...And Yes, It Happened... (90125 - Yes)

Member Name: sam1942

Product:	90125 - Yes
Date:	14/03/06 (208 review reads)
Rating:

Advantages: A superb collection of creative and inspiring pieces by a band moving forward into a new decade.

Disadvantages: a couple of poor bonus tracks on the 2004 re issue.

From a primitive land through the dust of rock, stood the giants of the progressive sound named Yes.
Forming in 1968, they came together after battling the personas of the northern Beat music in London. These young men took the music that was being generated at the time which was a fusion of AOR (album oriented rock/radio) and foreign, European sounds mixed with classical orchestration and electric instrumentalisation. This was the theory behind what we termed as progressive rock, now know as classic rock. In the days when FM radio stations were secretive and ‘underground,’ DJ’s played records by these up and coming super groups that were album versions of their singles and unearthed B sides. By the time, FM lost its rebelliousness due to ever growing popularity, progressive rock became a watered down version of the original play lists. These extended materials were hitting the airwaves around the time of the late sixties and early seventies. Eventually, progressive became glam and commercialism took a generous hold.

‘Art Rock’ as it was also known was the basis of the label of Yes especially during the eighties when ’90125’ was released (named after the album‘s catalogue number). They had already mastered elongating classic pieces and experimental sounds of synthesisers to give texture and depth to their alternative music. In ‘90125,’ they too watered down their intense, flowery, progressive roots and reached towards more popular themes. The rock was designed with greater popularity in mind, with their futuristic and techno, yet, simple graphic front sleeve, they were rebirthing the sound of the band from its progressive past life. The strategy of this album was the new, redesigned Yes where they could allow themselves to be received by a more widely commercial audience.

Their first flight with fame came with a set they used in 1968 for the farewell tour of Cream. Greatly received by the crowd and the critics, it was to be their giant leap forward in the deeper, more soulful record collections of the serious listener. They had sold themselves easily to the British public, but America was yet to be cracked.

The life breathed into Yes was a shallow at times throughout their career. Ending in a severe court battle in the late eighties over the ownership of the band name. Splitting the group almost right down the middle, they reformed for a final collaboration in 1991 with an album called ‘Union,’ before going residing back into their camps. The line up for ‘90125,’ released an album called ‘Talk,’ in March 1994. Finally throwing caution to the wind, they devised a piece in connection with a symphony orchestra much to the disappointment of their adoring fans. It was a long awaited, introverted whim that was the nail in the coffin which literally closed the coffin on the band’s life. With sporadic releases since from different camps of the band now in two, Yes remain today, the poor mans Pink Floyd but never to reach the critically acclaimed heights of the fore mentioned.

After the uniquely talented Rick Wakeman leaving twice, (a burping, beer and carnivore lover who became bewildered by the sandal wearing, animal loving, tee total vegetarians that were the rest of the band,) the line up for ‘90125’, resulted in Jon Anderson (founder member with Chris Squire) on vocals, Chris Squire on bass, guitar and vocals, Trevor Rabins (a guitarist, joined around 1983 after being front man to band, ‘Rabbit‘.) Alan White playing drums, percussion and vocals and Tony Kaye (original member since 1968) on keyboards. The album was produced by Trevor Horn who was once with the band with fellow Buggles man Geoff Downes of ‘Video Killed The Radio Star’ fame. A wise move as this was an album that was resting heavily on the bands shoulders since they had split, again in 1982. Released on the 26th of November 1983, it impressed the band and its surrounding production team reaching number 16 and hanging around for a grand total of 28 weeks, a remarkable feat from a band with such a shaky background. The move had been after the group had decided to jump on the band wagon of the re emerge of AOR in the pop charts. The big America sound was coming across the waves of the big pond featuring bands like The Eagles, Starship, REO Speedwagon, Foreigner.…the list is endless. What Yes had done was created a sound that complimented the competition surrounding them. Old hats at the rock game, them were already well respected by their colleagues in the music industry and had inspired many as well.

I wasn’t surprising when ‘Owner Of A Lonely Heart’ hit the U.S charts and like a quick flying dart went straight to number one, yet only pitched at number 28 over here. With an intro the same as a old Ford starting on a cold morning, it fuels the distinctive guitar riff that became known for the very track it opens, and the sound of a tighter format. Its basic in its continuous guitar riff, like an Aerosmith track, through the verse and right up to the first bridge. A controversial and quite depressing video accompanying the single, it becomes the perfect backing for the vocals of Anderson, a voice that was just as famous as the band. His strained, yet easy flowing vocals were infamous. A gritty sound opening to wincing keyboards and tambourines, it makes the listener clap along to a optimistic track that lyrically is the very opposite. A simple drum backing and head nodding bass, it is defined by its vocal. ‘Message In A Bottle’ springs to mind when listening to this track, only in sections does it remind us that its Yes, not The Police. A historic single for the band, introducing a pop rock sound that Yes were not used to presenting to their fans. Written by Rabin, Anderson, Squire and Horn, its producer, it has the greatest influence from the latter man. His presence is absent in the second track as we can hear distinctly just in its opening bars.

