MUSIC REVIEW: Yes - Yessongs

"Live majesty."

I didn't think that Yes' supra-complex, textured studio recordings preceding this live set would be translated effectively to the live setting. It's not perfect, but the inadequacies created by the limitations of playing live are part of Yessongs' charm. And while the songs are occasionally missing small ingredients that flesh them out so well on the studio versions, the band's heaving energy more than makes up for it. You can especially hear it in Jon Anderson's singing. His voice is often delicate on studio albums, but here he's surprisingly powerful, singing full-force over his equally lively buddies, who jam with fervor exploding from their instruments. And man, there are lots of jams! Songs are often extended by five minutes or so for soloing, and although many would find it tiring, I think the intensity makes it totally exciting.

The songs cover three of the band's best albums: The Yes Album, Fragile, and the progressive monster Close to the Edge. This is the best lineup the band had (Anderson, Howe, Wakeman, Squire, Bruford/White), all of whom clearly feel the deeply spiritual, stirring nature of their music. Their most recent studio album, Close to the Edge, is especially well-represented, which is a marvel given the complexity of the music. The 19-minute title track is as beautiful and moving as the studio rendition. "Siberian Khatru" has tenfold the zeal. Disappointingly, "And You and I" is notably weaker than the studio version because Howe uses an electric guitar throughout, not the acoustic, which sucks away some of the original's subtle textures and simple charm.

Perhaps the most exciting songs come from The Yes Album. "Perpetual Change" blasts off after a lengthy jam interlude in the middle, returning to the exciting verses and impelling on Squire's rumbling bass lines. Wakeman's solo on "Starship Trooper" is killer, and when Howe came in with his lead, the crowd must have been slain. Fragile too gets covered well. After a stunning excerpt from Wakeman's "The Wives of Henry VIII," the band moves into a high-energy version of their biggest hit to that point, "Roundabout." "Heart of the Sunrise," with exciting drum & bass interplay and emotional vocals, makes for one of the best moments on the album.

Certainly the best live album from this era of progressive rock.

MUSIC COMMENTARY: Yes lyrics

I don't know what it is with people. They seem to think it establishes their "serious reviewer credentials" if they ridicule ostensible ridiculous sounding prog lyrics. Specifically, Jon Anderson's Yes lyrics. And more specifically, the lyrics from the amazing epic tune "Close to the Edge".

For example, some dinkus from Amazon:

"With Anderson the thing is to always enjoy his soaring tenor voice and forget about the inane lyrics; try explaining 'A seasoned witch could call you from the depths of your disgrace / And rearrange your liver to the solid mental grace / And achieve it all with music that came quickly from afar / Then taste the fruit of man recorded losing all against the hour.'"

Okay then, let's look at these lyrics. We will see they really aren't that retarded. They are just weird. Even though they were probably written after a few bong hits, we should be charitable and assume that Anderson did have a specific meaning in mind.

"A seasoned witch could call you from the depths of your disgrace."

Disgrace is a condition people find themselves from time to time. It is a state of ignorance, sorrow, dishonor, humiliation, or whatever. A witch...well, witches aren't necessarily evil. They are people who can draw upon powers beyond the natural world. Seasoned means to have been around for a while. So, you will be called from the depths of your disgrace, but you will not be taken from it. That's something you have to do yourself.

"And rearrange your liver to the solid mental grace."

This is the line for which Yes is most often ridiculed. But it's actually quite smart. What is the liver? Well, one of its functions is the detoxification of drugs, poisons, and endogenous toxins. However, these are physical maladies. There are greater impurities than those of the corporeal form -- like those of the mind and the spirit. Of course, the use of the word "liver" is highly metaphorical here; what's important is that we must purify our minds and spirits. Putting the first two lines together, we see that something will call us, so we can elevate to a state of mental/spiritual grace (which is the opposite of disgrace). (I think the adjective "solid" is just used to aver the strength of the mind.)

"And achieve it all with music that came quickly from afar."

What is this "music"? I think Anderson is only using this word in a metaphorical sense. It could be God (afar=not of this world; quickly=through prayer), or it could be some other form of spiritual revelation. Now I'm not sure on Jon Anderson's religious background, but he seemed like a pretty new-age-y spiritual fellow, so I think this makes sense. In any case, this line tells us that spiritual revelation, divine or otherwise, is the way to rise above the depths of disgrace. Another interesting point is music "came," not music "comes." This implies that this spiritual strength has been here all along for those who wish to seek it.

