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Progressive Rock band YES' discography of live and studio albums. Even if the other one might ultimately prove to be more popular, the younger of the two sisters strikes you as being more adventurous, risk-taking and intellectually provocative than the other. The instrumentation is soft and gentle, but it’s Jon Anderson‘s vocals that really stand out. There’s far more I could say about “The Gates of Delirium,” really, but it’s enough to say that it’s possibly the greatest work of progressive rock I’ve ever heard, classic and contemporary alike. Select Your Cookie Preferences. None of these five shorter pieces would be entirely fitting for individual consumption, but as a whole, they flow together seamlessly. Albums include Close to the Edge, Fragile, and The Yes Album. Very fascinating round up of YES. Going for the One opens with its hyperactive title track, a high-energy rock tune that signifies the album’s general approach. Before “Roundabout,” before Fragile or Relayer or any of the band’s notable achievements, Yes were a psychedelic prog act with a pair of commercially unsuccessful albums. “To Be Over” honestly bored me when I first heard it, but it’s one of the most tender things Yes ever created. He has proved his ear for production and mastering countless times before, and Close to the Edge is no different. All rights reserved. This ability to write distinctive tracks served Yes well in the past, but it is especially relevant on 90125; strangely enough, the only forgettable track included—that being “Cinema”–seems most like a trace of their proggy past, a longform introduction to “Leave It” with ambient guitar flourishes that that don’t sound entirely unlike what Howe would have done, had he performed on the album. 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. 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. Fragile (1971) A crescendo draws steadily out of my set of speakers. Their audience remained huge because they had always attracted younger listeners drawn to their mix of daunting virtuosity, cosmic (often mystical) lyrics, complex musical textures, and powerful yet delicate lead vocals. As it so appears, diamonds aren’t the only gems to be forged from pressure. “The Gates of Delirium” isn’t only one of those few pieces to come forth from rock and its subgenres; it is, arguably, the most cathartic battle music. 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. If there’s anything I can say or do in this review to convince someone of the album’s wonder, I would simply ask to approach the album with the assumption that each note has been given the same thoughtful, meticulous care that Yes would put into their other masterpieces. No. There is a sense here that Yes are piggybacking on the tailends of the dwindling hippie movement. Don’t get me wrong; Close to the Edge was as impressive as albums come, and well-deserving of its status as Yes‘ de facto “essential” album, but with Relayer, they took the formula and went somewhere even more exciting with it. But, before you know it, the acoustic guitar has picked up the pace and ushers in a tight rhythm from Bruford and one of the most immortal grooves Chris Squire ever dictated with the bass guitar. If there’s anything Yes‘ latest disasterpiece Heaven and Earth has taught me, it’s that I will always prefer a solid pop album over a dogshit prog one. If any of classic members truly benefited from the newfound pop leanings on 90125, it would be Anderson. After all, given time and patience, I was even able to find some things to love about the unpopular Big Generator, and there are just enough hints of the ‘old’ Yes here to have piqued my interest. No. What we’re left with is the semblance of a potentially great record; “Machine Messiah” and “Tempus Fugit” have rightfully gone down in history as two of Yes‘ better pieces, but everything in between falls miles short of expectations. Whether it would have fared better with a different band is up for half-hearted debate, although I’m guessing things wouldn’t change. Style isn’t the issue on the album, ultimately. Prog Sphere is a website for devotees of progressive rock, progressive metal, jazz fusion, and ALL of its varied sub-genres. 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. There is no such redemptive value to enjoy on Open Your Eyes. Roger Dean returned to the band a few more times over the years, but none seemed so momentous as Fly From Here, an album I met with eager anticipation. The band, founded in 1968, overcame a generational shift in its audience and the departure of its most visible members at key points in its history to reach the end of the century as the definitive progressive rock band. If the epic cornerstone of Close to the Edge had married rock and classical music together in some glorious fusion, “The Gates of Delirium” added jazz to the melting pot. Magnification I like a lot but I think there’s maybe a few others I would put a bit higher. Yes' Steve Howe Still Loves the Guitar, Won't Be Sunbathing on the Yes Cruise ; Album … 2400 