The Yes Album by Album Thread (Part 2)

All opinions are valid and one can jump the gun, but it is not accurate to state that "we are up to" ABWH when the OP has not gotten there yet

 

Not sure why that would be important enough to focus on. Ask any gort here. OP's do not dictate the content of any thread.

 

All right, everyone calm down!!

 

Been out of town for the past three days. I will post ABWH in a day or so. I need to catch up on posts. We should be heading to Part III soon.

 

That is how the ABA threads are generally run here. Why not accord the OP the traditional degree of respect.

 

Everything I've read/heard from Rabin and Squire in regards to ABWH are that the two of them didn't care at all. Rabin was fine as he wanted to record his 1988 album "Can't Look Away" and Squire simply didn't mind as Yes weren't doing anything at the moment. The problems started with the lawsuits because Squire/YesWest didn't want ABWH to use the Yes name as Yes currently existed in another form.

But as far as anyone having issues with Jon wanting to do something else, I've personally never gotten that idea from anything i've seen/read/heard.

However, I don't actually know myself whether Jon legitimately left Yes or just said the typica "it's time for a solo album" type of stuff

 

First of all, he stated he was out of town. Nobody would have or should have known that, unless he made that clear. I posted my opinion when I had the time to post my opinion after I actually thought to do so. There was no disrespect meant towards the "family". Secondly, what exactly is "traditional respect"? Is that the same as what usually happens around here -- our tendency to only like people who agree with our musical tastes or share our interests? C'mon, this is a forum where music is discussed -- there is no hierarchy or respect or tradition. Those things are usually reserved for things that REALLY matter in life.

 

I think maybe we should get some new blood in this thread. You know, posters that want to keep up with the times and can help us move ahead and become a really amazing thread.
Then again, maybe I'll leave this thread and start my own. Not sure what to call it but then again, I can always come back to this one.
Or, we could have 2 threads going at once and then maybe a little later, we could combine them into big mega thread.
And then... naw, it's all crazy talk. It could never happen like that.

 

Next time I will be sure to let everyone know that I will be away for a few days. I figured a review every three days would be OK.

 

You leave this thread of unsupervised Yes fans for 3 days? You brave! Can't wait hear RRB thoughts on ABWH.

 

I've always had very mixed feelings about Big Generator. To some extent, although I was introduced to Yes via 90125, once I heard their older material, 90125 felt like a kind of cold, machine-like variation on what I considered to be the more desirable '70s aesthetic. It wasn't just the difference between adventurous epics and concise pop songs--I very much liked Asia's first two albums, which were even more concise and poppy than 90125 in their structures. Rather, it was that sort of "high tech sheen" that permeated the album from its computer-generated artwork, through its percussive synth (and sometimes even vocal) sounds, to Rabin's more "American"-sounding, fast-and-crunchy guitar tone. By the time BG came out, I had no illusions that it would eschew the "Big 80s" aesthetic of its wildly successful predecessor (heck, even Asia's third album moved somewhat in that direction two years previously). Before I got my hands on the album, I heard both "Love Will Find a Way" and the title track on my clock radio while trying to wake up for my first year of university courses--neither sounded promising on that clock radio, and I found the title track particularly appalling. Still, it had been long enough since 90125--and by this time I think I had heard every intervening Yes album save for Tormato (which for some reason was really hard to find on cassette in the '80s, let alone CD)--that my sense of anticipation was still pretty significant.

When I heard the CD, I was actually kind of relieved--although the opening "Rhythm of Love" was certainly a Big '80s rocker, it had those signature vocal harmonies to make it at least somewhat distinguishable from something like Def Leppard. "Shoot High, Aim Low" was a nicely atmospheric number, certainly different from what its title suggested. "Almost Like Love" truly made me cringe, but the big single sounded better over headphones than the clock radio. The biggest surprise, though, were the last three songs on the album--all of which I liked very much, and which felt more in the spirit of the '70s than I had expected. They still had the shrill '80s sound (which was even thinner and less appealing in the absence of Trevor Horn's special touch), and its cover was like a far more tasteless variation on that of 90125, but, overall, I have pleasant memories of listening to the album on those cold late-autumn nights in the dorm. Looking back, although I personally consider the Rabin years to be Yes's musical low point, exactly half the album ranks for me among the high points of that period (while the other half of the album ranks among the lowest, IMHO). It's one of those albums that will never really be a favorite, but that I often enjoy more than I expect to on the rare occasions when I revisit it.

Needless to say, when I heard that JA had quit and formed a new band with Bruford, Wakeman, and Howe, I was on cloud nine.

 

I tend to agree with you about Rabin and Squire not caring too much that Jon left. Chris probably held the door for him.

