While nothing on Fly From Here reaches the heights of “Machine Messiah” or “Tempus Fugit,” it’s a far more consistent record than Drama ever was. Somewhat like the feeling of coming off a highway and feeling like you’re driving more slowly on the normal roads than you really are, Yes‘ change of pace, and their more drawn out instrumental passages have a tendency to feel aimless or wandering compared to the band’s typical fare. It’s not enough to earn a recommendation, but its enough to deserve some sort of defence against some of the “worst album ever” comments made against it. Compared to their contemporaries, Yes had already distinguished themselves as a technically proficient act on the self-titled. Everyday low prices and free delivery on eligible orders. It reached #4 in the U.K. and the Top 40 in the United States. Tales I wouldn’t put quite as high. The instrumentation is soft and gentle, but it’s Jon Anderson‘s vocals that really stand out. I’m up in the air whether the declawed anthem rock they’re going for on Open Your Eyes is worse than the first half of Talk, but Talk at least offered the amazing suite “Endless Dream” to make the grinding worth it. While the collective amnesia towards Yes and Time and a Word struck me as being criminally unfair, it’s quite understandable why Tormato hasn’t received much attention in hindsight. A crescendo draws steadily out of my set of speakers. This followed the departures of Jon Anderson and Rick Wakeman after numerous attempts to record a new album in Paris and London had failed. The idea of teaming up the “classic” Yes with the fashionably poppish ’80s Yes is about as high concept as you can get in prog without spiralling into bombastic operatic narrative. Find the latest tracks, albums, and images from Yes. After how bad things got with Open Your Eyes (a next-to-worthless AOR album if ever I’ve heard one!) Jon Anderson‘s vocals are already strong and distinctive, and his high-register delivery works really well with the ‘flower power’ atmosphere and melodic songwriting. It’s certainly not as obvious, but it’s there. We use cookies and similar tools to enhance your shopping experience, to provide our services, understand how customers use our services so we can make improvements, and display ads. Compared to the more institutionally recognized of Yes‘ masterpieces, Tales from Topographic Oceans still stands as a matter of contention for listeners, even today, four-plus decades after its recording and release. The upbeat, central theme “We Can Fly” stands as arguably being the most memorable and immediate single Yes have crafted since “Owner of a Lonely Heart.” It’s pleasantly contrasted by the more in-depth and melancholic “Sad Night at the Airfield” which, in turn, is sent up by the quirky pace and tone of “Madman at the Screens.” The whole thing is held together by the overture and reprise, which draw ideas from the three central parts in a fairly satisfying way. After taking a break in activity in 1975 for each member to release a solo album and their 1976 North American tour, the band relocated to Montreux, Switzerland to record their next studio album. 96. Although “Roundabout” and “Heart of the Sunrise” both count as two of Yes‘ strongest compositions, Fragile demands to be heard from start to finish as a whole, even moreso than other albums in progressive rock. “Turn of the Century” was a much easier track to get into. With Close to the Edge, Yes‘ writing had been condensed, with a clear regard for the economy of time. Today, I can look back and understand why the album’s orchestral density and blocky flow may have made it a slow grower for me initially, but time and experience with Close to the Edge has seen me fall in line with the legions of proggers that sing its praises. Something's Coming: The BBC Recordings 1969–1970, Like It Is: Yes at the Bristol Hippodrome, The Ultimate Yes: 35th Anniversary Collection, "australian-charts.com – Discography Yes", "Yes – 9012 Live – The Solos – austriancharts.at", https://www.allmusic.com/artist/p5891/charts-awards, Recording Industry Association of America, https://www.allmusic.com/artist/p5891/charts-awards/billboard-singles, https://en.wikipedia.org/w/index.php?title=Yes_discography&oldid=997649010, Creative Commons Attribution-ShareAlike License, "No Opportunity Necessary, No Experience Needed" (1970), This page was last edited on 1 January 2021, at 15:55. “Five Per Cent for Nothing” is a sporadic, Bruford-led exercise in rhythm, “The Fish” showcases Chris Squire‘s skill with bass grooves, and “Mood for a Day” is a pleasant acoustic piece from Steve Howe. There are places where the string section gets overzealous (a great song is hiding somewhere in “Clear Days” for example, but the prominent string section sounds aimless) but it does give Time and a Word a unique sound—Yes wouldn’t try this again until their nineteenth album, Magnification, in 2001. Shop Yes Album by Yes. In the case of Talk, “Endless Dream” is just the highlight; it’s the only goddamned worthy cut Yes managed to