"Then taste the fruit of man recorded losing all against the hour."

Fruit...that's something we produce; it's the results of our efforts. Depending on where you see the song going from here, you might think that this fruit of man is virtues like love, benevolence, compassion...you know, all that good stuff. Unfortunately, many people have lost touch with virtues. There are many morally gray people in today's world. But rising up from the depths of our disgrace, we can again taste the righteousness of man's life. So without some kind of spiritual epiphany, we cannot get back on the right path.

That's my take on those four lines. There's so much more depth to the lyrics of this song, and I'd like to share it, but I don't have the time nor the space with the 1,000 word limitation. But hopefully this little review has given some of you something to think about -- hopefully you're reconsidering the idea that Yes' trippy lyrics have no value beyond their sound.

"Close to the Edge"'s music is brilliant; it's absolutely brimming with tasteful complexity. Yet the composition works harmoniously to express the song's deeper meaning. Note how the song is cyclical (which corresponds with the "Seasons Of Man" theme), and the music moves from the oh-so-chaotic opening to a more melodious arrangement. The concord between music and lyrics is part of what scores the album five stars. Were it to only consist of the title track, it's still enough to qualify for the highest rating possible here at Amazon. "Close to the Edge"'s lyrics may be "inane," but they are still better than your average crap rock lyrics.

MUSIC REVIEW: Yes - Going for the One

"The last hurrah of Yes' classic prog."

Until recently, Yes had always been my favorite progressive rock band. They've had their ups and downs, but when they were good, wow...they were really something. Going For The One was the band's final moment of greatness, serving as a coda for their prosperous epoch of the 1970s, which began with The Yes Album several years before. After this record, Yes never did anything as consistent or interesting.

I never liked any of Yes' work as much as Close to the Edge, but Going For The One just might be my second favorite. For the first time since Fragile, we get songs under ten minutes, and the band again shows they don't have to put together a colossal epic to write great music. The title track has a killer vocal hook and Steve Howe playing a C&W-esque riff on steel guitar (I don't think many other prog rockers used that thing). "Turn of the Century" is a wonderful, elegant ballad as only Jon Anderson can do them.

It's clear that Rick Wakeman (who's back on this album) likes the organ. There's a lot of it on this album, and it was recorded at St. Martin's Church in Switzerland. You wouldn't think an hulking organ - generally ascribed to moments of beauty and majesty - could be a rock n' roll instrument, but Wakeman turns it into one. Just listen to "Parallels." It's definitely unconventional, which is part of what makes it so interesting.

The 15-minute "Awaken" is one of the band's best epics, and that's no mean feat, because they have a lot of great ones. After the opening piano segment, it goes into the usual Yes characteristics: many layers of synths, guitars and bass playing out complex melodies in a pseudo-orchestral fashion. Anderson's lyrics are strange as always, but the diction is delightfully spiritual, and his radiant singing - love it or hate it - is critical for this evocative and spacey song. The ambient middle instrumental section before the "Master of..." lines is one of Yes' most sublime moments. Anderson's busts out the harp for some appreciated flourishes that add considerably to the atmosphere and magic of the song.

The original recording's production sometimes had problems balancing the vocals and the instruments. There were frustrating moments when it was hard to make out what Anderson was singing if you didn't already know the lyrics. So, the remastered edition is a good bet.

MUSIC REVIEW: Yes - Relayer

"Perplexing, daring, awesome prog."

Yes continued to ride upon their surging undulation of progressive ambition with Relayer, the most experimental of the band's disparate catalogue. As a fan who enjoyed the subtle beauty of Tales From Topographic Oceans, I initially found Relayer's abstruse music opaque and puzzling, in a sense that I couldn't 'get' the songs. After awhile, though, things began to click, and I now find Relayer to be one of the most interesting of all progressive rock albums.

The side long track here is the phenomenal "The Gates of Delirium," which is perhaps progressive rock's most evocative composition. It goes beyond the above any traditional approach to rock in a sense that it - for the most part - forsakes melody and "ROCKING" to generate vivid images and tell a (generalized) story. Innovative in its use of instruments, the song summons forth images of battle: the cacophony of clashing steel, cries of distress, the razing of buildings, et cetera. The percussive assault of Alan White's drums is astonishing, serving as the fundament for the dense tapestry of sounds that invokes the lucid image of war. It's quite amazing; close your eyes and let yourself become inundated in the intricate weaves of instrumental violence. When the dissonance comes to an end, a quiet, ethereal passage concludes the song. Here, Jon Anderson's delicate vocals soar with an ineffable heavenly quality that gives me shivers. Many know this last part because it was made into a single-edit, but believe me, it loses its punch when not preceded by the lengthy span of chaos.