‘Hold On,’ is a hard, Journey sounding track of pure rock. We get a glimpse of Yes without Trevor Horn. The drums are more spreading across the track and aloud to throw extensive cymbals to leave a steady sound in the ears of the listener. Its slow in its theme with a fist full of flicking guitar riffs and climbing keyboards. A firm favourite for the stadium, it’s a definitive classic rock theme. This Yes attempt at AOR for the eighties, was also a favourite for the radio DJ’s. It is atmospheric and full of depth and heavy anthems. A total change from ‘Owner Of A Lonely Heart,’ it is far from shallow in its sound. In my few, probably a far better track. A released single as the front sleeve sticker denotes, but I can find no listing for it. A perfect length, Yes allow themselves to stamp their personal mark on it by a brief section of mixed vocals without any real instrumental accompliment. A true Yes mark of approval is its super group feel. A soaring above the clouds classic piece.

A mark of a George Harrison ‘tribute’ to the Eastern traditions is the short opening of ‘It Can Happen.’ Using a little dose of sitar, its backdrop is another atmospheric synthesizers. Andersons vocals are echoed and doubled over his lead vocal like a Supertramp anthem. A strong drum beat defines this track and gives it a solid feel. Yes tracks consisted of sections were the tempo would change. In their early days, they used orchestrated themes mixed with psychedelic undertones. Music to be listened to and digested rather than foot tapping . Escapism was the name of the game. In this track it brings to the fore strong vocals grasping a live stage concept. Tracks with something for everyone, they were stretching exercises for the musicians involved. Thundering bass intermissions allow this track to come alive. A reflection on their neat, well produced progressive era, this track carries the past concept of progressive rock well. A single released in June 1984, it failed to enter the charts.

‘Changes’ is the fourth track on this collectively inspired album. A maze of glockenspiel delicately flutters across our ears and enlightens us with a complimentary distorted bass drum effect before gently resting into a guitar riff tempo of more a ballad rock theme. The echoed vocal like standing in an aircraft hanger sets the track well against the gentleness of the acoustic guitars. Andersons vocals shout the title before fading into a calm, drifting verse. Yes applied themselves to both fast, AOR anthems to slow, dreamy classic ballads. Throughout, they maintain their humble super group beginnings by sections the track yet again into instrumental solos and blips of different sounds. A thoughtful track, a little Led Zep in places, this whole album is certainly for the diverse, experimental ear. The throwing of lead vocal to another compliments the last. As all members of Yes apart from Tony Kaye enjoyed mixing their vocals with one another, they appear to the listener to all be on the same pitch allowing them to slip passed our attentive ear without almost being noticed. A pleasing track for any original Yes fan.

‘Cinema,’ is a unique piece of music that very much reflect the progressive roots of their past contemporaries. Peter Gabriel’s Genesis is very much an influence on this piece. Thrusting from the speakers a mixture of flippant drum rolls and flitting rock guitar riffs, it jumps around and lands somewhere in silence, the rise and fall of the guitar lead is not far from Rutherford standard. One can almost imagine a very young, long haired Collins fighting with drum sticks to keep up with the speed and energy of this piece. A Rick Wakeman feel to the fast and flighty keyboards, it is a definite throw back to a heavy and intense past. Written by Squire, Rabin, White and Kaye, it was recorded at Air Studios in London.

After a few seconds into a group vocal. A bongo sound backs their vocal accompliment. We are listening to the interesting piece entitled ’Leave It.’ This vocal A Cappella theme is consistent throughout this track. The drum machine comes to the for in a very eighties, disco sound. Not short of a Shalamar backing, they use their voices as instruments. It is this that enrages over the top of the electronic instruments, leaving them almost as an after thought. ‘One down, one to go, another town and one more show…’ the lyrics are catchy and finger snapping. Their voices work hard together and it feels like a strong, hard working band, fusing together as a tightly formed unit. A good piece of reflection of the disco theme around at the time adding the heavy usage of drum machines that were in abundance at the time. This was release as an accapella single in May 1984, only reaching number 56.

‘Our Song,’ was written by the same with the addition of Anderson. We can now start to pick out the styles of certain members. Anderson obviously liked the styles of classic rock sounds. His influences on the writings of the band gave us heavy bass lines and rolling guitar riff as we hear in the piece. Racy in places, it seems a little dull compared to the other tracks. A rather mediocre piece by Yes’s standards, which are extremely high from start to finish in this album. There is a heavier usage of ‘Wakeman’ style keyboards by Tony Kaye. Somehow, it is the latter here, that is more pronounced than in other tracks.

‘City Of Love,’ is a fading in sound of something passing us and then passing by, a mass of voice, harps and violins and a various section of stringed instruments. A jagged, rusty machine backing holds the Pink Floyd humanoid vocals. Again, an Anderson sound its coming across predominantly. Pounding drums and cymbals clash into a Whitesnake sounding chorus. A dirty, sweaty anthem denoting a negative feel. Perhaps a good back drop for railroad builders. It strikes me as something hard work and heavy going, like a huge truck trying to climb a hill.