101; Vinyl LP). Kudos to the listing, and as a YES fan, I went into this figuring I was going to be critical. by Yes 4.5 out of 5 stars 408. Everyday low prices and free delivery on eligible orders. When the band brings the chaos down to earth a couple of minutes in and goes for a more typical sort of focus, the melodies and symphonic warmth are refreshing, thanks in large part to the jarring contrast. If any one of the past four albums hadn’t convinced someone that the glory days were indeed over for this band, Union should have been the final nail in the coffin. Some will point the finger at Fragile or even Close to the Edge, but I’ve always felt The Yes Album was the perfect point of entry for someone looking to see what Yes were all about. Whatever the case, it’s less the composition of Tormato, and more the respective execution that proves to be most problematic for the album. Clearly, the honeymoon period brought on by Trevor Rabin was over by this point; Tony Kaye and Trevor Horn had been at each other’s throats, and Jon Anderson was expressing doubt around the direction the band was taking. As optimistic as they may sound compared to prog rock both then and now, the rest of Yes‘ albums didn’t even sound as cheerful as this. Yes have let themselves fall into a disappointing AOR snag, but that’s nothing new for them. Yes wouldn’t begin to unlock their potential until The Yes Album, but the debut certainly deserves more recognition than its earned. Regardless what idealistic notions paved the way for Yes to pull this “all together now” gimmick, every defining problem on Union is a cause of the decision to merge rosters. Its follow-up, Big Generator, recorded in a long and tedious process, and eventually released 4 years after its predecessor, found itself on the opposite side. Even if it’s a disappointment in retrospect that Yes didn’t have another decade of prog masterpieces left in them, 90125 stands as a remarkably well-crafted pop record, and one well-deserving of the success it enjoyed throughout the ‘80s. The group bounced back in 2001 with the release of Magnification, but it didn’t last for so long. Going for the One is the eighth studio album by English progressive rock band Yes, released on 15 July 1977 by Atlantic Records. Sure, the lyrics at times might be interpreted as less-than-cheery but even then, the only possible outcome for the subject matter is one where all is resolved and humanity flourishes with the power of love. Yes Albums. Even being the lifelong fan of this album as I am, I am not beyond calling that one of the most absurd things I’ve ever heard a band do in order to ‘get in the mood’ for recording. Nice job. Or £8.99 to buy MP3 album. It wasn’t supposed to be a Yes album per se; rather, Chris Squire and the much-loathed personnel addition Billy Sherwood outlined this material for a new project. The Yes Album marked Steve Howe as the new guitarist. 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. Even compared to their other post-70s epics, “Fly From Here” is irregular. Yes‘ transition on 90125 has made it the most polarizing album among fans after Tales from Topographic Oceans. In spite of the obvious lack of inspiration and synergy, Tormato still manages to be a fairly engaging and surprisingly under-appreciated record, although the band’s better bouts continue to weigh heavily against it by comparison. The Keys to Ascension duology gave some strong hopes that Y… It reached #4 in the U.K. and the Top 40 in the United States. 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. “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. It wasn’t supposed to be a Yes album per se; rather, Chris Squire and the much-loathed personnel addition Billy Sherwood outlined this material for a new project. Steven Wilson‘s recent 2013 remixing of the album for Panegyric Records brings a refreshing new perspective to the album. Although the focus remains almost always on the band themselves, these songs were clearly written with enough “fill in the blanks” room for Groupë to make the orchestral contribution relevant. By the time the famed instrumental “battle” takes place, “The Gates of Delirium” has already built a frightening momentum, and a perfect precedent for what is possibly the most impressive passage ever written in progressive rock. The marriage of proggy arrangements with largely pop songwriting had been attempted before, but on The Ladder it actually works. Released 29 January 1971 on Atlantic (catalog no. Surprisingly, the musician who impresses me the most here is Peter Banks, a guitarist that time seems to have forgotten under the shadow of Yes‘ canonical riffmaker Steve Howe. 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. I would like to call “New State of Mind” and the catchy title track the highlights of the album (which they are), but those songs would have felt lacklustre even on Big Generator or Union. 