The weird "Sound Chaser" follows. Here, new keyboardist Patrick Moraz's jazz influence is very evident, and Squire's adroit bass and White's meticulous drumming tear through the mix. This song, too, often trifles with dissonance, but with a different effect. This song is peppy and almost fun, and the vocals are catchy and almost evoke Yes Album melodies. Howe's solo is dangerously close to jarring with that grating pitch, but otherwise this is a neat song.

The album finishes with the soothing piece "To Be Over," a quiet aria that can lull me to sleep. Not because the song is boring, not at all. The vocal melodies are radiant, and the arrangements engaging. But the song is so peaceful and gives me a profound sense of mental solace. This song makes me feel like I'm floating...ahhh...

Since Relayer is something of an acquired taste, I think it takes at least five listens to understand the music. Then it probably takes at least a dozen listens to begin appreciating the depth of each composition. It's an involved piece of work, but well worth the effort to make it "stick."

MUSIC REVIEW: Yes - Fragile

"Close to the zenith."

Behind all the Jon Anderson jokes, the derision from the critics, and perplexing lyrics is one of the best progressive rock bands ever. Fragile was the album that really concretized the band as an estimable member of the progressive elite. A few steps up from The Yes Album, Fragile has the band incorporating more complexity, and more ambition into their songs. With new recruit Rick Wakeman on keys, the band was slowly revealing the extent of their musical aspiration.

Not including the individually performed pieces, there are only four songs on this album. "Heart of the Sunrise" features a crushing rhythmic attack from Squire and Bruford, and combined with the quieter vocal passages, it makes for the most interesting song on the album. "Roundabout" proves that progressive rock can be catchy and fun. Squire shows incredible dexterity on the song's main bass lick, Howe's guitar simply rocks, and Wakeman's solo soars. It was the radio edit of this track that introduced a whole new legion of fans to Yes' music. They bought Fragile, liked the full version of "Roundabout," and liked the rest of the album. The individual pieces are interesting, although Bruford's is over so fast I barely realize it's gone by. Squire's "The Fish" (which shows just how versatile the bass guitar can be) and Howe's "Mood for a Day" (graceful, unaccompanied classical guitar) are my favorites of these.

With the next album, Close To The Edge, the band's progressive enterprise would flower completely and they'd create what I think is their best album. Although CTTE's greatness overshadows Fragile (and almost anything, for that matter), Fragile holds a special place in the Yes catalogue because of its fine balance of accessible songcraft and progressive elements.

MUSIC REVIEW: Yes - The Yes Album

"Prog greatness begins."

With this album, Yes asserted itself as a band that would quickly become one of the most important progressive rock bands ever. The Yes Album was the first in a string of stunning progressive albums (that ended with Going for the One) that all merit deference. While The Yes Album is not as experimental as Relayer, or as epic as Close to the Edge, the songwriting, while progressive, is still accessible and engaging. The addition of guitarist Steve Howe was significant, for he became one of the band's most important songwriters. Chris Squire's bass guitar is unique in sound and use. Is it a rhythm or a lead instrument? It's both, really. At the same time, Bruford's jazzy drumming, and Anderson's catchy vocals contribute to this great disc. And while keyboardist Tony Kaye isn't the virtuoso that is Rick Wakeman, his contributions work effectively in context with these songs, which are more subtle than, say, "The Revealing Science of God."

The album has its share of classics, from the grandiose and mesmerizing "Starship Trooper" to the hook-soaked "I've See All Good People." (Most people know the latter because Part I gets a lot of classic radio play...but they're missing the great jamming in Part II.) The songs are all fairly in-depth compositions but they are catchy as well. "Yours Is No Disgrace," with crazy lyrics and rockin' prog-i-tude, is one of the most exciting opening prog tracks of the 70s. More than 30 years after this album was recorded, I can listen to these songs and they still sound fresh. It really hasn't dated at all.

MUSIC REVIEW: Yes - 90125

"Negative review from loudmouth prog fan with an arrogant opinion."

This should have never been a Yes album. Chris Squire and Alan White had the right idea when this project was started as a new band called "Cinema." Unfortunately, things got ugly when this turned into a Yes project. As such, this comes across as quite lame compared to Yes' glory days, when they were a band that was once known for their brilliance and their originality.

