblance to the delicate songs proffered by The Moody Blues and The Beatles only these are far more acoustic-anchored than anything I know from these other bands mentioned. Quite delicate and lovely--with great melodies and wonderful layers of jazz- and folky-nuances. Definitely my favorite song on the album. (9.75/10)
4. "Looking Around" (3:49) full-on Yes with some of the raw heaviness and Hammond organ-dominance of URIAH HEEP. Great chord progressions, bridges, and nuanced transitions as well as harmony vocals in between Jon's lead lines--not too far from the Hollies and Crosby, Stills, and Nash stylings of the same period. (8.875/10)
5. "Harold Land" (5:26) opens with more Hammond organ-featuring music with a bit of a Country&Western twang to it--especially in the bass and simplistic guitar strumming pattern, but then things shift at the 1:20 mark into something that sounds more Gospel liturgical as Jon enters singing the lead (backed with Peter and Chris in true backing fashion). Jon's vocal sounds a lot like the folk vocals of some of the 1960s great female singers like Jacqui McShee, Judy Dyble, Maddi Prior, or Linda Thompson. (8.75/10)
6. "Every Little Thing" (5:24) heavier music with some Hendrix and Winwood-like jamming up front and frenetic rock drumming behind. Impressive musicianship over a Beatles song (making it almost unrecognizable as originally coming from the Fab Four)! (8.75/10)
7. "Sweetness" (4:19) a song that opens with gentle organ, acoustic guitar, and upper register electric bass weaving with delicate drum play beneath over which Jon sings a bluesy vocal with some very nicely arranged (and performed) harmony vocals supporting him. The collective sound of the instruments begins to thicken and harden in the third minute but then, rather suddenly, things revert to the delicate thinness of the opening. Interesting song. (8.75/10)
8. "Survival" (6:01) one of my all-time favorite Yes songs--even from first hearing it back in 1975 or 76 when I purchased the Yesterdays album. I love all parts of the suite (shades of things to come!) I especially love the fact that there are two rather distinct motifs introduced and explored before a vocal ever enters--and then the amazingly surprising vocal that Jon enters with! And then the way it builds--with the vocals doing the work!--to the two parts of the angelic chorus! Sublime! And so unique! (9.5/10)
Total Time 38:59
Overall, this album offers a very impressive introduction of a set of very skillful musicians who, together, have a very unique, creative, and surprisingly mature style of composition and song rendering. The skills and ranges of Peter Banks, Jon Anderson, and Tony Kaye all come shining through while those of Chris Squire and Bill Bruford still seem to be shaping and developing (though there are plenty of glimmers of brilliance from both throughout the album). One extra comment on skills: I often see Peter Banks' guitar skills being disrespected, something I don't quite understand: his guitar playing seems more advanced, more confident and adventurous (and skilled) than any of the other four band members at this stage of their lives. As a matter of fact, it is more often that I find the guitar playing on each song to be the most interesting and consistently impressive aspect of the song!
90.31 on the Fishscales = A-/five stars; a surprisingly mature and skillful display of song-crafting: it's not the full brilliance of future Yes, but, when compared to all of the other music produced in 1969, this is amazing! Especially for the definite expression of creativity offered to the world. This is definitely an album of what I would call full-on "progressive rock" music!
After listening to
so many albums from the 1960s over the past three years (mostly for the sake of research into the histories of Prog Folk, Jazz-Rock Fusion, the prog epic, the "first prog album," and proto-prog), I can say with clear confidence that this is one of the best and most complete prog albums of the 1960s!
YES Time and a Word (1970)
The band's sophomore album showing signs of growth and internal discord. First released in the UK on Atlantic Records on July 24, 1970, this would be the band's last with guitarist Peter Banks.
Line-up / Musicians:
- John Anderson / lead vocals, percussion
- Peter Banks / electric & acoustic guitars, vocals
- Tony Kaye / piano, Hammond organ
- Chris Squire / bass, vocals
- Bill Bruford / drums, percussion
With:
- David Foster / acoustic guitar (8), vocals (4,11)
- Tony Cox / orchestral arrangements
- Students of the Royal College of Music / brass, strings
- Steve Howe / guitars and background vocals on the successive tour and videos
1. "No Opportunity Necessary, No Experience Needed" (4:47) not your most engaging song but quite fascinating from the perspective of Chris Squire's bass creativity. The vocals are surprisingly lackluster, mixed at a low volume, and flat-line monotonous. (The lyrics are immaterial to me: it is so much work for me to hear/comprehend lyrics; the vocal work, therefore, becomes, to my brain, another instrumental stream.) I like the orchestral elements used in fourth minute. Learning that this is a cover of a Richie Havens (and Jerome Moross) song unveils a lot about the essence of this song. (I theorize that Jon always much preferred singing and performing his/the band's own songs.) (8.6667/10)
2. "Then" (5:42) I've always liked this song: probably my #2 favorite from the 1975 retrospective, Yesterdays: it contains great vocals, great melodies, great instrumental "battle scenes" (brief and potent) especially between Chris and Tony--plus it has some great strings and brass inputs. Probably my favorite song from this album. Like a microcosm of some of the band's expanded "epics," it even contains a slowed down, sparsely populated, atmospheric finale. (9.5/10)