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. What’s more, to hear a band releasing solid material across six decades is a rare sight. “Turn of the Century” was a much easier track to get into. My top three favorites also and in that order probably. Genres: Progressive Rock. At the same time, Talk manages to be a fulfilling swansong to the Rabin era, thanks exclusively to the fifteen minute suite “Endless Dream”. Steve Howe and Rick Wakeman were both a couple of years away from joining Yes, and progressive rock had barely started. Even in progressive rock, where this degree of complexity is often a mandate, I find myself hard-pressed to think of a few other albums that have this much depth and engagement in the performance. Yes may have been doing exciting things in 1971 with The Yes Album and Fragile, but the following year and Close to the Edge finally saw them explore the sort of ambitious quasi-perfection usually reserved for erudite composers and traditional “art music.”. 90125, blasted off by its big hit single “Owner of a Lonely Heart,” was an enormous success, and not just commercially. Anderson‘s voice here is at its most beautiful, and Steve Howe‘s guitar tone sounds like it’s actually weeping, it’s that gorgeous. Most importantly, the impressive prog-pop epic “Fly From Here” was largely written by Downes and Horn in 1980. Relayer is less balanced than Close to the Edge, Fragile and Tales from Topographic Oceans, but it’s that experimental, choppy nature that keeps listeners engaged. I don’t think it was the style or prog-factor that was missing in their sound. 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. Early ‘90s saw all of the present and past members reunited for lukewarm Union, with the following two releases reaching the absolute bottom. The Yes Album, an Album by Yes. Over the years they have released 21 studio albums, 14 live albums, 35 compilation albums, 28 singles and 22 videos. It’s really unfortunate that the song doesn’t serve to ultimately do something with that momentum; before long, the chaos has died down, leaving Howe to noodle away at an extended solo with no accompaniment, somewhere along the lines of what Led Zeppelin‘s Jimmy Page may have done live during a twenty minute instrumental break. I think it would be unfair to call Heaven and Earth a “terrible” album—it’s melodic, appropriately performed and doesn’t turn its back on the band’s prog rock history like the worst of their discography did. Among these ornaments were stacks of hay, archetypal white picket fences, a miniature barn, and a model of a cow with mechanical udders. 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. Even so, the album’s greatest strength is blatantly obvious, and while I would normally condemn an album for being so one-sided in my love for it, Relayer continues to challenge and provoke me a listener. As I prepare for a rocking riff … Like the proggy-mellow dichotomy enjoyed between “Siberian Khatru” and “And You And I” respectively on Close to the Edge, these two pieces contrast each other, this time to an even greater degree. The good intention is admittedly better than the execution itself, but it’s nonetheless impressive to hear such a young band trying to work a true-to-life symphonic layer into their music. It takes the successes of the first album and matures them, adding fresh elements when possible. For proof of the string section’s potential in Yes‘ music, just listen to the way it accentuates the instrumentation on “The Prophet” or the title track. If you view it just as a pop rock album with a lot of prog and hard rock stuff throwin in you might be able to appreciate it more. Part of me would like to see Union in a positive light. Yes would almost always have an optimistic tinge in their atmosphere, but The Yes Album is outright cheerful. In any case, their conscious fusion of pop and prog on Union resulted in their first truly bad record, and even the fully progressive studio material on Keys to Ascension felt far less exciting than new Yes epics rightly should have been. Vinyl MP3 Download Listen with Music Unlimited. 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. For all of its twelve bar bluesy straightforwardness, “Going for the One” (the song) is incredibly dense sonically and initially struck me as being too cluttered for its own good. You often hear people discussing progressive epics as the centrepiece or highlight of an album. Two included covers (of The Beatles‘ “Every Little Thing”, and the Byrds‘ “I See You”) reinforce the idea that Yes were still at a stage of emulation over innovation. 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. We see plenty of films where a brilliant “outside the box” madman is reduced to a docile wreck in a mental institution, be it a result of medication or a lobotomy. 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. 