conjure this time around. Widely acclaimed, it has received rave reviews from Rolling Stone, Pitchfork, Q and many other publications. None of these five shorter pieces would be entirely fitting for individual consumption, but as a whole, they flow together seamlessly. Going for the One is the eighth studio album by English progressive rock band Yes, released on 15 July 1977 by Atlantic Records. Yes have never shirked away from the risk and rewards an epic potentially offers, and even during their otherwise weakest moments (such as Talk), they’ve managed to do some pretty great things with longform composition. Whereas so much of Yes‘ post-Drama material is cumulatively shat upon by their fans and critics, the short period beginning with their Keys to Ascension duology and ending with Magnification escaped the brunt of the storm. Yes‘ sound is usually padded with symphonic warmth, but here, the instrumentation is cutting and sharp. The Yes Album, an Album by Yes. Yes (or whatever you’d like to call ‘em nowadays) have created merely a shadow of progressive rock, one with all of the toys and trinkets of the genre, but none of the sophistication we would normally look for in it. Pushing the boundaries further past Close to the Edge and creating a double album four epics long resulted in the most critically polarizing progressive rock album ever made. No. Everyday low prices and free delivery on eligible orders. Going for the One was a final bold statement before Yes‘ quality of output began to dip; it may not have the firm sense of identity or consistency as the five records prior, but the fifteen minute titan “Awaken” alone is more than worth the price of admission. Someone with no idea what a mellotron or moog is will almost surely be cognizant of their hit “Owner of a Lonely Heart”, and it’s unlikely they would be able to hum out the first few lines. by Yes 4.5 out of 5 stars 408. If anything, the cognitive dissonance going into Talk made the anticipation that much more compelling. Although Trevor Horn relinquished his vocal duties to Benoit David here, he returns here as the record’s producer. In 2017 Yes was inducted into the Rock and Roll Hall of Fame; the celebration was also an inauguration for the former members of the band—Jon Anderson, Trevor Rabin and Rick Wakeman—to start working under the name Yes Featuring ARW. Although it’s got a twinge of the chaotic wall-of-sound from Relayer, Going for the One tries to express that scope and bombast with a more concise style of songwriting. I suppose Open Your Eyes makes better sense when taken into context. Yes’s breakthrough third album and Platinum classic marked Steve Howe’s debut with the breathtaking ‘Clap’ and finds the band discovering their trademark sound. Where rivals such as Emerson, Lake & Palmer withered away commercially after the mid-’70s, and Genesis and King Crimson altered their sounds so radically as to become unrecognizable to their original fans, Yes retained the same sound, and performed much of the same repertoire that they were doing in 1971, and for their trouble, they found themselves being taken seriously a quarter of a century later. What’s more, to hear a band releasing solid material across six decades is a rare sight. In his wake, there is confusion. Like the album’s title, Tormato is itself an awkward portmanteau, pairing Yes‘ flashy progressive style with the then-nascent ‘80s pop kitsch they would deliver in the decade that followed. Kudos to the listing, and as a YES fan, I went into this figuring I was going to be critical. Writing a set of catchy, concise and effective tunes is potentially just as much a challenge as penning a grandiose epic; it just requires a separate set of skills. It was the band's first album to feature keyboardist Rick Wakeman, who replaced founder member Tony Kaye after the group had … It’s the true definition of a grower album, and though Yes demands more here from the listener than they ever had or would again, the ultimate rewards for sticking with it are incredible. Over the years they have released 21 studio albums, 14 live albums, 35 compilation albums, 28 singles and 22 videos. Stream ad-free or purchase CD's and MP3s now on Amazon. The Yes Album is the third studio album by YES, released on 19 February 1971 on Atlantic Records.It is their first album with guitarist Steve Howe , and their last until 1983’s 90125. to feature keyboardist Tony Kaye.. The record proved that a progressive band could give in to commercial pressure and still make an album with a certain artistic value. Yes is a solid psych rock album, with strong melodies and tight musicianship; what more could a listener ask for? Where most progressive epics are most impressive for their composition, “Close to the Edge” has always stood out for its focus on the band performance itself. Yes wouldn’t begin to unlock their potential until The Yes Album, but the debut certainly deserves more recognition than its earned. One gets the picture of a quiet aftermath; there are no victors, none to reap the victories of