YES
Symphonic Prog • United Kingdom
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Active since 1968 with varying formations - Two major hiatus between 1981-1983 and 2004-2008
YES formed in London (UK) in 1968 with Jon ANDERSON (vocals), Chris SQUIRE (bass, vocals), Peter BANKS (guitar, vocals), Tony KAYE (keyboards), and Bill BRUFORD (drums). Well-known and influential mainstream progressive from the 1970's, and still around in some form ever since, they were highly influential in their heyday, especially notable for the really creative "Relayer", which included at the time Swiss keyboardist Patrick MORAZ who replaced Rick WAKEMAN
During the 1970s, YES pioneered the use of synthesizers and sound effects in modern music. Driven by Jon's artistic vision, they produced such timeless, symphonic-rock masterworks as "Roundabout," "Close To the Edge," and "Awaken". In the 1980s, YES pushed new digital sampling technologies to their limits, selling millions of records and influencing a generation of digital musicians with classics like "Owner Of A Lonely Heart" and "Rhythm Of Love". Moving through the 1990s and into the new millennium, the band keeps expanding its boundaries by using the latest hard-disk recording techniques and, most recently, working with a full orchestra to create their genre-defying music.
YES gained large popularity with their brand of mysticism and grand-scale compositions. "Fragile" and "Close to the Edge" are considered their best works as it's symphonic, complex, cerebral, spiritual and moving. These albums featured beautiful harmonies and strong, occasionally heavy playing. Also, "Fragile" contained the popular hit song "Roundabout". This was followed by the controversial "Tales from Topographic Oceans" LP, which was a double album consisting of only four 20-minute length suites centering on religious concepts. Also, "Relayer" was their most experimental, yet grandiose and symphonic. They broke up, until the new jewel "Going For The One" and its incredible "Awaken" was issued in 1977. In later years, YES would go through many transformations. There were other very good YES albums after "Going For The One" ("Drama", "Keys To Ascension" and surprisingly "The Ladder") but this is the last great album.
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YES discography
Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums
YES top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
3.29 | 1592 ratings
Yes 1969 |
3.35 | 1657 ratings
Time and a Word 1970 |
4.31 | 3303 ratings
The Yes Album 1971 |
4.46 | 4049 ratings
Fragile 1971 |
4.68 | 5068 ratings
Close to the Edge 1972 |
3.92 | 2773 ratings
Tales from Topographic Oceans 1973 |
4.38 | 3479 ratings
Relayer 1974 |
4.06 | 2374 ratings
Going for the One 1977 |
3.01 | 1790 ratings
Tormato 1978 |
3.78 | 1971 ratings
Drama 1980 |
3.05 | 1845 ratings
90125 1983 |
2.57 | 1349 ratings
Big Generator 1987 |
2.52 | 1230 ratings
Union 1991 |
3.07 | 1140 ratings
Talk 1994 |
2.06 | 991 ratings
Open Your Eyes 1997 |
3.27 | 1155 ratings
The Ladder 1999 |
3.73 | 1295 ratings
Magnification 2001 |
3.42 | 1258 ratings
Fly from Here 2011 |
2.30 | 755 ratings
Heaven & Earth 2014 |
3.20 | 278 ratings
Fly from Here - Return Trip 2018 |
2.91 | 305 ratings
The Quest 2021 |