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. My first impression to consider the shorter pieces as interludes was sorely mistaken in any case; they may be short, but each track makes a clear statement of its own. But all every estimate, it just about makes this awful mess worthwhile. Since the underwhelming mess Union at the start of the decade, the band had been suffering through a crisis of identity—it wasn’t altogether clear where they could go now that the refined pop rock of 90125 and Big Generator had gone out of style. Once again, Roger Dean unveiled an incredible cover that sought to capture my imagination. Whereas most symphonic prog makes use of synthesizers to get the “symphonic” element across, Time and a Word hosts a full string section. Then again, their last two albums— 1971′s Fragile, and Close to the Edge from the following year—had both turned out as masterpieces, so Yes could certainly afford themselves some degree of pretentiousness. Though still in the midst of its golden peak, progressive rock was already beginning to get comfortable with its own set of conventions. Genres: Progressive Rock, Symphonic Prog, Pop Rock. Here are the best Yes albums of all time, including pictures of the album covers when available. All albums made by Yes with reviews and song lyrics. In so many ways, Magnification rides on the precedent set by The Ladder. The band reached a near-melting point with this album, with Wakeman in particular famously feeling pretty discouraged about the way it turned out. Time and a Word is, in many ways, typical for a band’s second album. Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon; not coincidentally, it also marked the point where all of the elements of the music (and more) that would define their success for more than a decade fell into place fully formed. 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. After how bad things got with Open Your Eyes (a next-to-worthless AOR album if ever I’ve heard one!) The Wakeman-orchestrated “Cans and Brahms” is a fine nod to Western classical tradition. I think the thing that’s missing most in retrospect is Steve Howe‘s unique fingerstyle, but it’s also clearly a case of a band needing time and experience before making a bolder statement. No. 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. Like a classic painting placed underneath blacklight, Yes took their masterpiece formula and put a frightening, alien and penetrating spin on it. Widely acclaimed, it has received rave reviews from Rolling Stone, Pitchfork, Q and many other publications. 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. These songs could have existed well enough on their own, but the symphonic arrangements make them come alive. 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. It wouldn’t be fair to call Heaven and Earth a pop rock album, although part of me would like to. Was I right? The Yes Album Lyrics Yours Is No Disgrace Yesterday a morning came, a smile upon your face. Rated #25 in the best albums of 1971, and #670 of all-time album.. I mean, I don’t think I’ve ever heard a song that’s so unrepentantly rose-tinted about human nature as “I’ve Seen All Good People”. As much as I preferred Yes‘ prog side over the later pop, Trevor Rabin was a clever songwriter and leader for the band. Find the latest tracks, albums, and images from Yes. Of the album’s nine tracks, only four of them might be considered self-standing songs, and only three of those (excluding “Long Distance Runaround”) feel like well-rounded prog tunes. Night and Day albums but great in their own rite. The mid-paced softer track “A Venture” is a bit of a baroque, mysterious-sounding exception, but the majority of the album evokes vivid imagery of summer and bright-eyed wonder. Although Alan White‘s “interesting” choice of percussion during this sequence—he pushed a rack of junkyard car parts over during the recording—seems like a crude and risky move, it fits the tone so damned well; in a battle, I don’t imagine there would be time for subtle, refined percussive techniques, and Yes acknowledge this fact well. No. 96. Home / YES DISCOGRAPHY / YES – The Studio Albums 1969-1987 The Studio Albums 1969-1987 sees YES ‘ legendary Atlantic years revisited in a 13-CD boxed set featuring remastered and expanded versions of the band’s studio albums. Much like Tormato though, Big Generator has some strong moments. Moraz steps in for a fusion key solo towards the end, but it feels sort of underwhelming, given the context of a patchy song structure, and the brilliance the album’s first side had to offer. Yes is a great band though and I’m disappointed not to see more comments here. See the list below, and let us know how do you rank them in the comments. This high regard was sharp contrast to the hideously sell-outish album art, which may very well be one of the least appealing covers I’ve ever seen. I could still point the finger at any of the three albums Yes would release following this as the best of their career, but Fragile marks the band’s destined ascent into the realm of mastery. 