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TIME AND A WORDYesSymphonic Prog |
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Obviously the group had learned from their mistakes of the debut album and wrote plenty of tracks ala Looking Around and Survival (the better songs of that one) and here we have Astral Traveller, Then, the title tracks and the album-lengthiest and more complex The Prophet are the highlights. The only disputable weakness is the questionable use of additional strings, which tend to hinder, more than enhance the song's progress. A good step forward, but not essential still, as you can have most of the album's better tracks (except sadly The Prophet) on the Yesterdays compilation.

My rating: 4.5/5

Still, I'd be remiss in not attaching to "Time And A Word" a word of caution. There's little to be gained in listening to this album, chalking it up to the band's inexperienced handlers, and slipping the disc back into the forgotten files, but much to be gained from exploring parallel universes like Flash or the solo work of JON ANDERSON. Look at this as an open invitation to expand your world. No doubt you can squeeze something sweet from this lemon, but better to embrace sweet mystery, leave "Time And A Word" to nameless possibilities, and venture into someplace unexpected, perhaps even into the gardens of GENTLE GIANT or the harsh universe of VAN DER GRAAF GENERATOR.


"Time and a word" was certainly a major step forward from Yes' eponymous first album, but was still some way from the classic status of its successors. There are occasional hints of prog in tracks such as "The prophet", which has a more complex structure than most of the songs here.
The performance still lacks the refinement we are now used to, the vocals only being roughly in tune and the harmonies at times being anything but harmonic. There are exceptions, such as the highly melodic title track, where everything seems to come together well. The song itself is a pretty straightforward piece of pop rock, but it is thoroughly enjoyable nonetheless.
The band's confidence in the strength of their own material is still not absolute, as evidenced by the inclusion of two cover versions.
As with the Beatles "Let it be" album, the addition of orchestration is the cause of much debate among fans. In this case, for me it is an enhancement, although looking retrospectively it does make this sound even less like a Yes album than would otherwise be the case.
The enormously high standards set by Yes on the following albums undoubtedly make reviews such as this harsher than they would otherwise be. "Time and a word" is still a fine album with much to enjoy, just don't expect to hear a "Close to the edge" or "Yours is no disgrace".
The extended remastered CD includes "Dear Father", original mixes of two of the album tracks, plus a single version of the "The Prophet".



What I also find amazing about this album is that it was only the band's second effort. Rather than stay with the same successful formula (musically, not related to actual album sales) of the first release they dipped their toes into unknown waters by adding an orchestra to their compositions. This album is daring to say the least for a band that was trying to become established. This kind of courage would mark the beginning of many transitions for a band unafraid to step out and try something new. In the future change would become their ally. The next time they would record and tour in this design would be on Magnification (which is an excellent album), released thirty-one years later in 2001. To say that this particular album is a landmark, is putting it mildly. In retrospect, how many bands have done the same thing in progressive rock since? It really does boggle the mind the sheer importance of Yes and their recorded history.
Once again, the bonus tracks are generous (four) and interesting liner notes make your overall experience more enriching. The always-terrific sound gives the original recording a new lease on life. I have found listening to all of these remasters a fascinating trip, particularly this one because it was so different. Listening to a band's profuse expansion and change in their musical range, sometimes dramatically, is a rewarding experience indeed.
It's funny; I was looking at the black and white photo of the band in the CD tray and noticed how Peter Banks looked a lot like Joe Perry of Aerosmith. That has nothing to do with the music but it struck me that there can be so much commonality found in music yet so many differences.but then in same token people can look so much alike. I guess it is just another paradox of life, another page out of the novel written by the group Yes.


1. No Opprtunity Neccessairy,No Experience Needed (4:47) Heavy classical opening, with distorted keys and a great bass, complex drums, great song. 2. Then (5:42) great energetic song, the orchestra gives this song an extra dimension, great bass and drums, with some very nice rhythmic keyboards by Tony Kaye, Peter Banks guitar gets a little to the background in the mix, but besides that it's a really great song. 3. Everydays (6:05) a Stephen Stills cover, Bruford plays brilliantly, the orchestra provides a nice counterpoint for Jon's distict vocals, halfway through the song get's more heavy and fast with a very good distorted guitar solo from Peter. Just fabulous.
4. Sweet Dreams (3:48) Deep low bass, with Jon's high pitched vocals and haunting keyboards and drums, really nice. 5. The Prophet (6:32) very distorted keyboards, with frantic rhytms, build up with ever changing melodies that accompagnie Jon's clear voice. A wonderous song, that get's better with each listening. 6. Clear Days (2:04) Good vocals from Jon, but the music is too much dominated by the orchestra, that doesn't play very well.
7. Astral Traveller (5:50) Probably the best track on the album, and a good indication of the good things to come from Yes in future years. Great drumming by Bill, nicely kept together by the prominent Bass and swirling rhythmic keyboards, and fabulous guitar and keyboard solo's throughout intermingling melodies, with a great final to the song. Just Awsome. 8. Time and a Word (4:31) The title track, with powerfull bass, delicate drumming and greatly sung, fabulous song.
A wonderfull second album by these masters of progressive music. The addition of the orchestra works very well on most songs (not on clear days btw), and though the guitar appears to be a bit back in the mix, and the production is not of today's standarts I sincerely love this Gem, mostly because of the powerfull songwriting with soulfull melodies and great singing. Highly Recommended