3.42 | 215 ratings
Mirror to the Sky 2023 |
YES Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
YES Videos (DVD, Blu-ray, VHS etc)
3.73 | 202 ratings
Yessongs (DVD) 1973 |
3.21 | 126 ratings
9012 LIVE (DVD) 1985 |
4.11 | 102 ratings
Yesyears (DVD) 1991 |
3.72 | 56 ratings
The Union Tour Live 1991 |
2.98 | 65 ratings
Greatest Video Hits 1991 |
4.42 | 12 ratings
The Best Of MusikLaden Live 1999 |
3.62 | 137 ratings
House Of Yes: Live From The House Of Blues (DVD) 2000 |
3.72 | 149 ratings
Keys to Ascension (DVD) 2000 |
4.59 | 354 ratings
Symphonic Live (DVD) 2002 |
3.11 | 83 ratings
Yesspeak 2003 |
2.43 | 93 ratings
Live in Philadelphia 1979 2003 |
3.15 | 43 ratings
Inside Yes 1968-1973 2003 |
3.63 | 106 ratings
Yes Acoustic: Guaranteed No Hiss 2004 |
4.31 | 199 ratings
Songs From Tsongas: 35th Anniversary Concert (DVD) 2005 |
3.46 | 82 ratings
Live 1975 At Q.P.R. Vol. 1 2005 |
3.38 | 75 ratings
Live 1975 At Q.P.R. Vol. 2 2005 |
3.62 | 62 ratings
Yes (Classic Artists) 2006 |
3.97 | 149 ratings
Montreux 2003 (DVD) 2007 |
3.86 | 54 ratings
Yes - The New Director's Cut 2008 |
3.86 | 52 ratings
The Lost Broadcasts 2009 |
3.25 | 40 ratings
Rock Of The 70's 2009 |
3.92 | 74 ratings
Union - Live 2010 |
3.18 | 15 ratings
Live Hemel Hempstead Pavillion October 3rd 1971 2013 |
3.63 | 51 ratings
Yes ft. ARW: Live At The Apollo 2018 |
YES Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)
3.52 | 20 ratings
2 Originals of Yes 1973 |
3.12 | 256 ratings
Yesterdays 1975 |
3.76 | 213 ratings
Classic Yes 1981 |
3.32 | 131 ratings
Yesyears 1991 |
3.51 | 88 ratings
Yesstory 1992 |
2.89 | 94 ratings
Highlights: The Very Best of Yes 1993 |
4.48 | 197 ratings
Keys to Ascension (Volumes 1 and 2) 1998 |
2.63 | 38 ratings
The Best of Yes 2000 |
3.59 | 522 ratings
Keystudio 2001 |
2.81 | 31 ratings
Yes-today 2002 |
4.27 | 134 ratings
In a Word 2002 |
2.70 | 46 ratings
Extended Versions - The Encore Collection 2002 |
2.89 | 39 ratings
Roundabout: The Best of Yes - Live 2003 |
3.19 | 114 ratings
Ultimate Yes: 35th Anniversary Collection 2003 |
2.17 | 79 ratings
Remixes 2003 |
2.60 | 32 ratings
Topography: The Yes Anthology 2004 |
3.26 | 159 ratings
The Word Is Live 2005 |
3.75 | 32 ratings
Essentially Yes 2006 |
3.80 | 5 ratings
Rhino Hi-Five: Yes 2006 |
3.39 | 23 ratings
Collection 2CD: Yes 2008 |
3.45 | 10 ratings
Wonderous Stories: The Best of Yes 2011 |
3.23 | 11 ratings
Original Album Series 2013 |
4.13 | 66 ratings
Progeny: Highlights from Seventy-Two 2015 |
4.79 | 64 ratings
The Steven Wilson Remixes 2018 |
3.29 | 76 ratings
From a Page / In the Present - Live from Lyon 2019 |
3.11 | 9 ratings
YesSingles 2023 |
YES Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)
2.92 | 41 ratings
Sweetness / Something's Coming 1969 |
4.50 | 8 ratings
Looking Around / Everydays 1969 |
4.14 | 7 ratings
Sweetness / Every Little Thing 1970 |
3.52 | 25 ratings
Looking Around / Every Little Thing 1970 |
3.42 | 29 ratings
Sweet Dreams 1970 |
3.44 | 46 ratings
Time and a Word 1970 |
4.28 | 30 ratings
Something's Coming 1971 |
4.88 | 8 ratings
Yours Is No Disgrace / The Clap 1971 |
4.67 | 9 ratings
Yours Is No Disgrace 1971 |
4.22 | 9 ratings
I've Seen All Good People / The Clap 1971 |
3.52 | 58 ratings
Your Move 1971 |
3.54 | 31 ratings
Roundabout 1972 |
4.69 | 29 ratings
