albums by yes

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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. Most importantly, the impressive prog-pop epic “Fly From Here” was largely written by Downes and Horn in 1980. 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. All albums made by Yes with reviews and song lyrics. 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. It reached #4 in the U.K. and the Top 40 in the United States. Yes is a great band though and I’m disappointed not to see more comments here. I’ve had it playing in my car for 8 months now. If any of classic members truly benefited from the newfound pop leanings on 90125, it would be Anderson. 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. Rated #25 in the best albums of 1971, and #670 of all-time album.. Shop The Yes Album by Yes. It was inspiration and a sense of excitement in the music they were making that they had done without for so long. To name many at all, I’d have to start talking about jazz music. 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. Opening (Excerpt from "Firebird Suite") - 00:0002. 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. I mean, it’s as if Yes suffered dementia for several songs’ length and dawdled into the bleak abyss of Adult Contemporary soft rock anaesthesia, precisely true to what the awful cover might have suggested. Listen to music from Yes. 90125, blasted off by its big hit single “Owner of a Lonely Heart,” was an enormous success, and not just commercially. 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. I suppose Open Your Eyes makes better sense when taken into context. Fragile (1971) A crescendo draws steadily out of my set of speakers. 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 Wakeman-orchestrated “Cans and Brahms” is a fine nod to Western classical tradition. Fly From Here is never excellent, but it’s plenty enjoyable. Big Generator was released four years after 90125, and two of those years were spent working on it. 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. The same thing with 90125. Prog Sphere is a website for devotees of progressive rock, progressive metal, jazz fusion, and ALL of its varied sub-genres. The Keys to Ascension duology gave some strong hopes that Y… 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. 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. 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. In spite of a few weak tracks, The Ladder aptly demonstrated that Yes were still capable of releasing great prog in their fourth decade of existence. 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. 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. A more tender acoustic piece in the style of “And You And I” or “To Be Over,” it’s one of the most beautiful things Yes have ever done. 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. …whatever their grievances may be, they’re wrong. 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. Looking back at the band’s 19 studio albums, minus the Keys to Ascension duology, we have come up with the ultimate ranking of Yes’ albums. 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. Magnification, then, is the next logical evolution in this short Yes renaissance. No. 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. 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. I was excited to find out what I’d think of it—after all, it couldn’t be any worse than Union… Right? 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. “Future Times / Rejoice” is a finely written, atmospheric song, but it feels like the musicians have each fled to their own little worlds. 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. There seems to be a general consensus that Tormato marked the end of Yes‘ winning streak. Granted, there’s no longer any room for his New Age lyrical dawdling here, but the his distinctive voice feels perfect for the approach the band took here. 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. 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. Greatness has to start somewhere, and though Yes have long since earned a place in the pantheon of prog rock legend, there was in fact a time when Yes found themselves in troubled waters. 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. Especially in the months prior to the album’s release, the band and fans were left with a question: could Yes exist without the immortal voice of Jon Anderson? 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. 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. 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. 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. It has not aged as well as the masterpieces to come, but Yes‘ fusion of pop-infused cheer with prog rock sophistication set a strong foundation for the band’s golden era. 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. They signed with Atlantic in early 1969, and entered Advision and Trident Studios in London to record their first album. Yes wouldn’t begin to unlock their potential until The Yes Album, but the debut certainly deserves more recognition than its earned. With Steve Howe‘s absence, the instrumentation sounds a world away from the “classic” Yes, and might have passed for another band entirely had it not been for Jon Anderson‘s vocals. but—as was the case with Close to the Edge—the overture eventually consolidates itself into a firmer structure to accommodate Anderson‘s vocals. 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. 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. The remix is by no means flawless enough to be the new “definitive” edition of the album, but it has enough changes to warrant a check-out from veterans and newcomers alike. 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. The marriage of proggy arrangements with largely pop songwriting had been attempted before, but on The Ladder it actually works. Even in their unabridged forms, “Starship Trooper” and “I’ve Seen All Good People” have the potential to instantly stick in a casual listener’s mind. 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. 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. Find the latest tracks, albums, and images from Yes. 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. This Yes discography is ranked from best to worst, so the top Yes albums … Post was not sent - check your email addresses! He has proved his ear for production and mastering countless times before, and Close to the Edge is no different. Whether it would have fared better with a different band is up for half-hearted debate, although I’m guessing things wouldn’t change. 