Still, a lot of artists did take notice, like Who's guitarist Pete Townshend, who was an avid fan of the group. And for reason, this is a quite good album, with a lot of energy and joy, even if the sound is not well-defined and perhaps the amps are too high for the orchestra. The bold version of the Richie Havens classic, ''No Opprtunity Neccessairy,No Experience Needed'', is a delight, with a good show from the musicians, especially Chris Squire, wich shines here. Bill Bruford is starting to mature, but his textures are still not there yet. Tony Kaye is great throughout the album, with good duets between him and the orchestra. This is also Peter Banks' last apparition as a member of Yes. He has his moments, but the direction yes was taking was to be without him. The tighter sound and the more structured arrangements would not have fit for the jazz guitarist, and the dexterity needed was maybe too high for him.
We can still hear the real basis of Yes, such as the lyrics (see Astral Traveler) and the epic sound ( see The Prophet). A transitional work, indeed, but a great one anyways. This is not up to what would come next, but it is still underappreciated to this day.

Never mind, this album is more than a pleasant surprise when I just listened it for the first time, after being neglected for many years. I did not expect much, but I must say this is decent early work from the band with especially prominent parts offered by Squire and Bruford on the rhythm section. Kaye on organ does not have to be ashamed or envy the later star Wakeman. He did a wonderful job on keyboards here. Only Banks' guitars are withdrawn a little bit too much in favour of not always successful orchestral arrangement. In part, this was one of alleged reasons for his quitting from the band prior to the release of the record. Most of the songs are still pleasant, without much ups and downs. Highlights for me being "Then" and a cover of American folk-rockers BUFFALO SPRINGFIELD "Everydays". The only filler here is perhaps "Clear Days".
So on "Time and the Word" YES reasserted their inspiration from the prominant American folk-rockers, like they did on the debut with THE BYRDS' "I See You" and later with Paul Simon's "America". And that is a fact many "eurocentrist" proggers love to deny. Since I am a huge admirer of the "West Coast sound" of psychedelic folk/country rock, I can only add my thumbs up to YES.
"Time and a Word" is slightly less strong effort from the debut LP, but I would still advise you all to re-listen it without prejudice!
PERSONAL RATING: 3,5/5
P.A. RATING: 3/5

Yes has now added an orchestra to the lineup (for an album), and has in my opinion became the signature Yes force in composition and musicianship. The orchestra addition to the album nearly all of the time sounds great, and the interplay between the musicians in Yes is now incredible, Peter Banks playing surprisingly well, as well as Tony Kaye, now giving you the idea that Steve Howe and Rick Wakeman had big shoes to fill, also Chris Squire and Bill Bruford are amazing throughout the album. The instrumental breaks and solo opportunities are so distinct from the album and awesome, that the album is breathtaking. Even the slower songs can rival tracks like "Survival". The entire band has stepped up and the songs are very solid. I think this album is essential because it's the first Yes album to drop your jaw, and an incredible stepup from the first album. Also, songs like Everydays and Then are among Yes' best, the former having an incredible second half, foreshadowing The Mars Volta by decades.
Reviewer's tilt: (9.5/10)
Overall score: 9.1 out of 10 or 4.5 stars (rounded to 5)

While Genesis had progressed significantly through their follow up album "Trespass" and
King Crimson with "In The Wake of Poseidon", Yes was still rooted with their debut album's
style. Yes did not progress the way their other band mates did. Progressively yours, GW

Good, but not essential at all. Recommended for Yes fans who are interested in hearing Yes in their early stages.
My Grade : C-

There's still some antiquated psychedelic-pop tunes here ("Clear Days") and the band are still displaying their Beatles and West Coast rock influences on their sleeve (as evidenced by the Richie Havens and Buffalo Springfield covers). But the grasping for a grander sound is beginning to pay off, as evidenced on "The Prophet", "Astral Traveller" and the jazzy version of "Everydays". For all its Californian influences, the end result is distinctly English.