That said, it is not entirely fair to compare it to classic progressive rock albums. But even compared to any good intelligent pop music, 90125 is too cheesy for my tastes. The album waxes insipid lyrical subjects and corny keyboard sounds that gave 80's pop a bad name. The rocking songs have no hooks, and the ballads lack the beauty that made tracks like "Turn of the Century" so pleasant. Strictly on a basis of musicality, the album is average (thus banal) adult pop. I have to admit that a few of the tracks of moderate interest, like "Leave It" and "Changes," but the rest - even the 'classic' "Owner of a Lonely Heart" - leaves a bad taste in my mouth. There is not enough redeeming material here to make anyone care.

MUSIC REVIEW: Yes - Tales from Topographic Oceans

"Mystical and beautiful."

I can imagine the time when this album first came out. Yes fans must have praised the album for its daring, its ingenuity, its LENGTH. Now I can imagine things ten years later, with rock critics ridiculing the album for everything from its mystic lyrics, pompous songwriting, indulgent musicianship... everything for which progressive rock has been derided. Even Yes' diehard fans have decidedly mixed feelings regarding this epic work. To them, it could be the pinnacle achievement of Yes' estimable career, or it could the be the most unnecessarily grandiloquent prog album EVER.

On occasion I've tried to empathize with those who dislike this album, thinking that perhaps their criticisms have some merit. Still, I can't get over the fact that this is truly excellent work. I think the music is simply sublime, many of the most wonderful passages that Yes ever recorded. Not as cohesive as the epics on "Close to the Edge" (still my favorite Yes album), but certainly more dynamic, it takes countless listens to fully appreciate. Even 25 years after its release, I'm still finding new elements to this richly absorbing work.

It's all anchored by that awesome rhythm section of Alan White's drums and Chris Squire's mammoth bass guitar, while Wakeman's lush synthesizers add ambiance and depth, and Steve Howe's guitar artistry is sophisticated and engaging. Jon Anderson's trippy lyrics and soulful, elf-ish singing are topnotch. Although the lyrics are mostly confusing, I believe their meanings are meant to be vague. They rely on surreal and romantic imagery to generate feeling in the listener in musical context. It doesn't really matter because the lyrics attain an emotional connection regardless of what they are actually about. I've always believed that Yes' individual elements are impressive, but less important than the unified result of their efforts.

The songs could enjoin a complete review for each one, as each song is brimming with depth and complexity. "The Revealing Science of God" is absolutely spellbinding. From the moment you hear the unmistakable thematic development in the vocal section at the beginning, you know it's going to be something great. A mostly placid epic that occasionally drives into fast-paced energy. Approaching the song's finale, this one climaxes with a mind-bending solo from Wakeman. Cryptic lyrics focused on metaphysical objective values (I think; who really knows?) are tied some of the group's best arrangements.

"The Remembering" is a standout for Rick Wakeman. There's moments of fierce swirling synths and mellotrons, and him and Howe alternately repeat the song's main theme on different instruments. Lots of memorable melodies here, and the song gets pretty intense at times (like the "Relayer" passages).

"The Ancient" is the most difficult song to appreciate. But it is the best song on this album. Its heavy focus on abstruse instrumentation bores many people. That alien guitar tone and the clattering percussion is an amazing combination! I'm a huge fan of music that implements Eastern influences, and this track is filled with them. The band shows incredible versatility in their endeavor to underscore the idiosyncratic beauties of these cultural influences. Towards the end of the song, Howe's acoustic wizardry is displayed. Awesome!

"Ritual" is a sprawling piece that is very symphonic at times. A lengthy instrumental passage opens this one, and just when you think the track is starting to meander, it gets back on track. This one never gets too pretentious, and it's beautifully melodic and excitingly played and arranged. At the 15-minute mark, there's this unforgettable orchestral interlude with devastating percussion and harrowing strings (synthed, of course). The ending is gorgeous, with clean electric guitar/piano interplay and Anderson's delicate vocals.

Like complex jazz, some of Yes' music is far too esoteric to be appreciated by everyone. That's perfectly fine. I don't consider myself intellectually superior to the many who have no taste for this admittedly convoluted work of music. Still, it moves me, it engrosses me, and it never bores me. It may not tap the conventional spirit of music, but to me, that's part of what makes it special. I wouldn't want it any other way.

Honestly, I think that 'prog fans' who don't like this album just don't have TRUE PROG LOVE in their hearts.