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. 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. 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 anything, it’s that quality that makes the album (among) the best this band has ever done. Without that stress on the composition’s back, new territories are more capably explored. With the notable exception of King Crimson (who set the standard for proficiency in the genre), progressive rock was nearly indistinguishable from psychedelic rock at the time. In his wake, there is confusion. Whereas most symphonic prog makes use of synthesizers to get the “symphonic” element across, Time and a Word hosts a full string section. Although progressive rock has been marching onward for what is now close to half a century, the genre had already reached an outstanding maturity and familiarity by 1972. It’s easy to dismiss the listener’s responsibility to stay attentive and brush the leads as longwinded, sure, but as the album grows more familiar, patterns and motifs become more obvious. I’m also glad to see TALES get the high grades it so richly deserves. 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. That’s fine, simply look just beneath the surface and there’s an equal depth to the sophisticated bass grooves and drumwork. Even compared to their other post-70s epics, “Fly From Here” is irregular. Most of Yes‘ orchestral experiments have felt superficial to me—Time and a Word only used the symphony in spurts, and the Symphonic Live orchestral renditions of classic material rarely did more than shadow the guitar and bass lines. If there was any question left as to their greatness after The Yes Album, Fragile finally set all doubts to rest. Even if that album’s long since lost its favour with me, I couldn’t help but feel the same sense of excitement when Heaven and Earth was announced. Regardless, the replacement for Jon Anderson and Rick Wakeman (Trevor Horn and Geoffrey Downes, respectively) made for a decent fit. There is a sense here that Yes are piggybacking on the tailends of the dwindling hippie movement. The band had been through a number of lineup changes in the past, but so much of the band’s atmosphere and personality came through in his voice, equal parts angelic, innocent and lively. The instrumentation is soft and gentle, but it’s Jon Anderson‘s vocals that really stand out. Such is the way Yes open up their classic fourth album Fragile and their perennial fan favourite “Roundabout.” The song itself is probably the greatest piece of radio coverage the progressive rock genre ever received, and still rightly stands as one of the best pieces from the band’s catalogue. Like a classic painting placed underneath blacklight, Yes took their masterpiece formula and put a frightening, alien and penetrating spin on it. This was going to be the album myself and others had been waiting for. 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. Steven Wilson‘s recent 2013 remixing of the album for Panegyric Records brings a refreshing new perspective to the album. Listening to Tormato, I get the mental image of a band of musicians playing with their backs turned to one another- there’s the general impression they’re working together towards the same goal, but there’s no collusion or chemistry between any pair of musicians here. Part of me would like to see Union in a positive light. Here are the best Yes albums of all time, including pictures of the album covers when available. 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. 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.”. Yes have let themselves fall into a disappointing AOR snag, but that’s nothing new for them. 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. This is a discography of the English progressive rock band Yes. Beloved by many, Yes are considered to be one of the greatest progressive rock bands of all time. Going for the One marked the end of an era for Yes, what I outline in this and other reviews as the band’s 1golden era.1 Spanning from The Yes Album to Going for the One, Yes released gem after gem, and every album within that six year space warrants attentive listening from anyone who dares mention a passing interest in progressive rock. YES relayer, gatefold, K50096. 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. Although Trevor Horn relinquished his vocal duties to Benoit David here, he returns here as the record’s producer. Copyright © 2010-2020 Prog Sphere. In any case, Larry Groupë orchestral arrangements here proved to be a wonderful surprise. 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. With Close to the Edge, Yes‘ writing had been condensed, with a clear regard for the economy of time. At the same time, Talk manages to be a fulfilling swansong to the Rabin era, thanks exclusively to the fifteen minute suite “Endless Dream”. Audio CD £5.96 £ 5. Bringing in a little known New Wave pair called the Buggles (who enjoyed a bit of success with their 1980 debut The Age of Plastic) seems like a big risk to have taken, even now. I know many Yes albums don’t consider Fragile to be top three or even top five but I sure do. Over the years they have released 21 studio albums, 14 live albums, 35 compilation albums, 28 singles and 22 videos. 1969 was saturated with melody-driven bands that tried to bring a heavier approach to psych rock with the use of distorted guitars and thick organ playing, and Yes were no exception. After all, virtuoso musicians they may be, who wants to listen to musicians without inspiration or passion? Siberian Khatru - 03:4703. Yes seemed to get the message, and decided to turn their sound around for the better. 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. 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. The logical choice, of course, would be for Yes to fall back on their proud history with prog. There is no such redemptive value to enjoy on Open Your Eyes. Yes weren’t as refined circa 1970 as they would be with their canonical masterpieces, but to hear a band with such an apparent motivation to aspire and improve is a treat of its own. Very fascinating round up of YES. As I prepare for a rocking riff … 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. 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Updated: January 7, 2021 — 8:05 am

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