The fact is that if this is listened to on its own merits, "Time and a Word" is an exceptional album and deserves a reconsideration, particularly in light of the 2003 Rhino remaster, which clarifies and sharpens the mix. My vinyl copy of this certainly didn't sound this good.
Peter Banks was dismissed and/or left after this album. He was apparently in disagreement about the orchestra, and this might have exacerbated other problems he had with the rest of the band. I have always been a bit sad about this. Certainly Steve Howe was an essential part of later Yes music and helped create their classic period, but there is a lot to be said for Banks' psychedelic and edgy sound. Banks turns in a number of great solos here, particularly on "Astral Traveller." Perhaps Banks is not quite as fast or complex a player as Steve Howe, but then again, not many guitarists are, even well-respected ones. It is as absurd to judge Banks by Howe as it is to judge George Harrison or Eric Clapton for being unable to play "Siberian Khatru."
Banks may have been right about the orchestra in the long run; there are moments where the orchestra does detract from the overall sound. I would love to hear a version of this album where the orchestral parts were removed, because in many cases they simply double the keyboard or guitar lines and obscure them.
However, it is clear here that Chris Squire is coming into his own here. His bass is more vigorous and upfront overall, which definitely adds to the album. Tony Kaye truly shines here, though, with his Hammond given prominence. As in the case of Banks, it is unfair to compare Kaye to Wakeman or Moraz. For one thing, Kaye did not have access to the technology that Wakeman did, and the band didn't have the money to spend on synthesizers, which were astronomically expensive in 1970. For another thing, Kaye's style is completely different. As Bill Bruford remarked in an interview, "Rick Wakeman doesn't have a blue note in him," where Kaye obviously has been influenced by jazz and blues, and he brought his influences with him. Speaking of Bill Bruford, the Rhino remix clarifies his drumming, which was lost in the original mix. I continue to be amazed at how good Bruford was then at such a young age.
The Yes style and sound are developing here, but the band as a whole are still more influenced by West Coast psychedelic rock and the Beatles, as they were on their first album. That being said, as on the first album, they improved on the originals a great deal. Certainly "No Opportunity Necessary" and "Everydays" didn't sound anything like this on the Richie Havens and Buffalo Springfield albums from which they were taken.
The originals are becoming ever more intricate, but the band is still a ways away from the heights of complexity (or depths, depending on your opinion of "Tales from Topographic Oceans" and "Relayer") they would attain. "The Prophet" still prophesies of songs to come, as does "Astral Traveller," and "Then."
I sometimes wonder if some Yes fans' low opinion of this album is based on the fact that it is extremely accessible. Yes had not by any means given up on getting a "hit song" at this point in their career, and as a result a lot of the songs here (as on their first album) are melodic and tuneful. It would be a shame to disregard this album simply on the basis of that, but I suspect that some listeners more used to the cerebral approach of the band in the Wakeman/Howe glory years do exactly that.
As far as a prog milestone, it's hard to say. I find that in context of other 1970 releases, "Time and a Word" is certainly more cohesive than King Crimson's "In the Wake of Poseidon," Genesis' "Trespass," or even Emerson Lake and Palmer's first album. It is also more accessible, memorable and tuneful than any of the three albums mentioned above. To sum up, it's time for "Time and a Word" to be reassessed by Yes fans, and I think a fair listen with open ears will reveal that it is not at all the low point that some take it as.

Well, most recently I redo contact with this album and my perception changed mildly - grey hairs make the difference, perhaps. But it is not a competitor for the debut album let alone the following band works. Production and musicianship are fairer than the observed at Yes first work but songs are generally weaker, the exceptions are 'Astral traveller' which I have liked since the seventies and two other that has called my attention nowadays: the title-song and 'Everydays' - Yes seemed then more lucky making covers than working with their own material. Otherwise I wouldn't say that "Time And A Word" was a step forward, but fortunately things would change soon for the band.
Also peculiar is that CD sound could show me the full orchestra accompaniment which I wasn't able to catch wholly in the old tape, although orchestra adds only a little for the music.
This should be a 2-star rating but Yes history cannot be disdained, the final result wasn't truly awesome but at least they tried; hence I rate it as an average album. Total: 2.5 => 3.