And You And I (Part 1 & 2) 1972 |
4.67 | 9 ratings
No (Opportunity Necessary) 1972 |
4.63 | 8 ratings
Yours Is No Disgrace / Your Move / Sweet Dreams 1972 |
2.98 | 60 ratings
America 1972 |
4.71 | 34 ratings
And You and I / Roundabout 1974 |
4.67 | 6 ratings
America / Yours Is No Disgrace 1974 |
3.40 | 27 ratings
Soon 1976 |
3.33 | 47 ratings
Soon - Sound Chaser - Roundabout 1976 |
2.60 | 20 ratings
Yes Solos 1976 |
3.74 | 49 ratings
Wonderous Stories 12'' 1977 |
4.09 | 49 ratings
Going For The One 12'' 1977 |
4.28 | 18 ratings
Turn Of The Century 1977 |
4.44 | 9 ratings
Release, Release 1978 |
2.79 | 61 ratings
Don't Kill the Whale 1978 |
4.11 | 9 ratings
Run Through the Light 1980 |
3.09 | 45 ratings
Into The Lens 1980 |
4.25 | 51 ratings
Roundabout 1981 |
2.42 | 52 ratings
Owner of a Lonely Heart (promo single) 1983 |
2.26 | 61 ratings
Owner Of A Lonely Heart 1983 |
2.74 | 46 ratings
Leave It 1984 |
2.91 | 27 ratings
Twelve Inches on Tape 1984 |
2.90 | 44 ratings
It Can Happen 1984 |
2.78 | 40 ratings
Love Will Find a Way 1987 |
2.26 | 45 ratings
Rhythm of Love (2) 1987 |
2.53 | 17 ratings
Rhythm of Love 1987 |
3.67 | 6 ratings
I Would Have Waited Forever 1991 |
3.34 | 28 ratings
Saving My Heart 1991 |
2.56 | 47 ratings
Owner of a Lonely Heart 1991 |
2.58 | 28 ratings
Make It Easy 1991 |
2.66 | 13 ratings
Yesyears - Sampler 1991 |
2.63 | 21 ratings
Lift Me Up 1991 |
2.64 | 31 ratings
The Calling 1994 |
3.00 | 4 ratings
State of Play 1994 |
3.83 | 6 ratings
Walls 1994 |
4.43 | 7 ratings
That, That Is 1996 |
4.29 | 7 ratings
America 1996 |
4.50 | 6 ratings
Be the One 1996 |
4.25 | 4 ratings
New State of Mind 1997 |
3.17 | 6 ratings
Open Your Eyes 1997 |
3.17 | 6 ratings
Open Your Eyes (radio edit) 1997 |
4.00 | 6 ratings
Homeworld (The Ladder) 1999 |
3.80 | 5 ratings
If Only You Knew 1999 |
3.80 | 5 ratings
Lightning Strikes - Collector's Edition 1999 |
3.33 | 9 ratings
Lightning Strikes (She Ay ... Do Wa Bap) 1999 |
2.88 | 74 ratings
YesSymphonic 2001 |
4.00 | 5 ratings
Selections from... In a Word: Yes (1969-) 2002 |
2.53 | 11 ratings
Selections from The Word Is Live 2005 |
3.09 | 75 ratings
We Can Fly 2011 |
4.33 | 12 ratings
To the Moment 2019 |
3.88 | 34 ratings
From a Page 2019 |
3.72 | 32 ratings
The Ice Bridge 2021 |
3.18 | 17 ratings
Dare to Know 2021 |
3.64 | 14 ratings
Future Memories 2021 |
3.75 | 12 ratings
A Living Island 2022 |
3.48 | 20 ratings
Cut from the Stars 2023 |
2.31 | 24 ratings
All Connected 2023 |
3.10 | 10 ratings
Circles of Time 2023 |
YES Reviews
Showing last 10 reviews only
Yes Symphonic Prog
Review by ProgSphere
As this is the first review that I intend to publish out of many, I feel like it wouldn't be right to start with any other album than Close to the Edge. It was among the first albums that introduced me to the world of progressive rock. Initially, it left me perplexed and unsure, but with each subsequent relisten, I found myself unable to resist adoring it and sharing it with people I knew, ultimately receiving many mixed reactions. Despite releasing in 1972, the album remains to be a classic with not just myself, but with many fans within the progressive rock genre. Furthermore, the album has garnered acclaim from music critics across the board and is hailed as one of the finest in the genre.