3. "Everydays" (6:05) opens with some cool orchestral work that is joined by some awesome jazzy organ, bass, and drum play. Even when Jon starts singing (a jazzy vocal delivery of a jazzy poetic lyric) the jazziness continues. I'm really digging this! It's rare to hear the band really commit to some serious jazziness. (P.S. I love all of the band members' long hair in the video--especially Bill's!) Even when the music goes all-instrumental it retains some of the jazz, rock, and classical fusion. Now that I know it was a cover of a Stephen Stills song, it all becomes a bit clearer. A top three song for me. (9.125/10)
4. "Sweet Dreams" (3:48) an attempt at the heavier, more VANILLA FUDGE/DEEP PURPLE/URIAH HEEP-like side of prog rock (before the HEEP had even released an album). Despite a catchy chorus, the song doesn't really trip the light fantastic (or show much of Yes' creative originality). (8.75/10)
5. "The Prophet" (6:32) opening with a long organ solo, it's not until the second minute that the orchestra strings join in. Chris and Bill jump on board around 2:30 and then we're off to a Yes journey with full strings worked oddly into the weave. It sounds as if we're in the theatre watching some stage musical! Now I know where Andrew Lloyd-Weber got all of his inspiration. (Just kidding.) It does seem like a rehearsal/warm up for their cover of "America" though. (8.75/10)
6. "Clear Days" (2:04) a nice 1960s Baroque pop song with Jon singing a light and airy folk vocal while supported completely by orchestral accompaniment. It's actually really cool--especially the orchestral arrangements. Makes me wonder who Tony Colton was--or who had the classical background and experience in order to write, arrange and chart the orchestra parts. Perhaps it was left to the students of the Royal College of Music who made up the brass and strings sections or to conductor Tony Cox. (4.625/5)
7. "Astral Traveller" (5:50) to my mind, this song sees the band move closer than ever before to the "mature" and uniquely-Yes form that the band was to achieve and maintain over the next few decades. Good song. Their most GENESIS-like song--especially in the fourth and fifth minutes. (9/10)
8. "Time and a Word" (4:31) a controversy (within the band) over who should play the guitar parts? (Apparently Peter Banks had not been dedicating enough of his time, energy, and attention to the band and its collective growth trajectory.) The band and/or producer had enough acumen to notice (and take advantage of) a pretty decent "hook" in the chorus. Very Let It Be-era Beatles-ish. (8.75/10)
Total Time 39:19
Remarkably absent from most of the album is any evidence of guitar--certainly nothing like Peter Banks' significant contributions to each and every song on the previous album--which is a
huge shift from the band's debut album from the year before. Pete's lack of spotlight must reflect some kind of internal conflict among the band members or else a personal malaise within Peter as even in the band's video creations for each and every song there is nary a sign of Mr. Banks, only Mr. Howe.
Exit Peter Banks.
89.5556 on the Fishscales = B+/4.5 stars; a distressingly-identity-lacking hodge-podge of music that still qualifies as a near-masterpiece of progressive rock music due to the tremendous growth in musicianship of three-and-a-half of the band's individual members.
Like their symphonic counterparts GENESIS with From Genesis to Revelation and Trespass, Time and A Word showed YES in their early development--not yet nailing down their distinctive sound(s) but very much on their way. "Then" (with its awesome video! [with Chris Squire playing the keyboards?!?!]), "Astral Travellor" and the title song are the most enjoyable/memorable songs for me from this album. The aforementioned trio of songs definitely put on display the awesome creativity to come while showcasing the amazing talent and skill these young musicians have. At this stage of the game (album #2) I think they were ahead of their countrymates. Albums number three, The Yes Album and"Nursery Cryme really put the two at the top of the heap. I still can't hear the CROSBY, STILLS, NASH & YOUNG similarities critics of the time were quick and frequent to point out. The chunky bass, prevalent organ, and high pitch of Anderson's lead vocal don't fit. Oh well.
YES The Yes Album (1971)
First released in the UK on Atlantic Records on February 19, 1971.
Enter Steve Howe.
Line-up / Musicians:
- Jon Anderson / lead vocals, percussion
- Steve Howe / acoustic & electric guitars, Portuguese 12-string guitar (4), vocals
- Tony Kaye / Hammond organ, piano, Moog synthesizer
- Chris Squire / bass, vocals
- Bill Bruford / drums & percussion
With:
- Colin Goldring / recorders (4,7)
- Eddie Offord / co-production & engineering
1. "Yours Is No Disgrace" (9:36) definitely a Steve Howe showpiece. Great rhythmically between Bruford, Squire and Kaye. I just happen to enjoy and like all of the motifs of this one. (19/20)
2. "Clap" (live) (3:07) * a much-revered and learned solo guitar piece that I never really liked despite its impressiveness. A little too country-bluegrass for my tastes. (8.75/10)
3. "Starship Trooper" (9:23) a good song from the perspective of Tony Kaye's Hammond organ. (17.75/20):
- a. "Life Seeker" - not my favorite motif (if one can call this one single motif)
- b. "Disillusion" - the prettier section of the song.
- c. "Würm" - the famous three-chord setup for Steve Howe's guitar duell … with himself.