Peter Banks is a very underrated guitarist, his work is VERY IMPORTANT to the sound of the band at the time and althought Steve Howe is a lot better, i believe that Banks still deserves recognition.
My favorite Tracks: -Then-, -Time and a Word-, -Everydays- and -Astral Traveller-.
I Give it 4.2 Stars.


Maybe I am a little bit romantic, but I really love to hear this album. Songs such as "No Opportunity Necessary, No Experience Needed", "Then", "The Prophet", "Astral Traveller" and the beautiful "Time and a Word" are early masterpices of prog music, pieces that are necessary to understand the evolution of prog rock in the last 35 years...
An spetial mention to Mr. Peter Banks, exceptional guitarist forgotten by history and many prog fans...
Materpiece!!

The use of orchestra with band is, in my opinion, fairly ineffective - the simple orchestration not helping matters - with Banks' guitar almostly completely lost in the mix. Kaye's heavy organ is extremely prominent throughout though, and compliments the bass brilliantly. The rhythm section are in fact in the stars of this show, with Bruford and Squire on top form, extremely succinct with Chris' punchy low-end sound and Bill's very fast precise drum-work.
I see this album as a transition, although confused by the use of orchestra. Songs like 'Sweet Dreams' with their simple lyrics and catchy melodies are clearly looking back to the debut, while 'Then' is a much more complex almost symphonic affair, with a more poetic effort on the part of Jon Anderson - the lyrics are thought-provoking and extremely intelligent - a complete contrast. Still a good album, however, with musicianship (as a whole) better than the debut. Recommended especially for Yes fanatics and bass fans - this is after all Chris Squire's favourite album.

The two most striking sounds right from the opening strains of this album are the strong string arrangements (which did not appear on the band’s debut album), and the very muddy-sounding organ. The strings are a welcome addition, and the organ aside, the second Yes album is a pretty large step forward for the band.
Bill Bruford’s drumming is even stronger than on the first album, and Peter Banks does a masterful job of laying down some very progressive guitar chords at a time when most major rock bands of the day were either recycling Beatles-like pop or veering off into blues-driven psychedelia. In America at least this stuff really was close to the edge.
The second track “Then” is dominated by Tony Kaye’s heavy keyboards and accented a bit with horns. This is another fast-paced borderline psychedelic offering that slowly winds down to silence.
The strings return in a lush arrangement on “Everydays”, a slow-building number written by Stephen Stills that works up to a ear-bending guitar-and-keyboard extended instrumental that is flat-out incomparable to anything else being recorded at the time.
“Sweet Dreams” is a song I vaguely remember as a young kid. There weren’t any singles from this album (not in the States anyway), so my hippy babysitter must have gotten her hands on this album at some point or another. The song has many trademarks of the classic Yes period, particularly Anderson’s soaring and gender- defying vocals and Bruford’s prominent but unpredictable drums.
A jazzy “The Prophet” follows, one of the first of Anderson’s mystic, extended story- songs again with the strings and horns, followed by the brief interlude “Clear Days”.
Finally come the much better-known “Astral Traveller” and the title track. Both feature the strident keyboards and Anderson’s staccato vocals that would be so prominent throughout the 70s (and be largely replaced by more melodic vocal tracks in the 80s). The extended instrumental passages of keyboards, Chris Squire’s very prominent bass, and Bank’s guitar were almost surreal to mainstream listeners at the time, and I must admit I was well into my teens before I really discovered this album following my first memorable introduction (Relayer). Of the two songs I much prefer “Time and a Word” with its memorable repetitive refrain and the way the horns and strings seem to lift the vocals atop the music toward the end. A beautiful song and by far the most memorable on the album.
This album has a much more consistent quality to it than the debut, although all the songs on Side A suffer due to the crappy recording quality of the keyboards (which are much improved on the final three tracks). Like their debut though, this is a very good album, but not quite a classic or an essential part a general progressive collection. Three stars, and the best would come only a couple years later.
peace

There is still much to enjoy here; the orchestration isn't bad, and some of the songs are still signature classics. It's more rocking than prog, but I'm sure you can find some enjoyment out of it as I did. The first song and the title track were my personal favorites. A nice addition, especially if you are a Yes collector.



The orchestra.. hmm.. I feel pretty neutral towards it, in tracks like "Then" where it stays in the backround to add a fuller sound and emphasis is where it's best used, and in that regard I think it was a great addition to the bands sound. Other songs like "Clear Days" it just sounds terrible.
Overshadowed by the other 70's epics, I think if this album came from another band, the rating would be substantially higher. It's an excellent example of psychedelic Hammond rock.