The album features the contributions from Jon Anderson on vocals, Steve Howe on guitar, Rick Wakeman on keyboards, Chris Squire on bass, and Bill Bruford on drums. This lineup is often acknowledged as their "classic lineup," and rightfully so, as each member is able to bring a unique dynamic to their sound. Each member's influence extends beyond the band and into various projects and solo careers which contributes to each of their enduring legacies. When envisioning the ideal lineup for a supergroup, it's difficult not to include at least one or two members of Yes. Additionally, credit is due to Roger Dean and Eddy Offord for their contributions to the album. Roger Dean's cover artwork, though simpler than his typical style, is complemented by a captivating landscape inside the gatefold. This adds an extra layer of allure to the album while also blending very well with the music. Meanwhile, Eddy Offord's exceptional production work shines through as he draws from his experience with the band's live performances. Offord aimed to capture the energy of their best concerts within the studio recordings.
The album begins with the monumental track "Close to the Edge." Words can hardly express the profound significance this song holds for me; it continues to stand as one of my all-time favorites. The sheer brilliance of musicianship, the intricate composition comparable to a symphony, and the lyrical depth rivaling that of esteemed poets make it a true masterpiece. It embodies the very essence of progressive rock, taking listeners on a journey through various styles, genres, and emotions. Moreover, the following two tracks deserve equal acclaim. Both stand out as some of the band's finest compositions. "And You And I" begins with delicacy, gradually evolving into an impressive crescendo which allows Jon Anderson to showcase his remarkable talent. This song underscores the significance of dynamics in music; the interplay between soft and loud passages is essential for its impact. "Siberian Khatru" is yet another outstanding piece that seamlessly blends various genres into an engaging composition.
Midway through the recording process of this album, Anderson made the decision to walk home from the studio following a difficult session that stretched into the early hours of dawn. Overwhelmed with emotion upon his arrival, he found himself in tears, realizing that he could now proudly declare himself a true musician. This moment led him to fill in the occupation section of his passport, a space previously left blank, with the title of "musician." Following the completion of this album, the band faced a significant change as drummer Bill Bruford departed to join King Crimson. His departure marked the entrance of Alan White, previously known for his work with John Lennon, as the new drummer. "Close to the Edge" stands as an essential cornerstone for those exploring progressive rock and music in general. Its historic significance makes it an essential listening experience.
Favorite Track: Close to the Edge (18:12)
Yes Symphonic Prog
Review by FLCL8618
Yes Symphonic Prog
Review by TheyThem
Bear in mind that I started with 90125 and BIG GENERATOR, both with mastermind Rabin overseeing most everything. I then moved simultaneously back and forth in time, to both the era of Howe and Wakeman (when almost everything they did was gold) and then into the 80's/90's, when Yes as a whole seemed start treading water as a band. Records like GOING FOR THE ONE, 90125, DRAMA and BIG GENERATOR hit the mark with regards to writing, arrangement and production. Plus, Yes always seemed to have that certain...something; something that twisted the ear, making the listener sit up and take note, as if to say, "Yes; we did that and made you aware. You have no choice but to keep listening." 90125 and BIG GENERATOR are really good, solid pieces of work, combining angular drumming, deep bass grooves, thunderous guitar workouts and heartfelt vocals, but one could sense that Rabin's Yes was "waiting" (pardon the foreshadowing) to make their ultimate statement, the one that would force the naysayers to sit up and be gagged. Folks, I do believe TALK is that statement.
Everything that made Yes such a hit in the seventies and eighties (the tight playing, the dexterous arrangements, the gorgeous melodies, the no-BS production) is sent kicking and screaming into 1994, when grunge (yak) ruled the charts and if you were caught sporting a 6/4 time signature (I'm looking at you, Dream Theater), you were dragged unceremoniously. So it might come as zero surprise to find that this record bears some hallmarks of the genre, such as a more stripped-down aesthetic, heavier guitars, throatier vocals (the vocal arrangements on "I AM WAITING" are particularly stunning) and a tendency to push the keyboards to the background, leaving Kaye's Hammond to ride the mix untrammeled.
But is the record any good? Let's look beyond the obvious pun, shall we? YES (I'm screaming); the record is really good. Let's discuss some individual songs. "The Calling" kicks things off with some effects-tweaked acoustic guitar that leads into Jon's patented multi-tracked wall-of-sound vocals. Things quickly become heated when the acoustic becomes electric and the other three decide to bum-rush the song. Listen to the combo of Kaye's hot Hammond, White's pummeling percussion, Rabin's swooping slide and Squire blistering bass and try not to salivate (I have napkins if you need them). The mid-song break is worth the price of admission alone. "I Am Waiting" is, in both feel and sound, a glorious power ballad that bands like Tesla or Cinderella would have killed for, but no band could have written it except Yes. The syncopation of drums, guitars, bass and keyboards is stunning and spot-on. Anderson is, as always here, at his heart-on-sleeve best, singing these quasi-mystical lyrics and boring his way into the soul for a spot of tea and a nap. And Rabin's lead break is...delicious (chef's kiss).