4. "I've Seen All Good People" (6:47) (14/15):
- a. "Your Move" - the great mediæval/anachronistic-sounding part with the sing-a-long lyrics. Pure magic! (10/10)
- b. "All Good People" - the odd bluesy variation motif that tails along behind "Your Move." More sing-a-long lyrics but who in the hell wants to sing these words over and over? (4/5)
5. "A Venture" (3:13) eerie Mike Oldfield "Tubular Bells-like piano opening rises to the front before the band launches what sounds like a little electrified folk ditty. I like it today far more than I ever did back in the day--it's far more clever than I ever gave it credit for--and fun for its deceptively-complex simplicity. (9/10)
6. "Perpetual Change" (8:50) most likely my least favorite Yes epic of all-time. Nothing seems to click, it all sounds like somebody else. (17/20)
Total Time 40:56
After listening to Relayer everyday for months and hearing Fragile at a friend's house, I decided to start backtracking into Yes's previous releases. This one came to me sometime in 1976 and received a lot of airplay for a while. I loved the vocals of "Your Is No Disgrace" and the guitar soli at the end of "Starship Trooper" --and "The Clap" wowed me for a long time. Eventually, however, I got tired of what felt/sounded to me like Steve Howe's "country-tinged" guitar stylings.
Listening to the album as I write this I realize what extraordinary work Chris Squire did throughout this album. It feels to me as if he was far ahead of the rest of the band in terms of his stylistic and technical development. Bruford is still up and coming (and mixed a little into the back) and Tony Kaye's keyboards are just a part of the background to Squire and Howe's genius and Anderson's voice. Still, I do enjoy these songs, especially the "Würm" part of "Starship Trooper" when Howe is dueling with himself, the opening staccato strumming and establishment of "Perpetual Change" and the unusual song structure and medieval sounds of one of my all-time favorite Yes songs, "Your Move." Still, this album does not stand up well next to the amazing creative heights of their next few albums.
Exit Tony Kaye.
90.0 on the Fishscales = A-/4.5 stars; a near- or very-minor- masterpiece of early progressive rock. Despite the flaws and shortcomings I have to admit to many truly innovative and enjoyable moments.
YES Fragile (1971)
First released in the UK on Atlantic Records on November 26, 1971.
Enter Rick Wakeman.
Line-up / Musicians:- Jon Anderson / lead & backing vocals
- Steve Howe / electric & acoustic guitars (flamenco on 8), backing vocals
- Rick Wakeman / Hammond organ, grand piano, RMI Electra-Piano, electric harpsichord, Mellotron, Moog synthesizer
- Chris Squire / bass, backing vocals, guitar (1)
- Bill Bruford / drums, percussion
With:
- Eddy Offord / co-producer, engineer
1. "Roundabout" (8:29) one of the most revolutionary and creative songs ever created! (20/20)
2. "Cans and Brahms" (1:35) Rick's solo selection. The sound here always felt a little oddly murky to my ears--as if I were listening to it through a plastic tube. (4.33333/5)
3. "We Have Heaven" (1:30) Jon's solo exposition. Previews of Olias of Sunhillow. (4.33333/5)
4. "South Side of the Sky" (8:04) another Yes contribution to the phenomenon we call the "prog epic." The powerful beginning and ending bookends are great but that middle piano and choral vocal section is to die for. Great lyrics! Great Steve Howe solo at the end. Can I be the first to say that perhaps Eddy Offord was not as wonderful of a producer as everyone has built him up to be? (14.25/15)
5. "Five Percent for Nothing" (0:35) Bill's solo contribution. Give that man some computer-MIDI-ed drums! (4.33333/5)
6. "Long Distance Runaround" (3:33) The big hit that was never a hit. (How could it be?) Great guitar and bass. (8.75/10)
7. "The Fish (Schindleria Praematurus)" (2:35) the best individual artist's contribution (which makes sense when you look at the solo album releases of the indivdual band members in 1976). Plus, it feels like a complete song. (9.25/10)
8. "Mood for a Day" (3:57) Steve's much-revered (and copied/learned) solo contribution. (9/10)
9. "Heart of the Sunrise" (10:34) the Yes epic with perhaps it's most iconic drumming. Neither Yes nor Prog gets any better than this. (19.25/20)
Total Time 40:52
My introductory album to Yes back in 1974. Three of the greatest prog songs ever devised, contrived, composed, performed are on this album: "Heart of the Sunrise" (my introduction to the greatest prog drummer ever), "Roundabout" (my introduction to the awesome power of both Steve Howe and Rick Wakeman), and "South Side of the Sky" (my first taking notice of the power of Jon Anderson's voice talents). So, how can it be anything less than Five stars? All the solo-shorts offer very interesting insights into the individuals that collaboratively make such amazing, groundbreaking music. Though I give the slight edge to
Close to the Edge as Yes's top effort, this one rates an inch behind. The overall musicianship is such a notch above other bands of the era save, perhaps, Gentle Giant--and to know they can replicate it all live is simply astounding. One of the great albums for the ages.
91.75 on the Fishscales = A/five stars; a masterpiece of progressive rock and a ground-breaking album for all of Prog World. Despite the "weakness" of the solo pieces, the amazing contributions of the other four songs can neither be thwarted nor diminished.
YES Close to the Edge (1972)
First released in the UK on Atlantic Records on September 13, 1972.