warfare, none who have even survived the ordeal without deep scars, in body and soul. I think Howe as a replacement brought something far more special to the table, but Banks‘ own contributions to Yes‘ career have gone sorrowfully underrated. The most obvious strength in Fly From Here‘s favour is the twenty minute title suite. Instead of a real union, the band is just as segregated as ever; the only difference is that they’re stuck on the same disc together. Really, the epic can be interpreted more broadly to reflect a battle; before, after, and in the midst of it. The disastrous collaboration of the old and new band incarnations on Union was a severe misstep, but nothing on that album was as mind-numbing and lifeless as some of the songs here. In its wake, the second half of Relayer feels like an addendum to the main attraction; “Sound Chaser” and “To Be Over” are nowhere near as powerful or perfect in their writing or execution. Before the notion was rightly dismissed by the others, Jon Anderson was said to have expressed a wish to record Tales from Topographic Oceans in the middle of a forest at nighttime. “To Be Over” honestly bored me when I first heard it, but it’s one of the most tender things Yes ever created. Listening to “Then” or “The Prophet,” one gets the impression of a band making an effort to push themselves wherever possible. Maybe number six for me. If Howe was based in classical music, Peter Banks has a clear love for jazz. Yes had long-since established themselves as masters of the latter, and the decade prior to the release of 90125 was filled with lasting testaments to their skill as a band. Unlike their more timeless prog classics, Yes feels very much a work of its time. Like any mid-life career change, the transition Yes made with 90125 was a risk, but it certainly paid off. 2400 101; Vinyl LP). I’m sure the album was a well-intentioned effort to bring progressive rock back into the fold, but it completely lacks the energy and sense of adventure that would have made it work. I would say that there is a resounding sense of hope here, but that would suggest the potential for a darker outcome. The Yes Album would be Tony Kaye's final moment with Yes until his return in the reformed 90125 lineup, being dismissed by the band citing an unwillingness to expand his musical palette with the rest of them. If any of classic members truly benefited from the newfound pop leanings on 90125, it would be Anderson. The intensity and catharsis of a battle is a fertile ground for respectively intense music, but there aren’t all that many pieces of music that truly capture a battle’s chaos and rupture. Of course, a remixing isn’t so much an improvement as it is a fresh interpretation, and there are some parts of Wilson‘s reimagining—most notably the upmixing of Howe‘s thinly performed background vocals on “I Get Up, I Get Down”—that should have been approached differently. In so many ways, Magnification rides on the precedent set by The Ladder. No. Much like Tormato though, Big Generator has some strong moments. Shop The Yes Album by Yes. As was the case on The Ladder, the strong epic tracks may not be quite enough to excuse the inconsistent pop songwriting, but Yes truly sell their 17th album on account of the passion they’ve put into arranging and executing it. It’s too mellow to have warranted Atlantic Records‘ decision to use it as a single, but it wraps up the epic with a signature tenderness the rest of the work was intentionally left without. Rather than choosing to welcome the listener in with a resounding theme or overture, Yes erupt into a chaotic swirl of guitar-based jamming and synthesizer-fuelled madness. Unlike Rabin‘s contributions throughout the ‘80s and early ‘90s, you’ll find very few interesting hooks or melodic lines on Open Your Eyes. Yes‘ transition on 90125 has made it the most polarizing album among fans after Tales from Topographic Oceans. The same thing with 90125. But all every estimate, it just about makes this awful mess worthwhile. Clap (Studio Version) - the album version is a Steve Howe 'live' acoustic instrumental recorded at the Lyceum in London, 17 July 1970. Sure enough, I don’t think a song penned under the Yes name was so concise and effective since “Roundabout.” Cheesy electronic embellishments and lyrics are easily offset by the song’s perfect melodic writing and indomitable hook factor. “Future Times / Rejoice” is a finely written, atmospheric song, but it feels like the musicians have each fled to their own little worlds. In fact, I would say TALES assisted in moving YES to record RELAYER. A few rag-tag advocates defend the album for its scope and ambition, whereas the rest cite it as a poster child for prog rock indulgence, self-importance, and idle longwindedness…. Nice job. Time and a Word is, in many ways, typical for a band’s second album. Tracks 1 to 6 are the vinyl LP "The Yes Album" - released March 1971 in the UK on Atlantic 2400 101 and Atlantic SD 8283 in the USA BONUS TRACKS: 7. 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