"Real Love" is straight-up thunder, from the shimmering intro to the hammering choruses; hooks abound and rarely stop coming. "State Of Play" is, after the first three tracks, somewhat silly froth, but it works as a rest stop, especially after how in-your-face the first few songs are. This track is-not gonna lie-a bit of a mess, mixing some really booming drums (poor Alan is doing his best here) and with Anderson's fast-moving mouth, yet Anderson seems to come off a bit strident here, so perhaps try to ignore him (difficult to do, I know, but easier to do when the track is this frothy) and focus on the quickly shifting arrangement instead.
While I would hardly consider this a masterpiece (nah, fam), this DOES get a lot of play on my phone. Why? It's not perfect, but it presents Yes in a time of consolidation; sadly, Rabin would pack up his six-string after this one, and while that's a bit of a gutpunch, if this was his farewell, then it was a hell of a high note to go out on. All told, this is fun.
Yes Symphonic Prog
Review by ken_scrbrgh
Inspired by Tolstoy's "War and Peace," what more applicable composition exists than "The Gates of Delirium," both lyrically and musically, to the present mess we call "The Human Condition?" In "Sound Chaser," Anderson, Howe, Moraz, Squire, and White present an aesthetic in search of the foundations of musical expression. With "To Be Over," the band further develops its explorations of death begun in "Close to the Edge." Born from the lyrics of "The Remembering" from "Tales from Topographic Oceans," 'Relayer" encapsulates a high regard for human history and a piercing honesty regarding the "double-edged sword" we call humanity.
My first exposure to "Relayer" came in the summer of 1975 during a one day stint painting the inside of a clinic in Downtown New Orleans. A professor with Tulane's Medical School, one of our best friend's father had hired a group of us soon-to-be high school juniors to spend a day painting. I don't recall how well we painted, but I do remember the fascination I had hearing what I would learn to be the climactic battle passage of "The Gates of Delirium."
Not "to put the cart before the horse," but the "Gate" towards which "Delirium" moves could very well be the soundtrack to the climax of "The Lord of the Rings" in "The Return of the King" when Sauron realizes the one ring of power not only has been, "under his nose," in Mordor, but also has descended to its destruction with Gollum into the fires of Mount Orodruin. The interplay between Moraz's synthesizers and Howe's Telecaster and steel guitars captures the potency of any triumphant, military breakthrough. Surely, the rhythm section of Squire and White provides the bastion upon which this feverish apex occurs.
The listener passes through this "Gate" into an almost ethereal, transcendent resolution to the profligacies of war. Although Anderson's vocals and Howe's steel guitar preside over this resolution, Moraz's backing synthesizer accompaniment girded by Squire and White's bass and drums solidify the sublimity of this passage.
If only the relatively linear journey of "The Gates of Delirium" could intimate a solution to the nefarious invasion of Ukraine by the daemonic "leader" of Russia.
At this point during the 70's, one would flip the LP of Relayer to side two, and enter the jazz inflected, forward looking "Sound Chaser." In the 1970's greater New Orleans area, WRNO-FM was the "rock" of the Crescent City. The management of this station chose Moraz's opening electric piano line supported by White's tuned percussion from "Sound Chaser" as its signature theme, never mind that the actual music of "Relayer" was too "dense" for airplay on this supposed "album oriented" station. However, in all fairness, WRNO was the home of what we would consider most "classic" rock.
Succinctly, "Sound Chaser" embodies the imaginative power of "Relayer" in words and musical action. Of all of Yes' music, "Sound Chaser" may be the piece in which the lyrics and music are truly intertwined. The focal point for the band is to perceive the look in its listeners' eyes. I wouldn't mind the band seeing the look in my eyes in response to Howe's landmark steel guitar solo towards the end of the piece. Moraz's frantic, jazz-inflected synthesizer follows. And, earlier Howe delivers what would be something like "Mood for a Day" on his Fender Telecaster. White's percussion is, to put it mildly, "muscular." And, the "skeleton" of the song is Squire's bass.