Line-up / Musicians:- Jon Anderson / lead vocals
- Steve Howe / guitars (12-string, electric, acoustic, Portuguese, console steel), electric sitar, vocals
- Rick Wakeman / Hammond, Mellotron, Minimoog, grand piano, RMI Electra-Piano, electric harpsichord, pipe organ at St Giles-without-Cripplegate church in London (1)
- Chris Squire / bass, vocals
- Bill Bruford / drums, percussion
1. "Close to the Edge" (18:50) despite being clearly one of the most incredible prog epics ever executed or conceived, there are, to my mind and ears, a few flaws in this piece. (39.25/40)
- i. The Solid Time of Change
- ii. Total Mass Retain
- iii. I Get Up I Get Down
- iv. Seasons of Man
2. "And You and I" (10:09) the acoustic-based opening section is a favorite of mine while the electric crescendo mid-section somehow falls a little short of perfection (vocals, plodding drum pace, murky effects [or engineering] on electric guitars and keys). And then there's the hoedown acoustic guitar in the third motif that sours it a bit for me. The finish, however, builds and crescendos nicely (despite the poorly engineered sounds) before finishing nicely with the same palette as the opening. (18.75/20)
- i. Cord of Life
- ii. Eclipse
- iii. The Preacher, the Teacher
- iv. Apocalypse
3. "Siberian Khatru" (8:57) this has always been for me one the most impressive Chris Squire songs from the Yes catalogue. Bruford is solid, Howe a little on the grating side, with the vocal arrangements really working well on many levels in many motifs--especially in the gorgeous "river" passages. Bruford really gets to shine in the second half. Am I the only one who thinks the sounds of Wakeman's keys are poorly engineered throughout Side Two? (18/20)
Total Time 37:56
I am hard-pressed to find a flaw with
CttE save one: Would that all recording artists of the early 70s could have had Pink Floyd's recording engineers. The sound on Yes LPs often gets muddy, washed out, and there's just something lacking in the recording of the voices and acoustic guitars. Though there is a warm organic quality to Yes songs, instrument clarity and distinctiveness are sometimes lacking. Otherwise, you have three long, very well composed, melodic songs performed by four, maybe five virtuosos at the peak of their creativity. And, yes: I still listen to Yes!
Exit Bill Bruford.
95.0 on the Fishscales = A/five stars; a certifiable masterpiece despite the poor sound recording/engineering.
YES Yessongs (1973)
First released in the UK on Atlantic Records on May 18, 1973.
Line-up / Musicians:
- Jon Anderson / vocals
- Chris Squire / bass, vocals
- Rick Wakeman / keyboards
- Bill Bruford / drums (1.4, 2.2)
- Alan White / drums on everything else
- Steve Howe / guitars, vocals
Disc 1 (66:04)
1. "Opening (excerpt from "Firebird Suite") (3:45)
2. "Siberian Khatru (8:50)
3. "Heart of the Sunrise (11:26)
4. "Perpetual Change (14:08)
5. "And You and I (9:55) :
- a) Cord of Life
- b) Eclipse
- c) The Preacher the Teacher
- d) The Apocalypse
6. "Mood for a Day (2:52)
7. "Excerpts from "The Six Wives of Henry VIII" (6:35)
8. "Roundabout (8:33)
Disc 2 (63:12)
1. "I've Seen All Good People (7:00) :
- a) Your Move
- b) All Good People
2. "Long Distance Runaround / The Fish (13:45)
3. "Close to the Edge (18:41) :
- a) The Solid Time of Change
- b) Total Mass Retain
- c) I Get Up I Get Down
- d) Seasons of Man
4. "Yours Is No Disgrace (14:21)
5. "Starship Trooper (9:25) :
- a) Life Seeker
- b) Disillusion
- c) Wurm
Total Time 129:16
A highly-rated triple album capturing the band's live sound during the end of the peak years of The Yes Album through Fragile and Close to the Edge--right up to the departure of drummer Bill Bruford. The album is truly a wonderful testament to both the magical flow and content of a Yes concert as well as to the band's thorough and detailed dedication to live reproduction--here representing what stand up over time as some of the band's greatest songs. Unfortunately, this album is almost universally degraded for its poor sound reproduction. Though sometimes I find myself remarking at how much more clarity has been given to the individual instruments, there is often a strangely murky and/or open-air quality to the sound, so I hate to admit it but I have to agree; it's almost like being present in the general admission pit for a live concert! No wonder I never liked live albums.
A-/4.5 stars; a near-masterpiece of : some truly remarkable captures of some of the greatest songs to ever come out of progressive rock music performed at a to-this-day astonishingly high level of skillfulness. We are so lucky to have these concert performances preserved for posterity!
YES Tales from Topographical Oceans (1973)
First released in the UK on Atlantic Records on December 7, 1973.
Enter Alan White.