Having been brought up listening to symphonic music, I was excited by what I had read about Yes working with an orchestra on their 2nd LP. Unfortunately, it doesn't work any better than it had for others who'd ventured down the same road. Their cover of an obscure Richie Havens song, "No Opportunity Necessary, No Experience Needed," kicks off the album with a strong organ intro and a stirring string section that makes you think for a moment that this is going to knock your socks off. But no. It quickly becomes just an average rock tune with the orchestra sounding like they're playing a theme from a TV western. "Then" is an improvement as Kaye's growling Hammond organ work lays down a fine foundation and Anderson's vocal indicates he's improving as a singer. Bruford's drums and Squire's bass interplay nicely throughout but the goofy ending leaves a lot to be desired.
Their dynamic rendition of "Everydays" is Yes finding another good specimen of late 60s California semi-swing to cover, this one by Stephen Stills of Buffalo Springfield. You gotta give these guys their props. When they do an arrangement of someone else's material they take it places the composer never dreamed it would or could go. This may be the only time the orchestral score reaches its potential as they perform some cool unison jazz phrasing with the group in the middle section. It also shows that Yes was still holding on to some of the jazz leanings they showcased on their debut. (Oh, and this time the song's ending is excellent.) "Sweet Dreams" features the lush harmonies they nurtured and a likeable melody but it suffers from a rather clumsy underlying track that never finds a groove. "The Prophet" is the most adventurous tune here containing a lot of well- intentioned ideas but no cohesive overall focus. And, once again, the symphony is too corny and contemporary for this kind of music. "Clear Days" is a so-so ballad but the overbearing string quartet steamrolls over the melody and the piano. The tune is disjointed and strange.
Then, at last, a ray of bright, golden sunshine! "Astral Traveller" finally delivers the goods and promises us that stupendous things are eventually going to come from Yes in the years ahead. It's got everything that great, six-minute progressive rock is about. On this song the individuals are as one. (By the way, the band I was with in '74 performed this tune in nightclubs for a few months and it was exhilarating and challenging to play. Alas, the usual responses at the end were frustrated cries from the inebriated crowd to "play something we can boogie to!") "Time and a Word" with its catchy love generation "pop" chorus brings things to a pleasant finale. It's a thinly disguised stab at getting a Top 40 hit to my ear but I have to say it's a well-written song that can easily be sung loudly in the privacy of one's own shower.
While all of us who liked the first album were somewhat underwhelmed by this sophomore effort, we still found reasons to give Yes the benefit of the doubt. Bill Bruford's drumming was much more powerful and confident than before. Plus the harmonies were tighter and more precise. If there was a weak area it was in Peter Banks' inconsistent guitar work but that was already in the process of being remedied remarkably by a virtuoso named Steve Howe. "Time and a Word" displays a talented quintet that was still searching for its unique sound, this time by experimenting with orchestral augmentations. They didn't find their niche here but they certainly did on the next project and then it was Katy bar the door.

For their second album, YES comes back with the same original line-up with PETER BANKS and TONY KAYE still playing with JON AMDERSON, CHRIS SQUIRE and BILL BRUFORD. The big difference with the first album is the addition of a strings orchestra quite present throughout the album.
We have again 2 covers one from ....Richie HAVENS and another one from Stephen Stills that show at this time (1970) ANDERSON and SQUIRE were not fishing in the topographic oceans yet. Now do you like string orchestration or not? that's what we will make you appreciate this album or not. Sometimes well in the front like on NO OPPORTUNITY NECCESSARY , sometimes addind a lush sound in the background like on EVERYDAYS, but you can't escape it.
Once again, the bass of CHRIS SQUIRE leads the charge the whole album as PETER BANKS takes a back seat doing here and there some free-jazz style soloing! You know JON ANDERSON is the boss as he is the writer or co-writer of 6 songs out of 8.Only CHRIS SQUIRE is credited as a co-writer on THE PROPHET.
But to reach the next level, ANDERSON and SQUIRE already knew a few changes have to be made within the band in order to progress.
The best tracks on this album are the title track TIME AND A WORD which could be fearured on any best-of compilations, the sweet ballad CLEAR DAYS and SWEET DREAMS. There is not a really a bad track on TIME AND A WORD, just a few a little bit over- orchestrated.ASTRAL TRAVELLER is good too!
Definitely, not a must-have YES album, but like the first one a pleasnt one to listen to it once in a while. Great things are bound to come very soon . 3 STARS for a good album.


