Drama is the tenth studio album by the English progressive rock band Yes, released on 18 August 1980 by Atlantic Records.It is their first album to feature Trevor Horn on lead vocals and Geoff Downes on keyboards. 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. Although undeniably rooted within prog rock territory, The Yes Album is an incredibly accessible album. To name many at all, I’d have to start talking about jazz music. 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. The Yes Album Lyrics Yours Is No Disgrace Yesterday a morning came, a smile upon your face. All the singles and albums of YES, peak chart positions, career stats, week-by-week chart runs and latest news. Rated #25 in the best albums of 1971, and #670 of all-time album.. 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. Even the album’s most ambitious piece—the nine minute would-be epic “Subway Walls”— colours within the lines so much so as to induce a coma. 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. Going for the One opens with its hyperactive title track, a high-energy rock tune that signifies the album’s general approach. Going for the One is the eighth studio album by English progressive rock band Yes, released on 15 July 1977 by Atlantic Records. 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. 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.”. It’s a slice of near-perfection, and still sounds monumental over forty years since its recording. Magnification, then, is the next logical evolution in this short Yes renaissance. The Wakeman-orchestrated “Cans and Brahms” is a fine nod to Western classical tradition. 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 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. Select Your Cookie Preferences. Even “Sound Chaser,” when overlooked for its obvious structural weakness, has the ability to surprise and shock more than most more conventionally structured works in prog rock. The group bounced back in 2001 with the release of Magnification, but it didn’t last for so long. You often hear people discussing progressive epics as the centrepiece or highlight of an album. Unlike their more timeless prog classics, Yes feels very much a work of its time. No. 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. Fragile (1971) A crescendo draws steadily out of my set of speakers. The comparisons between Fly From Here and Drama don’t end with irregular vocalists. 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. 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. After how bad things got with Open Your Eyes (a next-to-worthless AOR album if ever I’ve heard one!) …well, maybe they are right, but Tales from Topographic Oceans‘ opaque self-awareness and bombast don’t stop it from being one of the most incredible albums ever made in progressive rock, and quite possibly even Yes‘ finest hour. 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 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. It’s undeniably a weaker album than 90125, even possibly the first album the band released I might consider truly weak. 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. Whether it would have fared better with a different band is up for half-hearted debate, although I’m guessing things wouldn’t change. 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. 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. 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. No. Tales I wouldn’t put quite as high. 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. The only part of the “Fly From Here” suite that seems out of place is the aptly titled “Bumpy Ride”, an instrumental climax composed by Howe that seems intent on giving the epic a proggier flair, but lacks the tact and intensity to properly accent it. 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. “Turn of the Century” was a much easier track to get into. Among these ornaments were stacks of hay, archetypal white picket fences, a miniature barn, and a model of a cow with mechanical udders. 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. 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. 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. There is a sense here that Yes are piggybacking on the tailends of the dwindling hippie movement. Some rose-tinted listeners went as far to say it ranked up there with the band’s classic material. 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. 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. The Yes Album is the third studio album by English progressive rock band Yes, released on 19 February 1971 by Atlantic Records. 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. 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. All rights reserved. Listening to “Close to the Edge”, it’s a granted delight to take it all in as a whole, but repeated listens have often found me focusing on one part of the performance without being any less engaged as a result. 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. He has proved his ear for production and mastering countless times before, and Close to the Edge is no different. In his wake, there is confusion. The vocals may still seem a bit drowned out in the sonic chaos, but the infectious catchiness and energy was more than enough to win me over. By contrast, Yes opens up the scope once again on Tales, no by continuing to up the density in their sound as they had been doing for their career up ’til now, but by relaxing the measurements of time and giving compositions air to breathe. 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. 2400 101; Vinyl LP). 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. The approach was in its rough stages, but I think Yes could have done some cool things with an orchestra, had they stayed the course. Time and a Word is, in many ways, typical for a band’s second album. 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. Shop Yes Album by Yes. 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. Listen to music from Yes. See the list below, and let us know how do you rank them in the comments. Clap (Studio Version) - the album version is a Steve Howe 'live' acoustic instrumental recorded at the Lyceum in London, 17 July 1970. The most obvious strength in Fly From Here‘s favour is the twenty minute title suite. 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. “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. Almost every minute sounded like it was used to perfection, and it’s that “no-filler” attitude that has made it such a crown jewel in their discography. 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. Steven Wilson‘s recent 2013 remixing of the album for Panegyric Records brings a refreshing new perspective to the album. With that inspiration having shown its end with the patchy Tormato and largely outsourced Drama however, in retrospect it makes perfect sense the band found themselves in need of some renovation. Without that stress on the composition’s back, new territories are more capably explored. The Yes Album, an Album by Yes. 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. Copyright © 2010-2020 Prog Sphere. Very fascinating round up of YES. 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. 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