Line-up / Musicians:
- Jon Anderson / lead vocals, harp, cymbals, percussion
- Steve Howe / electric 6- & 12-string, steel & acoustic guitars, electric sitar, backing vocals
- Rick Wakeman / grand piano, RMI Electra-Piano, Minimoog, Mellotrons, Hammond C3, pipe organ
- Chris Squire / acoustic & electric basses, timpani, backing vocals
- Alan White / drums, piano (4), vibes, Minimoog, Moog drum, tubular bells, percussion
With:
- Eddy Offord / co-producer, engineer
1. "The Revealing Science of God (Dance of the Dawn)" (20:25) with it's gorgeous, almost church-like opening five minutes, stumbles horribly with the cheezy "what's happened to this song" section with its horrible rhythm section and so many cliches and riffs stolen from previous work. The "starlight" section beginning at 8:54 is better but suffers from some horrible background vocal harmonies. There is so much simplicity in the song and instrumental structure of this piece as to wonder if the piece was, in fact, finished. It has none of the polish, flare or sophistication of either
CttE or
Relayer. Even the highpoint of the upbeat "sunlight, teacher" section with Wakeman's piano play and Squire's thumping bass can't lift this one from its redundancy. No wonder I stopped listening to this Side soon after I got to know the album. A pretty guitar piece beginning at 15:15 lays the foundation for a more spacious, mellow section--but Anderson's bluesy singing (is this from
Time and a Word) and words about rivers and christians spoils it. Wakeman's mellotron drench tries to save us--but then he switches to organ and seems to descend to Jon's level of maudlin cliche--though his synth solo in the twentieth minute is spectacular. A pretty Anderson vocal section turns sour when it becomes accompanied by the background vocals--and then flows into a reprise of the "what happened to this song" themes. Sadly simple and redundant. Plus, why are the vocals so muddy? If it's any consolation, on this song it sounds as if Rick Wakeman is at least half trying. (28/40)
2. "The Remembering (High the Memory)" (20:38) opens with a soft, drumless section, in which pitchless vocals are murdered. "Alternate tunes" indeed! By the fifth minute it is almost painful! When finally they stop and move into a GENESIS section of woven washes I have hope, but, no! They return to the plodding vocal pilgrimage through old territory! When Squire and White finally are allowed to join in, it sounds almost like a joke! This is music! It's so discordant and cacophonous! I can barely bear to hear any more . . . A slow, dreamy middle section seems to beg for introspection and meditation, but then we are unceremoniously guided into the middle ages (as we were on
The Yes Album with the chess game in "Yours Is No Disgrace")--and then we're even treated to a few previews of the next album, "relayer"--but then back to the Renaissance. Can vocal harmonies get more awful? A nice Steve Howe solo section is spoiled by the 'relayer' chant. But, then, suddenly, things get interesting! Alan White turns into Bill Bruford and the rhythm and soloists get weavy wonky. Cool! I never realized how similar this whole piece is to "Gates of Delirium"! How is it that Chris Squire's so-revered bass sound sounds like it has a sinus infection--the sound is horribly muddy! Throughout this song !hen everybody seems to quite, going off each in their own directions, into their own caves and canyons. (Maybe they want the song to end as much as me and Rick do!) Simply an awful, irredeemable song. (24/40)
3. "The Ancient (Giants under the Sun)" (18:35) if I remember correctly, this is the Side to which I most listened back in the day. I worked so hard to try to understand it. It was jazzy, avant-gard, experimental, and rhythmically fascinating. The first 4:20 are prog heaven! And then . . . they start to sing. Fortunately, they go back into the odd rhythm structures. Soon, the "nous sommes du soleil" theme--probably my favorite section of the album--is first introduced by Howe and Wakeman--and things are still very interesting rhythmically and instrumentally--probably Squire's best section of the album (and some more very Nektar- and Camel-sounding moments.) I am so glad the singing is so minimal. Let these extraordinary musicians shine! Especially Howe and White! At the 11:00 mark the rhythms almost become Latin--or tribal African. They are mesmerizing, trance inducing. Meanwhile, Steve Howe is going absolutely crazy over the top of it all. Mega-kudos to Alan White! (and for Mssrs. Anderson and Squire for letting it happen.) The next section, infused with a Spanish feel from the acoustic guitar work of Maestro Howe, is awesome--and even, somehow, mysteriously fits. Its as if the tribal dance has taken a break to watch the arrival of a sage from a future time. Anderson joins in in the way that he excels, solo, but then is joined by harmony voices and weird flute-like (poor, at that) synth line. "... a million voices singing" section is okay--though it would do better on a Jon Anderson solo album. Andre Segovia wannabe Steve Howe plays on a bit before a seriously weird section juxtaposes some horribly incompatible sounds and styles into fade out and end. The best song on the album. (36/40)
4. "Ritual (Nous sommes du soleil)" (21:37) the band finally sounds pretty tight as the opening section with its heavy use of hand percussion and cheesy synthesizer sound (did Rick do this to purposely sabotage the song?) unleash. An electric guitar interlude in the fourth and fifth minutes allows Steve to introduce a whole bunch of melody themes. And then the classic "nous sommes du soleil" vocal section ensues as the music gradually builds and gels beneath. At the seven minute mark we slide into a sitar-accompanied four-voice vocal section (which seems kind of required in the Yes repertoire). All as practice for the perfected form in
Relayer's "Gates of Delirium." Some nice work from Chris and then, of course, the Alan White drum solo in the sixteenth minute. Why does Rick's mellotron feel/sound so out-dated here? Coming out of the chaos of the drum-dominated section, we emerge "into the light" of the sun and the reprise of the "nous sommes du soleil" theme. Nice end. Overall a pleasant and not overly bombastic, simplistic, or hideous display of self-parody. I can deal with this one. (35/40)
Total Time 81:14
An odd album of beauty and mystery, power and subtlety, ideas foreign and familiar, musicianship on par with the Hindu gods that inspired it. I spent hours listening to each of the four sides--mostly marvelling at the virtuosity of one Steve Howe. And yet the work seems flawed. It never held my interest or awe in the way that Relayer, Fragile, Close to the Edge, "Awaken," or parts of The Yes Album did. As I listen to the album today I am surprised at how often I find myself thinking "This sounds just like Nektar!"
Exit Rick Wakeman.
76.875 on the Fishscales = D/2.5 stars; an album that I'll rate up with the intention that everyone else will be prodded to give it their own try (and opinion).