‘Hearts’ is a written collaboration of all the members. A low note through something that sounds like a diggery doo. It opens into a stiff, puppet like theme. The vocals over lap each other on a quick noted song. The notes are rigid and mechanical. There is nothing that flows here, a kettle drum gives a military feel. We are soothed, briefly by warming cymbals. The backing track of long, deep vocal notes allows a Gothic tribute to swim to the fore. Like an opening from a thick forest to a beautiful clearing, the flowing guitars and vocals we yearn for make an entrance before jumping back into the keyboard backing that its becoming a marching theme. Using sections of vocals spiralling around our heads and rock drum chants, it is full of traditional Yes sounds. None of their tracks could have ever be listed as one thing or another, they please every taste. They are all hard, enduring rock and slow, easing ballads all on one track.

On the 2004 re issue of this 1983 album, we find 6 bonus tracks. We hear, first off, A ‘remix’ of ‘Leave It,’ Basically starting off as the original album version, it features very little that we have already heard. A moody filling of gentle ‘ooo’s’ is probably about all we hear that is new to our ears. Still, a very good track and even the entrance of a gypsy violin like a Waterboys tracks fits quite perfectly giving it a Celtic theme but only for a very short while.

The nest of these bonus tracks is ‘Make It Easy,’ and my first initial thought is a very early Foreigner track. The vocals denote the singer to have on a shirt unbuttoned down to the navel and a long, perfectly, highlighted perm, (more over Mr Coverdale and go back to Whitesnake.) Its too AOR for it to be original Yes. It won’t please progressive fans but it will find adoration from AOR fans and Dj’s alike. The Yes logo of flying keyboards, doesn’t quite fit this track. Written solely by Trevor Rabin and first featured on the 1991 album, ‘Yessyears.’ It probably sounds like a band trying to take off Yes instead of it actually being them. The track, I feel that lets this album down, but after all, this is not the original album and this is only a bonus track and perhaps one they should have left off.

‘The Cinema’ version of ‘It Can Happen,’ will probably at first leave us somewhat puzzled at the title of it. A very different version of this track that we have already heard, it feels fuller both vocally and synthesiser wise. A little on the early Queen side, I can visualise Brain May throwing his curly locks across the fret board instead of Yes. An interesting version, but probably not really needed. This album was exceptional and would have been again, re mastered with out the bonus tracks. Like with many albums that decide to do this, it normally is not needed.

Track thirteen is ‘It’s Over.’ (No, not the Level 42 track), In fact, quite the opposite. An introduction, not short of Anthrax, it fills our ears with yet more keyboards, not making any sense. Written by Rabin, it has, as the album states, previously unissued. Thundery and theatrical, its masterful in its classic rock theme. Mildly untuneful and lyrically unmatched, it could have been missed out.
As a note here, it is interesting to learn that these last four tracks have been performed by Yes minus Anderson which is not hard to hear as his distinctive vocal that we have come to know as Yes is very much missing. It is now easy to see that as with most super groups, it was one man that made them, and with the case of Yes, it was Jon Anderson, who was the band.

An extended version of ‘Owner Of A Lonely Heart’ follows with in trepidation. A classic song, practically ruined by funky beats that feel stolen from Mel And Kim. Previously unissued, we wonder why… it perhaps should have stayed that way……We wonder when the vocal is going to get going… after a few minutes, we get bored and move onto the next….
There are some things, musically that should never be tampered with…

The A Cappella version of ‘Leave It’ which was, already stated, released as a single. Unfortunately, when we hear this style of singing without instruments, it is hard not to forget The Flying Pickets. As much as I like the latter and was even fortunate to see them in concert way back in 1985, I still believe that the masters of collaborating vocals upon vocals was Yes. Their voices are enhanced, that we can hear, but its is so tight and professionally done that they melt into each other and melt again into our ears. A stereo sound of each voice comes from one speaker to the other, a fantastic appreciation of what a collection of voices can do. A surprising end to a instrumental orientated album. Perhaps it is a thought provoking piece to allow the listener to reflect on the very fundamental basis of all music started with voice.

In conclusion, this entire album captures the energy of a rock band making a giant come back into the contemporary pop world of the eighties with as much force and noise as possible. It was Yes’s creative masterpiece that was also the highest peak of their eighties era. A equally perfected album followed in September 1987 titled, ‘Big Generator.’ An album, I felt was within this same high standard, and funnily enough, the first Yes album I ever heard, but it is within this album that I felt was a strong grouping of the fine musical heads that made up one of the greatest progressive rock super groups of this country.

A historical moment for Yes, but like all exceptional albums, it wasn’t to be repeated.





Bought in Music Zone, six pounds, 2006.


©sam1942 2006.

Summary: A well presented album featuring progressive rock and modern themes.