Since this was before the elegant musicianship of Steve Howe and Rick Wakeman and before the sophisticated, ambitions songwriting of Close to the Edge, most of the songs have a somewhat clumsy feel, and the extremely heavy organ makes it very obvious that the strings really shouldn't be there. Another major difference between early- and later-year yes is that, at this time, the lyrics of Jon Anderson actually make sense and concern very regular things, compared to what one might be used to after hearing some of the later Yes-albums. Vocally, he also has a slightly lower pitch than we are used to.
Overall, a good album by a prog band still a few years from it's peak.

COLLECTORS/FANS ONLY

While 'Time and a Word' may not be considered THE essential Yes album, it is nonetheless a very interesting symphonic rock album. It blends rock, jazz and symphonic classical music fairly well. In some tunes, the classical instrumentation works very well, such as in 'Then', while in others it, like 'No Opportunity Necessary, No Experience Needed', it works less well. In 'No Opportunity Necessary, No Experience Needed' the classical instrumentation with it's cowboy-movie style generates more of a humorous effect, which is probably intended.
This album, while not a masterpiece does contain several songs which are, if not masterpieces, then at least near masterpieces, including 'The Prophet', 'Then', 'Everydays' and 'Astral Traveller' (and Iron Maiden fans will find many elements on this album which appear to have inspired Steve Harris on the early Maiden albums).
'Time and a Word' certainly is worth a buy and it is a very interesting album albeit not as interesting as many of Yes' later efforts. It may not be an essential Yes album, but it is nonetheless an essential prog album in general.

Depending on the day, I may give Time and a Word a two, or maybe a four, so I'll settle on three stars. Basically the orchestra sounds nice, but I think it serves to restrain the band. Their first album was raw and energetic, but this one only displays that occasionally. Fortunately, Squire's bass is mixed nice and loud throughout, and Bruford is really starting to come into his own. Unfortunately most of the songs have boring parts that feature neither of these amazing musicians. Anderson's voice is raw and sometimes a bit out of tune...listening to this leaves no hint at his future transcendence. Here are the highlights:
No Opportunity Necessary, No Experience Needed. Great bouncy, catchy, and energetic tune. I'm always pumped up after this one.
Then. Great chorus and middle jam, but forgettable verses and a lackluster ending.
Everydays. Similar to Then: A truly inspired instrumental break, but boring stuff surrounding it. Is that worth listening to the entire tune? Only if you're in a patient mood.
The Prophet. Another track where Bruford and Squire basically carry the tune...average contributions at best from the rest.
Astral Traveller. My favorite from the album. Finally something upbeat for the duration of the tune, the guitar is finally doing something interesting, and Anderson has some harmonies to hide his limitations at this point in his career.
Time and a Word. I wasn't expecting a hippy sing-a-long, but it's certainly catchy, and a good ending to almost any album.
No wonder the recored execs put the screws to Yes after this album. There is frustrating potential for Yes, but they don't seem to know exactly what sound they are going for. Squire and Bruford clearly established themselves, and Anderson obviously stepped up his game in later albums. This core was prescient enough to fill in their obvious inadequacies with more capable and creative musicians. A must for Yes collectors of course, but also a nice buy for people who enjoy prog/pop mash-ups. Just don't expect "classic" Yes here and you'll avoid disappointment.

There is just one low point which justify a lower rating : the use of a symphonic orchestra which is not integrated to the sound of the band but just added. This is a big mistake of production. I dont know if it was an idea of the band or a decision of the record company to give a more spectacular sound. But clearly it was a bad idea.
Nevertheless songs are good and you can easily take pleasure to this early Yes release.
Typical proto-prog music of the early seventies

With an almost identicle feel to its predecessor, Time and a Word is another great record from YES. Easy, accessible tracks and a powerful nostalgic emotion surrounding, this album goes down as onother of their best. Time and a Word is my favorite track followed very closely by No Opportunity..., of which I must say Richie Havens does great as well so check that out! Jon Anderson just feels so good on this record, a completely marvelous voice, just mind bending. This album will see the end of Tony Kaye and Pete Banks, and a whole new line-up to follow, and also the end of this sound for YES. This is bittersweet because the emotions captured here with the orchestration work will be greatly missed, a magnificant sound for the band to play over, extremely powerful and inspiring...something far removed from their later works in my opinion. This feels more like the younger brother works, the unsung greats, the underdog sound...and it is just so nice and the final fade on Time and a Word is just so bittersweet.
YES will change direction so drastically after this and capture all new moods and sounds, of even higher brilliance and greatness. These early works are so nice and enjoyable though, so give this all a shot!