YES Relayer (1974)
First released in the UK on Atlantic Records on November 28, 1974.
Enter Patrick Moraz.
Line-up / Musicians:
- Jon Anderson / lead vocals
- Steve Howe / acoustic & electric guitars, pedal steel guitar, electric sitar, vocals
- Patrick Moraz / keyboards (piano, Hammond, Vako Orchestron synth, Moog)
- Chris Squire / bass, vocals
- Alan White / drums, percussion
With:
- Eddy Offord / co-producer, engineer
1. "Gates of Delirium (22:55) on of the five greatest progressive rock epics ever created. (44.75/45)
2. "Sound Chaser (9:25) a vastly under-rated and under-appreciated song that serves testament to the prodigious talent, skill, and creativity of Mr. Steve Howe. (19/20)
3. "To Be Over (9:08) (18/20)
Total Time 41:28
It's hard to believe that I've not yet written a review of this amazing album before. It is one of the albums that dominated my record player for months of 1975 and received frequent play for years after. It may be the most played album of my life. This was also my introductory album to Yes. I was (and am) always stunned by the guitar virtuosity of "Sound Chaser" (9/10), the sleepy beauty and unusual melodic beauty of "To Be Over" (9/10), but it is the epic--one of THE epics of the progressive rock "classic" era--that defines the greatness of this album. I am not a lyrics guy (can't recite to you the lyrics to any of my favorite songs) but I KNEW the lyrics to Gates. I think I could play act/air guitar all of Steve Howe's licks. This song was the epitome of what I loved in music: power, delicacy, instrumental virtuosity, the use of odd time signatures, unusual shifts in tempo and dynamics, and vocals that are more essential to the tapestry of the music than they are for their message or meaning. And then to be able to see/hear it performed live a few times. Utter bliss! Especially "Soon"! Thought I'd die and go to heaven! Anyway, this is definitely one of the landmarks or cornerstones of the best of progressive rock music. And though it feels like the album on which Steve Howe "takes over" it may, in fact, be the band's tightest collaborative effort. Too bad Patrick Moraz couldn't fit in better: he is awesome! Without question, this album is ESSENTIAL!
Exit Patrick Moraz.
96.18 on the Fishscales = A/five stars; an absolute masterpiece of progressive rock music and one of the shining star examples of the absolute best prog ever made.
YES Yesterdays (1975)
A retrospective release of mostly previously recorded music from the band's first incarnation (the two studio albums before Steve Howe and Rick Wakeman filled in for original members Peter Banks [departed after Time and a Word] and Tony Kaye [departed after The Yes Album]) plus two previously unreleased songs, "Dear Father" a scrap from the old days) and the new lineup's cover of Simon and Garfunkle's classic "America." Yesterdays was released by Atlantic on February 28, 1975.
Line-up / Musicians:- Jon Anderson / vocals
- Chris Squire / bass and vocals
- Bill Bruford / drums
With:
- Tony Kaye / keyboards (2-8)
- Peter Banks / guitars (2-8)
- Steve Howe / guitars (1)
- Rick Wakeman / keyboards (1)
1. "America" (10:31) a great version of a song that I'd never even noticed before among my Simon and Garfunkle album collection (one of the earliest bands I started collecting). It starts out full Yes rondo-classical with each instrument riffing in a circular turn-taking before switching motifs a couple of times. I love the third motif in which Bill Bruford shows his predilection for syncopation, Chris' bass gets real funky, and Rick bathes us with Mellotron--then, surprise, the weave in of some riffs from Leonard Bernstein's version from West Side Story! Awesome! By the time the vocals start up we're all chummed up like were about to experience a Broadway musical! I've never been a fan of Steve Howe's countrified guitar play--which dominates the sixth and seventh minutes--but I cannot deny his magnificent mastery of his instrument. (18.5/20)
2. "Looking Around" (3:59) as reviewed on Yes. (8.875/10)
3. "Time and a Word" (4:31) as reviewed on Time and a Word. (8.75/10)
4. "Sweet Dreams" (3:47) as reviewed on Time and a Word. (8.75/10)
5. "Then" (5:46) as reviewed on Time and a Word. (9.5/10)
6. "Survival" (6:20) as reviewed on Yes. (9.5/10)
7. "Astral Traveller" (5:53) as reviewed on Time and a Word. (9/10)
8. "Dear Father" (4:18) an outtake from Yes; not a great or very memorable song but definitely of the usual Yes high calibur. (8.75/10)
Total Time: 45:41
"Survival" and "Looking Around" are fine selections from the band's debut
Yes album but I wish they would have chosen "Yesterday and Today" or "Beyond and Before" instead. Likewise, "Astral Travellor" and "Then" are great selections from
Time and a Word though I would have loved to have seen "Everydays" and/or "Clear Days" as well.
90.69 on the Fishsclaes = A-/five stars; an album collection of songs that makes for a minor masterpiece of progressive rock music.
YES Going for the One (1977)
First released in the UK on Atlantic Records on July 15, 1977.
Re-enter Rick Wakeman.