Jon said this in 1988 (Yesstories) --
"You feel a turning point in your career. I wanted to make something more of an experience in music-- a continuum of what I believe really...I wasn't really creating that with Trevor and the guys"

I hope you realize my post was a Yessy joke.

 

Heh. I got it, but it may have been a bit subtle. That, or some folks not receptive to that vibe. It's hard on the net, when you can't see the twinkle in the other guy's eye.

 

I did realize that but I still should have posted something about my absence. I have seen other ABA threads where the OP is gone for days other members wonder if he or she just plain bailed on the thread.

The other issue is jumping ahead of the OP. I personally don't mind if anyone was to jump one album ahead of where I am. Two is more problematic. I realize though that others do not like it when folks jump ahead at all. I guess it is a matter of opinion.

 

I wasnt objecting to jumping ahead, just to making a pronouncement that we officially are on a different album than was indicate by the OP.

 

After reading all of the posts, I can now see that. I am going to try to keep the reviews coming every few days or so.

 

Anderson, Bruford, Wakeman and Howe

Released June 1989
Produced by Jon Anderson and Chris Kimsey

Jon Anderson – lead vocals, backing vocals
Bill Bruford – acoustic and electronic drums
Rick Wakeman – keyboards
Steve Howe – guitar

with
Tony Levin – bass, Chapman stick, vocals
Matt Clifford – keyboards, programming, orchestration, vocals
Milton McDonald – rhythm guitar
Deborah Anderson – backing vocals
Tessa Niles – backing vocals
Carol Kenyon – backing vocals
Frank Dunnery – backing vocals
Chris Kimsey – backing vocals
Emerald Isle Community Singers, Montserrat – backing vocals
Joe Hammer - Percussion programming

1. "Themes" – 5:58
i) "Sound"
ii) "Second Attention"
iii) "Soul Warrior"
2. "Fist of Fire" – 3:27
3."Brother of Mine" – 10:18
i) "The Big Dream"
ii) "Nothing Can Come Between Us"
iii) "Long Lost Brother of Mine" (Anderson, Howe, Wakeman, Bruford, Geoff Downes)
4. "Birthright" – 6:02 (Anderson, Howe, Wakeman, Bruford, Max Bacon)
5. "The Meeting" – 4:21 (ABWH)
6. "Quartet" – 9:22 (ABWH)
i) "I Wanna Learn"
ii) "She Gives Me Love" (Anderson, Howe, Wakeman, Bruford, Ben Dowling)
iii) "Who Was the First"
iv) "I’m Alive"
7. "Teakbois" (aka "The Life and Times of Bobby Dread") – 7:39 (ABWH)
8."Order of the Universe" – 9:02
i) "Order Theme"
ii) "Rock Gives Courage" (Anderson, Howe, Wakeman, Bruford, Rhett Lawrence)
iii) "It’s So Hard to Grow"
iv) "The Universe"
9. "Let’s Pretend" – 2:56 (Anderson, Howe, Wakeman, Bruford, Vangelis)

Themes
Opens with a nice section (Sound) with various instruments including synth and acoustic guitar and other instruments I am not sure about. A nice theme in D minor. A section (Second Attention) based on the original theme that shifts between D Minor and G Major follows with some fills that are variations of the "Sound" theme. "Soul Warrior" follows which is based on a simple four note G Pentatonic riff with Steve playing some cool raked guitar arpeggios and a hard driving theme along with Rick in counterpoint. Changes key a couple times midway. Bill kicks butt here also. Nice start.

Fist of Fire
A tune in D minor with stabbing synth chords from Rick. Sounds like something that would have fit on Olias both musically and lyrically. Jon trademarks all the way on this tune. Almost droney/tribal dance in its rhythm and percussion. Awesome harmony vocals. Cool vocal melody that is in D Dorian that gives it a slightly different sound than a brooding minor melody.

Brother of Mine
A gong opens up this "ballad". The song starts out (The Big Dream) with the same key as Fist of Fire...D Minor. The tune has a driving bridge section (Took me by surprise..) that leads back to the verse section with some keyboard flourishes by Rick and some great guitar work by Steve. The "Nothing can come Between Us" section is filled with refrain repeats of the section title. The Big Dream is reprised before the tune heads into "Long Lost Brother of Mine" which is introduced by Steve playing some variations on the themes heard before. Steve ascends the theme step by step until at 6:39 the Brother of Mine section enters dramatically in C Major. The tune has a terrific refrain that ties the verses together. Awesome bridge also. One of my favorites from the album. Great outro with Jon vocals layering the refrain and Rick adding in keyboard fills that are variations of the refrains melody. Brilliant Yes type stuff with contrasting sections... like the days of old.