Eah, this stuff is amazing fom the beginning up to the end! Yes is completely shown themselvesas a real prog-rock musicians that can not only cover but create fantastic symphonic songs!
1. No Opportunity Necessary, No Experience Needed -5/5- amazing cover, orchestra and Squier's bass is
a thing!
2. Then -4.5/5- complex of riffs and melodies sounds sometimes boring but art-rock cannot live without
this.
3. Everydays -5/5- I didn't heard the original but I think this is quality work. Solo is a other topic.
4. Sweet Dreams -4.5/5- rock'n'roller song,
4,375 stars actually.

Songwriting is strong, an improvement over their debut at the very least, with several memorable songs and instrumental passages. Yes fans will doubtlessly enjoy hearing the young band testing out styles which will later become their staple, and those coming from a more classic rock sound can easily get into Bruford and Squire's great grooving. Anderson's voice is down to earth-- not nearly so dramatic as in later work-- and has a different timbre than what we'll hear later. The inclusion of the orchestra is always a gamble, but since the band keeps their own playing to forefront it prevents the symphony from sounding too gimmicky, mostly being reserved for background textures.
All in all a strong early release, mostly for fans of the band but not without its own unique charms.
Songwriting: 3 Instrumental Performances: 3 Lyrics/Vocals: 3 Style/Emotion/Replay: 3


As i went from song to song I found myself repeating the same things over and over like great bass lines and killer organ runs, while bringing up the orchestral parts in a negative way. So i'm not going to do that for each track. The most memorable song for me is probably the title track if only for the chorus, but by far my favourite sections involve the bass and organ.
2.5 stars.

The album consists of eight songs and they are all of good quality. None of the songs fall short like a couple of the songs on the debut did. The orchestra does add an extra dimension to some of the songs while it takes away power from others. My favorite songs on Time and a Word is Then, the psychadelic Astral Traveller and the pompeus title track which I for some reason have always loved even though it´s a bit cheesy. The Prophet also has many great parts while I find the orchestra to be a distraction in a song like the opening song No Opportunity Necessary, No Experience Needed.
The musicianship has only gotten better since the debut and once again Yes demonstrate their outstanding skills.
The production is really good. Clear sounding.
Time and a Word is not my favorite Yes album and I seldom listen to it, but it´s a good album never the less and I think others than the fans will also find joy in this album so I´ll rate it 3 stars.

The first two Yes albums were not sucesses, but their character is very different. The first Yes album is a good album, but firmly in the psychedelic genre. When listened to, it gives very little hint of the direction that Yes will take later on. The second (which this review is about) is a poorer effort, but it clearly foreshadows the direction that Yes will follow later on.
Let's discuss the tracks.
No Opportunity Necessary, No Experience Required: The future begins here. The inclusion of an orchestra and Chris Squire's dominating bass lines make this a rich and exciting track. Jon sings a low register here, which is also an interesting novelty. The song is good, but not great. Still this is a great start to the album.
Then: I don't like this one. It's keyboard driven psych with the orchestra parts once again integrated, but it doesn't appeal to me like the last track, and Squire isn't nearly as prominent.
Everydays: This track once again expands the boundaries of what Yes is exploring musically. In a very mellow way, it's kind of jazzy. The composition is very piecemeal, and the orchestra once again makes it's presence known. This most definitely isn't the Yes that you know and love, but it is an interesting change.
Sweet Dreams: A syrupy rock track, but not as bad as something like Survival off of the first album. It does have an edge to it, courtesy of Squire and Kaye (of all people.) Not a favorite, but not forgettable either.
The Prophet: This foreshadows the epic form that Yes would develop in the next album. Unfortunately they don't quite have the idea down yet. Kaye's introduction isn't really up to snuff, and the song is pleasant but not really good. Anderson's vocals give a hint of what we are in for later on (esp. in CTTE.)
Clear Days: Another piecemeal track. I'm ashamed to admit that I really like this piece of psychedelic dreck, but I can't explain why. I like it, but I sure don't expect you to.
Astral Traveller: This one showcases Peter Banks's talents (although Kaye and Bruford also shine here.) Not a great song, but some scintillating performances.
Time and a Word: Eddie Offord (the producer) once said that he thought Yes had two really magical moments in And You and I and this song. I agree with him on And You and I, but A Time and a Word always struck me as too repetitive and not interesting enough to qualify.
Anyhow, I'm giving this album two stars. As far as progressive rock goes, this album is definitely a transition between Yes's early psychedelic foundation and their establishment as a bastion of progressive rock. Here they start experimenting with the ideas that will make them the maestros of progressive rock, but they don't master them until the next, watershed album.