Line-up / Musicians:
- Jon Anderson / lead vocals, guitar (6,12), harp (5,7)
- Steve Howe / acoustic (2,5), electric & pedal steel (1,5) guitars, Portuguese 12-string guitar (3,4,10), backing vocals
- Rick Wakeman / piano, Mellotron (2,4,5), Minimoog, Polymoog (3,4,10), St. Martin's church pipe organ (3,5,7), choral arrangements (5)
- Chris Squire / fretless and 4-, 6- & 8-string basses, backing vocals
- Alan White / drums, percussion, tuned percussion (2,5,12)
With:
- Richard Williams Singers / female chorus (5)
- Ars Laeta of Lausanne / chorus recorded at Eglise des Planches, Montreux (5)
1. "Going for the One" (5:30) no matter how competently performed, this is one of the worst songs Yes ever made. (8/10)
2. "Turn of the Century" (8:58) a beautiful acoustic anachronistic sound and feel renders this one both engaging and interesting, but the same sound palette and motif for nine minutes is a bit hard to take. (18.25/20)
3. "Parallels" (6:52) an exciting intro with Rick Wakeman's big church organ and Chris Squire's chunky bass front and center, the choice to deliver the lyrics with harmony-choral vocals was, I think, a big mistake. In concert I remember how blown away by Steve Howe's non-stop guitar soloing, start to finish. (13.25/15)
4. "Wonderous Stories" (3:45) a gorgeous little fairy-like story with music to match. How odd to have an actually-AM-radio-friendly song come from this band! (9.75/10)
5. "Awaken" (15:38) this is perhaps the greatest prog epic Yes ever made, certainly in the top three, as well as one of the greatest prog epics ever made. Sheer perfection start to finish. (29.75/30)
Total Time 40:43
Perhaps the last LP with the consistent high compositional quality of the The Yes Album through Relayer, Going for the One does have some trouble drawing people into its rather diverse moods and styles. The musicianship is without a doubt outstanding and "Awaken" [12/10] is, IMO, the greatest prog song ever written, but on the whole accessibility is somewhat lacking, even from the "pretty" songs, "Turn of the Century" [6/10: a bit too long] and "Wonderous Stories" [7/10]. While "Parallels" [3/10] is breathtaking to see live for Steve Howe's energy and emotion, the song itself is almost overwhelming in its in-your-face organ loudness, annoying snare, discordant, 'pushed' vocal harmonies. It just has too much going on. "Going for the One" [2/10] is the oddest and poorest opening song of any Yes album. It sounds more like a song from Steve Howe's first solo album: great technique, annoying, almost grating sound. I don't care if I ever hear it again. But then, there is "Awaken." Masterful from opening notes of the piano to Jon's sensitive opening vocals, to the guitar riff that sucks you in, to the Alan White drums that are so strong, so steady, and all over the soundscape, to the greatest Steve Howe solo ever, to the entrance and dominance of the St. Martin's Church organ, to the quiet interlude with Jon's harp which keeps building with Rick's organ and Steve's guitar work to the amazing "master of . . ." vocal section which culminates in the pinnacle of organ and pedal steel sound before crashing into the blissful bath of Jon's nostalgic vocals and Steve's pedal steel washes. Wow. Probably my favorite Jon Anderson vocals of all-time.
Hard to rate this one when there are such highs (the highest) and such lows. Still, don't miss this if just for "Awaken."
92.94 on the Fishscales = A/five stars; an instance where the near-perfection of one side can and does outweigh the shortcomings and disappointments of the other side: with the presence of "Awaken" alone how can one say that this album is not masterpiece--or at the very least a minor masterpiece?
YES Tormato (1978)
First released in the UK on Atlantic Records on September 22, 1978.
Line-up / Musicians:
- Jon Anderson / lead vocals, 10 string guitar (1,5,8)
- Steve Howe / Spanish (3), electric & acoustic guitars, electric & acoustic mandolins (6), backing vocals
- Rick Wakeman / Hammond (1,4), harpsichord (3), piano (5), RMI Electra-Piano (8), Birotron & Polymoog synths, strings arrangements (3)
- Chris Squire / basses, bass pedals (1,3,5), piano (2), backing vocals
- Alan White / drums, military snare (1), glockenspiel (1), bells tree & cymbal (3), percussion (4), gong (5), drum synth (5), vibes (7), crotales, vocals (4)
With:
- Andrew Pryce Jackman / orchestrations & arrangements (3,7)
- Damion Anderson / child vocals (6)
1. "Future Times / Rejoice" (6:45) military snare!? The Yes sounds and formats are getting old. (13/15)
2. "Don't Kill the Whale" (3:56) feels like either an imitation of concurrent MIKE OLDFIELD or a preview of 1980s Yes (90125, Big Generator)--or perhaps a nostalgic look back to the blues-rock roots of rock 'n' roll. (8.75/10)
3. "Madrigal" (2:23) harpsichord and Spanish guitar give this a Baroque sound not unlike that of the previous album's "Turn of the Century" only without the domination of the Mellotron. Me likes. (4.5/5)
4. "Release, Release" (5:47) sounds almost like an attempt to make a jazz-rock fusion song. The problem is that I don't think the band members were in touch with enough J-R F to "get it" (though Chris and Rick aren't too far off: it's New Age/metaphysical Jon, Country-Western Steve, and stadium-rocker Alan that aren't even close). Or perhaps I'm way off: maybe they're just expressing a new pseudo-punk fusion with the new synth rock sounds. Great instrumental performances of one terrible composition. (I suspect that even without the vocals this would be a totally unlikable song.) (8.75/10)