The final third of "Sound Chaser's" lyrics could be an autobiography of the band:
From the moment I reached out to hold, I felt a/sound, And what touches our soul slowly moves as touch rebounds./ And to know that tempo will continue/ Lost in trance of dances as rhythm takes another turn, / As is my want, I only reach to look in your eyes.
I am loath to assert one can ascertain one interpretation of its lyrics, but "To Be Over" advances a powerful equanimity in the face of human finitude:
After all your soul will still surrender. / After all don't doubt your part, / Be ready to be loved.
And, leading up to the above quotation is one of Steve Howe's most convincing steel guitar and guitar solos. "Childlike soul dreamer . . . ." might just sum up the thrust of the majority of Jon Anderson's lyrics and Yes' music. The goal requires we be "childlike" without being "childish." We have the power imaginatively to envision "better solutions to the realities of 'The Human Condition.'"
Most regrettably, the maze of human propensities lurches towards an end far more sobering, than even "childish" would intimate . . . .
Yes Symphonic Prog
Review by ken_scrbrgh
In Hinduism, among many traditions, there is the Bhagavad-Gita. In the Judaeo-Christian heritage, the Bible underpins collective and individual systems of belief, scriptural comprehension, theology, and ethics. In the Islamic world, the Koran is the prime mover. In the secular world of the United States, the Constitution serves this function. I would like to submit that, in the world of progressive rock live albums, "Yessongs" has come to embody this critical function.
There are other great live albums: Emerson, Lake, and Palmer's 1974, "Welcome Back My Friends to the Show that Never Ends . . . ." King Crimson's 1975 USA; 1977's "Seconds Out" from Genesis; and, 1978's "Bursting Out" by Jethro Tull (this is not an all-inclusive list . . . .) In 1972, Yes toured "Fragile" with Bill Bruford on the drums and, later, "Close to the Edge" with Alan White. Aspects of these albums and "The Yes Album" comprise the substance of 1973's "Yessongs."
Never strangers to audacity Yes chose to release a live album of the magnitude of "Yessongs" fairly quickly after achieving real success and notoriety. Formed in 1968, the band, relatively speaking and after a number of personnel changes, had not been in existence that long. In its original format as three 33 1/3 LP's with the elaborate Roger Dean artwork, "Yessongs" proved to be a formidable purchase during the mid-seventies. Early in 1976, as a high school junior, "Yessongs" was my first purchase of the band's music. However, following the success of "Roundabout," the ensuing popularity of "The Yes Album" in the United States, the release of "Close to the Edge," and the record collections of friends, I was fairly well familiar with the band.
Having a certain degree of chutzpah, Yes concerts began with a recording of the end of Stravinsky's Firebird Suite. In this appropriation of this excerpt from the music of Stravinsky, Yes basically was announcing the true emergence of progressive rock. But, you know, I think the possession of chutzpah is an integral force in the genre of progressive rock.
In their approaches to their studied virtuosity with their various instruments, the exponents of progressive rock in the late sixties and early seventies arrived upon a great synthesis of a plethora of musical traditions. With Emerson, Lake, and Palmer, this was explicit: Mussorgsky, Copland, Bach, and Bartok. In the case of Yes, Simon and Garfunkel, The Byrds, Stephen Stills, the Beatles, and Leonard Bernstein and Stephen Sondheim influenced Jon Anderson and Chris Squire, with Squire also a product of the choral traditions of the Church of England. I would also like to mention Squire's genius as a bassist ultimately is a nod to "individual talent." When one listens to Steve Howe on "The Yes Album," he or she hears the influence of Django Reinhardt, Wes Montgomery, and Les Paul.
On the "Yessongs'" versions of "Perpetual Change, "Long Distance Runaround," and "The Fish, the listener hears the performance of Bill Bruford, largely influenced by the 1960's BBC2 program, Jazz625, Art Blakey, Joe Morello, Max Roach, and Ginger Baker. In 1968, Bruford placed an ad in Melody Maker in search of a band. Jon Anderson, then of Mabel Greer's Toyshop, answered this ad. In accepting Anderson's offered position, Bruford thought he was joining a jazz group. Responding to Squire's high-pitched, Rickenbacker sound, Bruford developed his "trademark," syncopated snare drum sound.