MUSIC REVIEW: Yes - Close to the Edge

"A timeless prog masterpiece."

I think it's great that Yes fans have such diverse tastes when it comes to their favorite albums. This shows that the band appealed to many different people on many different levels. One thing that's common from fan to fan, however, is that most favorites come from the glory days, those between The Yes Album -- when their progressive leanings began to appear in earnest -- and Going For The One -- when they started toning down on the experimentation. The reason is simple: during these years, Yes produced some of the best and most important progressive rock albums ever.

I like or love all of these albums, but to me, Close To The Edge is a big notch above the others in terms of supreme quality. This is Yes at their zenith, as a unified band brimming with originality. I still listen to it frequently, proving that great music oversteps trends. This sucker is a true masterpiece.

"Close to the Edge" is one of the band's best and most cohesive epics. I also think it's the most difficult to describe. The instrumentation is so wonderfully eclectic, and yet the music works so well together. The effect is only comparable to an orchestra, where each section works with others, aspiring for the overall effect, not individual elements. The ultimate synergy. Howe's compelling guitars create a hypnotic effect, while Wakeman's sublime flourishes serve as both an symphonic backdrop and a commanding lead instrument. Bruford's unique jazzy drumming affixes the solid rhythm section, and Squire's low-end bass rumblings straddle the line between maintaining rhythm and functioning as another lead instrument. The cacophonous opening that sunders the serene nature sounds is wonderfully crazy, with time signatures only a supercomputer could notate correctly. The lovely middle section "I Get Up, I Get Down" is beautiful, with Wakeman's soaring organ bringing it to its climax, then segueing into his incredible keyboard solo. The song culminates as it returns to its main theme with uplifting vocal harmonies that never fail to give me goose bumps.

This masterful work brings side one to a close (irrelevant on CD, of course), but Yes keeps you riding on that musical high for the next two songs.

I don't consider "And You and I" a love song, but somehow it's very beautiful, almost romantic. There's something imaginatively lovely about lines like "And you and I climb, crossing the shapes of the morning | And you and I reach over the sun to the river." The song begins with the simple charm of Howe's acoustic guitar and Anderson's folksy melodies. The song climaxes not once, but twice, as it goes through the two main themes. I think Anderson's delicate vocals are the highlight here. Awesome, awesome song.

"Siberian Khatru" is a cool tune. Some Eastern influences merge with gutsy rock n' roll, making for a snappy song that's remarkably catchy for such an in-depth piece. Lots of tight harmonies and intermittent melody shifts make this great song better.

Critics have called Yes' epics fragmented and meandering, but this is one album where that criticism fails. All the songs cohere intelligently, never meandering beyond the song's established musical themes. This album is absolutely perfect.

Yes - Relayer

"Artistically challenging, even for Yes."

Yes, one of the most successful progressive rock bands of the 1970s, continued their string of great albums with 1974's Relayer. As before, the classic Yes elements are present, including the overawing musicianship, the mystical and profound lyrics, and robust yet delicate vocals.

Despite the lukewarm critical reception of Relayer's predecessor, Tales from Topographic Oceans, Yes' continuing commercial success allowed them to retain their creativity and grandiosity. Tales was faulted with excessive indulgence, lack of concise song structures, and overall pretentiousness. In comparison, Relayer addresses a few of these complaints but never completely remedies them. Song progression tends to meander and lose focus, and some inordinately thick instrumental passages detract from the experience.

But on the whole, the album is very strong. "The Gates of Delirium", the 22-minute epic is one of Yes' best pieces. While it lacks the coherence of "Close to the Edge", and it takes awhile to completely appreciate, but it's purely dazzling and concludes with beautiful musical and lyrical passages that gives such a stirring coda to the preceding musical violence. This track also does a topnotch job showcasing the talents of new keyboardist Patrick Moraz. The fusion-esque "Sounds Chaser" is a crazy, daunting feat in musical virtuosity, with the drums and bass being especially laudable. The first few times you hear this song, it's almost annoying, but once you begin to appreciate the dynamic sonic textures you can't help but be hooked. The closing track, "To Be Over," is a mellow tune, showing some of the band's most tender moments. I also regard this track as one of Jon Anderson's best song's vocally. He really captures a lot of emotion in this one.

It's not my favorite Yes album, but it has its merits. It doesn't offer much the first few times you listen, but when you give it more time, all its colors shine through, and you can truly appreciate the artistic excellence possessed by this band.