5. "Arriving UFO" (6:03) more of Jon's musings about the significance/relationship of extra-terrestrial phenomena. The first 90 seconds of the music seems to match Jon's lyrics well, but then the circus-instrument version/variation on Bernstein's "America" takes over. Nice synth and guitar interplay in the instrumental part of the third and fourth minutes over some awesome rhythm interplay from White and Squire. At 4:18 the sound of an explosion (literally) ushers in a weird carousel/merry-go-round theme park motif which takes us to the very end. Good parts but overall nothing special. (8.75/10)
6. "Circus of Heaven" (4:30) elf-like faerie music with prog's ultimate faerie, Jon Anderson, singing over the top. The main problem with this is that Jon's vocal feels like something that we've heard before… too many times. It's interesting until the fourth minute when he reverts into a previously-used melody line from the Going for the One album--and then the children's voices take over. (8.75/10)
7. "Onward" (4:02) plodding "classical" bass and orchestra-feeling synth and guitar work back Jon's less-insistent, more laid back "lower" register vocal. Harmony b vox join in for the second verse and chorus. Nice. "French Horn" solos in the pretty instrumental passage before Jon & company return for the final chorus. Another top three song. (8.875/10)
8. "On the Silent Wings of Freedom" (7:47) maybe this is the band's attempt at a Jazz-Rock Fusion song! If so, they're much more successful with this one than on "Release, Release" (until Steve goes off into his Country-Western playing again). Treated bass, great synth palette, better fitting drum play, and occasionally awesome guitar play (with some great tones--especially for the rhythm parts), the instrumental passages (which occupy about 70% of the song--the entire first half) all work in kind of a NOVA/BRAND X/BE-BOP DELUXE/GANG OF FOUR/BUGGLES way. My third top three song. (13.375/15)
Total Time 41:13
Not a horrible representation of Yes, just a little too much of Jon Anderson's cryptic lyrics delivered in a now-typical and fully-expected form and format.
Exit Rick Wakeman and Jon Anderson.
87.94 on the Fishscales = B/four stars; they're still Yes: they're still magnificent musicians. I think we're getting a little tired of Jon Anderson's cryptic lyrics and repetitive singing style (as well as, for me, Steve Howe's Country&Western lead guitar sound). Also, with the death nell of prog rock tolling resoundingly around them, the band seem to be clearly grasping for stylistic influences outside of the "bombastic" and "overly-cerebral" music of their peak years.
YES Drama (1980)
First released in the UK on Atlantic Records on August 18, 1980.
Enter Geoff Downes and Trevor Horn. Even so, I always considered this like a Steve Howe showcase (as I did for Relayer).
Line-up / Musicians:
- Trevor Horn / lead vocals, fretless bass (5)
- Steve Howe / electric & steel (4) guitars, mandolin (5), backing vocals
- Geoff Downes / keyboards, vocoder (4), Fairlight CMI synth (2)
- Chris Squire / bass, piano (5), backing vocals
- Alan White / drums, percussion, backing vocals
With:
- Eddy Offord / co-producer (partially)
1. "Machine Messiah" (10:27) a decent song that is made better by Steve Howe's superlative guitar playing. (17.75/20)
2. "White Car" (1:21) I always liked this little Buggles song. (4.5/5)
3. "Does It Really Happen?" (6:34) an unusual style for Chris Howe to play in the rock opening of this one. For me, Alan White really excels on this one. The motif the band settles on for the singing is pretty disappointing--as are the vocal arrangements. Geoff Downes' keyboard play and Chris Squire's bass in the final instrumental section are both awesome. (8.75/10)
4. "Into the Lens" (8:31) called "I Am a Camera" on the Buggles album that I owned before acquiring Drama, Adventures in Modern Recording--a version I really loved--This version is different but also quite good: Steve Howe's guitar certainly adds a lot. I like Trevor Horn's vocal on the Adventures in Modern Recording version better--and I like the dreamy spaciousness of the Buggles version a little better. (18/20)
5. "Run Through the Light" (4:39) I dislike the drum sound as well as the choral vocal presentation of the title chorus. Trevor Horn's fretless bass is okay as is Chris Squire's treated-piano, but Steve Howe's guitar play is nothing short of jaw-dropping. (8.875/10)
6. "Tempus Fugit" (5:14) a great intro turns into one of the catchiest bass-line-based motifs the band ever did. Very catchy! Even the synth-treated "yes, yes" vocals in the bridge/interludes are great. Some of the tightest and best choral-delivered vocals in the Yes catalog. Fast and quite complex. Great Wakeman-like keyboard work from Geoff Downes. (9.5/10)
Total Time 36:46
As everyone else says, "This is probably one of Yes's most underrated albums." The addition of New Waver's THE BUGGLES's Geoffrey Downes and Trevor Horn gives the band a transfusion of new life (as well as a pre-written song in "Into the Lens"). The vocal harmonies have never been better. Steve Howe has never been better. The band's power and pace is present from the album's opening measures of "Machine Messiah." Yes, songs like "Man in a White Car," "Run Through the Light," and the New Wave-y, straightforward, "Does It Really Happen?" are oddities for Yes, but they are experiments that prove offsetting for the other heavier songs. Plus, they are previews of the ASIA to come. "Machine Messiah," the awesome "Tempus Fugit," and "Into the Lens" are Yes classics--songs for the ages.
89.8333 on the Fishscales = B+/4.5 stars; a near-masterpiece of New Wave/Techno Pop infused Yes music It's still Yes and still excellent addition to any prog lovers music collection.