Although Rick Wakeman left the Royal College of Music to pursue work as a session musician (most notably employing the Mellotron in support of David Bowie on "Space Oddity"), he established his "pedigree" as a classically trained keyboardist through the "School of Hard Knocks." Indeed, during his "Yessongs" performance of "Excerpts from the Six Wives of Henry XVIII," Wakeman launches into a rendition of the "Hallelujah Chorus" of Handel's "Messiah," followed by an intense synthesizer and Mellotron solo. I recall a relatively contemporaneous article in "Downbeat" magazine in which the keyboardist Jan Hammer treats Wakeman's excerpts from the "Six Wives" with disdain. No matter: Hammer would go on to provide the theme for the NBC-TV series, "Miami Vice . . . ."
In July of 1972, following the studio release of "Close to the Edge," Bruford left Yes for King Crimson. With the "Close to the Edge" tour scheduled to begin at the end of July of 1972 in Dallas, Anderson, Squire, Howe, and Wakeman were put between the proverbial "rock and a hard place."
Enter Alan White, who famously learned Yes' repertoire in a matter of days. By July of 1972, White was a veteran of work (among many others) with John Lennon in the "Plastic Ono Band" and George Harrison on the "All Things Must Pass" album. During my high school days in the mid-seventies, the "prevailing wisdom" was the departure of Bill Bruford was a major loss to Yes. Not everyone agreed. Before and after school days from 1975?1977, one of my oldest and best friends and I would listen to cassette versions of "Yessongs" in the car. Now a successful native son of New Orleans and composer, my friend carefully pointed out to me the exactitude with which Alan White and Chris Squire worked with each other. Whether on "Yours is No Disgrace" or "Close to the Edge," White approached the drums with real dynamism and power. To this day, I think to myself, Alan really pounded the sh*t out of the drums . . .
Yes' performances captured on "Yessongs" exemplify the musicians' ability to present their music again without the "comforts" of the recording studio. To assert the music of Yes is, by and large, rather complex is an understatement. Arguably, the performances of "Perpetual Change" and "Close to the Edge" transcend their studio originals. Chris Squire and the rest of the band found a way to uncoil the "Fragile" version of "The Fish." Bill Bruford's drums on the studio version of "Heart of the Sunrise" are classic; Alan White discovered a means of building on Bruford's lines while effectively expressing his dynamism. Of course, throughout the performances, Jon Anderson's vocals, supported by Squire and Howe, dominate.
In 1996, Anderson, Howe, Squire, Wakeman, and White would meet again, almost a quarter of a century later, for three nights at the Fremont Theater in San Luis Obispo, CA, to re-ignite the magic for their "Keys to Ascension" live albums. But, as the Church of England is the Mother Church of the worldwide Anglican Communion, "Yessongs" remains the source of many performances that have followed.
Yes Symphonic Prog
Review by samirigon
The album was extremely boring, as if someone took some cool two minutes songs and extended them in order to get two 10 minute songs, Siberia and You and I. It also sounded mediocre, as if instead of YES, some garage band was playing.
Overall, I didn't like the album, maybe it's not the kind of prog I'm used to listening, usually fast prog, and I may like it in the future, in that case I'll come back and edit the review.
Yes Symphonic Prog
Review by Boi_da_boi_124
In almost no way do I find this album good, but I do find that this was an improvement over its predecessor, 'Talk'. Anderson's lyrics and vocals seem better and true to himself, and the instrumentation is about the same. No song stands out, though, which is why it gets a two-star rating from me. Even the Epic is boring! 3/4 of it is just sound. (Leave that to the Tangerine Dream and The Residents!) They really didn't try for any of this, but paradoxically, they did try even less for 'Talk'. Well, not every band is doozy-free. Yes gets a pass in my book since they are so prolific. So yes, this is for fans and collectors only. Prog on.
Yes Symphonic Prog
Review by
A Crimson Mellotron
Prog Reviewer
What matters here is that this is finally a Yes album that could deserve enough attention to be considered a return to form. The band had boldly proclaimed themselves masters of the album craft, and I could by no means oppose such a statement, as 'Mirror to the Sky' is a well-written, finely composed and recorded album, working pretty well as one, too. Band members Billy Sherwood, Geoff Downes, Jay Schellen, and Jon Davison, who has co-written most of the record all contribute and play gracefully, adding a pretty fine album to the majestic Yes universe. This one is by no means able to foreshadow the band's all-time classics from the 70s and the 80s, but is a great exercise in trying to recapture that joyful and affirming spark of creativity that has always been associated with the name of Yes.