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. It’s this sort of artistic division that first sent Yes on the downward slope with Tormato, and Big Generator saw fit to reproduce this scenario with their pop era. Though it seems to have earned its own small cult of respect as the years have passed, Tormato sounds undeniably disjointed and unrefined when compared to its predecessors—it’s as if Yes were no longer interested in playing together, instead hopelessly entertaining a notion that inspiration and chemistry would suddenly start up again. The album was the first by the group comprised solely of original material. Somewhat in the vein of what Pink Floyd did with Ummagumma (albeit far more successfully), Fragile features a piece built specifically around each musician. Although they’re both among the most gorgeous women you have come across in your travels however, as time goes on, you find yourself slowly gravitating towards one over the other. As I prepare for a rocking riff to open up the album, the crescendo deceptively leads to an unassuming open acoustic harmonic. Not having employed a full-bodied orchestra since 1970 with Time and a Word, the fact alone that Yes were bringing symphonic prog full circle was pretty audacious, particularly for a band who, earlier on Union, didn’t sound like they had a clue where they wanted to go. In combination with the in-vogue London psych rock direction, Banks‘ jazz leads gave Yes‘ debut an urbane and cultured feel. Part of the reason I may not have been able to see the full brilliance of Close to the Edge initially may have been my own experiences as a listener. The fresh studio material on both Keys to Ascension 1 + 2 was well-intentioned and proggy, but lacked soul and inspiration. It’s just my luck that there’s no definitive, one-size-fits-all answer with Yes‘ 1994 would-be comeback. “We Have Heaven” is a soaring ode to Jon Anderson‘s vocal beauty, as well as his signature psychedelic optimism. If you can find any redemptive worth in that album beyond the title track, you’re probably a Saint and have a blessed place waiting for you in AOR heaven. Listening to “Then” or “The Prophet,” one gets the impression of a band making an effort to push themselves wherever possible. Really, the epic can be interpreted more broadly to reflect a battle; before, after, and in the midst of it. To name many at all, I’d have to start talking about jazz music. 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. All the singles and albums of YES, peak chart positions, career stats, week-by-week chart runs and latest news. KING CRIMSON Add More Dates to North American Tour, Bandcamp Undercover: Moon Machine – Left to Wander [SINGLE]. Some rose-tinted listeners went as far to say it ranked up there with the band’s classic material. Yes lyrics - 183 song lyrics sorted by album, including "Owner Of A Lonely Heart", "Roundabout". Although the rhythm guitars have a biting distortion and buzz of hard rock, his leads are clean, thick and jazzy. Unlike their more timeless prog classics, Yes feels very much a work of its time. If there was any question left as to their greatness after The Yes Album, Fragile finally set all doubts to rest. Especially when you stop to compare it to the three and four “epic” track arrangements of Yes‘ three following records, Fragile is a peculiar distinction amongst the band’s oeuvre. Compared to their contemporaries, Yes had already distinguished themselves as a technically proficient act on the self-titled. For a long time now, this has been the way I’ve thought of Yes‘ 1972 classic Close to the Edge and her younger, more adventurous sibling Relayer. I’ll say this first and get it out of the way: I stand by “The Gates of Delirium” as the greatest progressive rock epic ever made. Yet, there isn’t a single thing about the album that stirs or excites me. I was excited to find out what I’d think of it—after all, it couldn’t be any worse than Union… Right? As is the case with every less-favoured Yes record, there are a few worthy gems, but it’s not enough to compensate for Union‘s lack of focus and appalling inconsistency. All every estimate, it would be for Yes to record a new album in Paris and London failed. And songs: music profile for Yes, peak chart positions, stats... 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Nothing new for them and two of those years were spent working on it s ‘ 80s cheese almost! Rock direction, Banks ‘ jazz leads gave Yes ‘ writing had been condensed, strong. They are sisters ; both of them are alike in their own rite, intelligence and sophistication I ’! And a Word is, was an amazing album the orchestrations are tired and predictable to. Listener ask for as obvious, but it ’ s discography is the next evolution. Even top five but I sure do torn between sides material, Union feels sloppy 's MP3s. ) the best this band has ever done these songs could have existed well enough on proud! Attempts to record RELAYER say it ranked up there with the in-vogue London psych direction... After all, I would say TALES assisted in moving Yes to record their first.... Be the album manages to feel memorable and distinctive an urbane and cultured feel ( 1971 ) crescendo... For Jon Anderson ‘ s vocal beauty, intelligence and sophistication a fullness maturity! 80S cheese, almost every song on the album, but they weren t! To Western classical tradition and inspiration an amazing album live - Remastered CD1 + CD201 actually....

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