Birthright
A somber droney tune in E Minor depicting the effect that the first A bomb test had on the Aborigines in Woomera. Tribal percussion is underpinned by brooding sad melodies and chords. Ends with Jon speaking in a native Aboriginal language

The Meeting
A Rick Wakeman piece that is another somewhat somber tune that opens with an intro on piano in A Minor. The song shifts to C Major in the verses. The piece ends with Rick shifting back to A minor with some great piano work. An amazing synth chorale section ends the song. Brilliantly arranged. What a wonderful song. One of my favorite "Yes" tunes of all time.

Quartet
A suite like piece with four sections. I Wanna Learn is a folksy tune in G that has some trademark Steve Howe guitar work. She Gives Me Love shifts to D and has some Beatle like arrangements. A simple tune that has a bouncy joyous feel to it. Who Was The First segues in and keeps with the same feel as She Gives Me
Love. I'm Alive opens with some Springsteen like piano arpeggios based around G major. The verse shifts to a somewhat sad minor lament. Another great one from the album.

Teakbois
A bouncy calypso like tune opens the song. OK I guess. Not one of my faves from the album. Makes me think too much of the break in "Fool In the Rain" by LZ. Goes on too long IMO. The different sections are not too bad but it seems disjointed to me.

Order of the Universe
The intro has some EVH like guitar work. Pretty good theme (Order Theme) though is introduced on the synth by Rick. Rock Gives Courage follows and is one of the heavier tunes on the album with power chords galore. It's So Hard To Grow is a very anthemic section with the song's chorus tying it between sections. The Universe is a mostly instrumental outro in C Major with some of the earlier themes reintroduced by Rick. Ends with an ominous drone. I am not sure what it is but I think it may be the sound of a quasar.

Let's Pretend
A fine tune with great guitar work from Steve in the British Romantic style. Pretty good ending tune.

I like this album and play it often. Jon's stamp is all over it IMO. The album's spark came from Jon who was constrained by the way the Rabin lineup Yes was headed into further pop territory. They could not use the group name "Yes" for legal reasons. I guess Chris Squire owned the name at that point. IMO, Bill Bruford pulls off the Latin and Caribbean influences well. A fine album overall with great work from everyone involved.

 

Don't forget the non-album track "Vultures in the City":

 

Teakbois. I could fall into a barrel of breasts and still not suck as much as Teakbois.

What Brains Trust decided this would be a better choice for the album than the infinitely superior Vultures?

 

I was kind in my description of "Teakbois". It is pretty bad. Vultures is much better.

 

I'm Alive single and music video version

 

Those children have no idea how lucky they are to be exposed to such music at such an age

In all seriousness though, as I mentioned pages ago, this album never really sank in with me until I started listening to the shows from the tour.

I've realised that the major thing keeping me from sinking into the album is the fact that it doesn't ROCK that much - in places, yes, but it reminds me of 70s Yes minus the rock. Yes were one of the true progressive ROCK bands. They could ****ing rock. And a lot of that I think is missing from ABWH.

It sounds really stupid, I know, but I've thought a lot about why the album doesn't hit me as much and I think thats it.

Themes rocks. Order Of The Universe is great. Brother Of Mine feels like And You And I for 1989

Great stuff on the album (except Teakbois), I just prefer the added energy of the live performances

 

1. Yes S/T
2.Time And A Word
3. The Yes Album
4. Yours Is No Disgrace Song Structure Breakdown
5. Fragile
6. Roundabout Song Structure Breakdown
7. Close to the Edge-Part I
8. Close to the Edge-Part II
9. Close to the Edge-Part III
10. CTTE Song Breakdown-The Solid Time of Change
11. CTTE Song Breakdown-Total Mass Retain
12. CTTE Song Breakdown-I Get Up, I Get Down
13. CTTE Song Breakdown-Seasons of Man
14. Yessongs
15. TFTO-Part I
16. The Revealing Science of God Song Breakdown
17. TFTO Parts II-IV
18. Relayer Part I
19. Relayer-Part II
20. Sound Chaser Song Breakdown
21. Relayer Part III
22. Yesterdays
23. Beginnings by Steve Howe
24. Fish Out Of Water by Chris Squire
25. Olias Of Sunhillow by Jon Anderson
26. Going For The One
27. Awaken Song Breakdown
28. Rick Wakeman-The Six Wives of Henry the VIII
29. Tormato
30. Drama
31. The Story of I by Patrick Moraz
32. Yesshows
33. Ramshackled by Alan White-Review by Mike B
34. 90125
35. Song of Seven by Jon Anderson
36. Classic Yes
37. Animation by Jon Anderson
38. 9012Live: The Solos
39. Big Generator
40. Anderson, Bruford, Wakeman and Howe

 

Up next, Yes enters the 90s.