Opener 'Cut from the Stars' is an upbeat Davison composition that does a pretty good job of introducing this new album with some fine melodies and playing. 'All Connected' is for sure a nod to the years when Jon Anderson was the creative force behind many of the compositions of the band, not a bad track either. 'Luminosity' is fine, just a tiny bit overstretched in time. 'Living Out Their Dream' is a pretty nice highlight, sounds like something that has slipped away from the 'Going for the One' sessions. The 14-minute title track is perhaps the best event on the album, as Yes perform a longer track that works quite well as one, the playing is fantastic, the ideas on here sound fresh and modern, and every minute of this great epic is thoroughly enjoyable. Closing track 'Circles of Time' is one I found particularly corny, could have been left out as a bonus track, depending on who you ask. Speaking of bonus tracks, the second disk (featuring just three more songs) does not contribute all too much to the overall experience of the album, the songs there are in the same vein as the ones on the main disk, just more forgettable and repetitive.
Overall a very positive reception for this new Yes album, the band is trying to stay relevant and creatively focused, which is a great thing. The legacy of Yes surely lives on, and 'Mirror to the Sky' is a good album that aims to point out exactly this!
Yes Symphonic Prog
Review by JakeTheGuitar2004
A lot of the elements are present but not all of the elements are present, and there are also a lot of cover songs on here but for me it ranks high because Bill Bruford really puts a stamp on the music with his drumming having the influence of Jazz which is so important but also his approach to the sound on where and how he plays & hits the drums with his phrasing which made him the backbone of the band.
Brufords playing on this is really incredible for the late sixties man. He has that Jazz influence and is really fusing it with a Rock band and that's why it rates high in my opinion.
Yes Symphonic Prog
Review by aging-connoisseur
"Don't Kill The Whale" is the next song and is very experimental in the whale sounds that Wakeman produces. A very good and interesting song. I heard them perform it live in 2003 and it was great.
"Madrigal", a 2 minute folkish sounding arrangement is next and doesn't disappoint as we get a little rest before the song that troubled the critics start.
"Release Release" brought a few negative writeups for absolutely no reason other than in the theme of the album, inserted a crowd getting loud when Howe does a wonderful little choppy lead. Brit's are funny people usually, and this was a great moment of humor IMO. But the song is absolutely incredible. Drives hard and fast the entire time.
The first song on side two is "Arriving UFO", which to me is an absolute great Progressive Rock song. Just like "Don't Kill the Whale", Wakeman gives us just an amazing taste of the many sounds he can create as Yes shoves this baby out into the seats and grabs us with "This is Prog,,,,,,,,,,,,,,,,get it?,,,,,,,Just a great song.
"Circus of Heaven" is a slow building very wonderfully arranged song that proves the patience that is Yes. Excitement builds for a child watching a parade. Just a wonderful song, and Squire reminds us of his greatness.
"Onward" is the next song,,,,,,,,,,,,it is a slow song but very well arranged and well done. Like "Madrigal" before "Release Release", this lets us breath before "On The Silent Wings Of Freedom" starts.
"On The Silent Wings Of Freedom" is another good Prog song that gives us a different, intentionally sloppy and loose mix at the beginning, then moves to the brilliant moment of Howe and Squire intermixing before the tight last few minutes.
Tormato to me is a wonderful Tale of controlled rage by a band fighting the times of the future they see coming. There are no head scratchers on this album. It is an excellent work of music by masters that again, stepped out of the box and gave us another very good Progressive Rock production. The mix is indeed edgy and choppy at times, the music volume seems to drift as well, but the biggest most wonderful aspect of this album is it didn't sound like any other album they had done before; which is another aspect of their many layered great attributes. In my opinion, there are 5 excellent true Progressive rock songs on Tormato with Wakeman, Howe and Squire shining throughout. Yes the album seems rebellious at times but it seems planned. Alan White gives us some time-delayed snare slaps that are very creative. Anderson is his wonderful vocal self, and the vocal harmonies which add to most songs are evident. Good for Yes, good for our ears and hearts and good to hear a unique prog rock album that stands alone.