Clearly an improvement over the debut album, but still far behind the masterpiece follow-up The Yes Album and future greats Fragile and Close To The Edge. Steve Howe was not yet on board, Rick Wakeman was not to join for yet another album, and the band were still more of a Proto-Prog band than the groundbreaking Symphonic masters they were soon to be.
Still, taken for what it is this album is very good. There is still a slight similarity to Deep Purple's earliest period with the Hammond organ being on the forefront and some songs rocking quite hard. The title track, however, is more of a Psychedelic 60's pop tune with flower power lyrics. This song would later be revived for inclusion in the bands set lists on some future tours.
Recommended, but not essential.

Like all the other orchestral experimentations during this period, the attempt to integrate orchestra and band failed. Nowhere is this clearer than in the otherwise excellent opening track, blessed with the cumbersome title 'No Opportunity Necessary, No Experience Needed.' This is a persuasive attempt to render their dramatic skill at reinterpretation, but that central orchestral section is grafted in with all the subtlety of a third leg.
Aside from the unnecessary orchestration, the album suffers from too many inferior compositions, and generally appalling arrangements. It's telling that two of the three standout tracks are covers, which (given their later achievements) is more a matter of confidence than of lack of talent. The central section of 'Everydays' shows real promise, and it is a pity the band didn't build a more effective song around it. Other songs are simply a waste, including the execrable 'Clear Days'. There's nothing of the calibre of 'Survivor' on this album, nor is there much hint of what was to come within the year. 'Astral Traveller' is at least competent, while 'Time and a Word' is memorable if a little repetitive. And argh, that orchestra!
This is an album that cries out for a reinterpretation. It would be interesting to hear this without the orchestra and with more daring arrangements. Short of that, though, it is not a record to command repeated listenings. Pass on this and the debut and move on to their next album. Come back here at the end of your YES journey.



I am not convinced of the full rating for a number of reasons, the most important of which is the stand out tracks that are excellent are the ones that appear on all the compilation albums. The other tracks feel more like throwaways than anything else in comparison to the brilliant quintessential albums Fragile, Close to the Edge, The Yes Album and Tales of Topographic Oceans.
The first track 'No Opportunity Necessary, No Experience Needed' is a wonderful stand out opener and features orchestral arrangements and incredible vocals packed into less than 5 minutes. 'Then', and 'Everydays', are nice additions but quite forgettable, and not up to the usual Yes standard. 'Sweet Dreams' is one of the gems I had heard before, as is 'Astral Traveller'. They are classics, masterfully produced with musical virtuosity and incredible precision time signatures. 'The Prophet' is a progressive 6 and a half minute mini epic with some stand out guitar and keyboard.
'Clear Days' is another of the throwaways and not as innovative as the other tracks. 'Time and a Word' is another of the classics and a must for Yes and prog fans - pure genius.
So what do we have? 4 brilliant tracks - found on lots of compilations, 1 awesome track that grows on you and 3 throwaways that are forgettable and inconsistent with the usual excellent Yes standard.
I would only buy this if you are a completist or you see it cheap. I am not going to mention the bonus tracks as I only have the original album, however they may be enough to warrant a purchase, though I seriously doubt it.
3 stars for the brilliant tracks is the highest I am willing to go with this.

A sophomore slump that hits even the best of bands.
I believe Yes aimed their sights way too high on this one. It was always Yes's blessing and curse. For this time around, I think they were way too young and undeveloped to integrate an orchestra into their music, especially since some weren't able to get the job done themselves.
The major problems arise with the members that were soon to be replaced. Peter Banks guitar work was appalling compared to his job on the eponymous debut album. His eclecticism and variety that really gave the debut a shine was largely vacant on this one. He just merely provided a rhythm backing and had little implementation on the music. Likewise, Tony Kaye had a sort of similar problem in his execution as well. His organ is damn dirty, and I mean really dirty. It just doesn't mix with strings and horns at all.really goes against the point of it all. Combined, these two musicians really drag the album down low.
The opening track is a beauty, but just a cover song, but the credit is due for its wonderful execution. None of the other tracks really live up to that one's potential. I was fairly disappointed with this one, but there was room for change.

What strikes me here are the organ sound: I guess Tony Kaye was better than I used to think. And Bill Bruford is very confortable too, working very well his jazzy influences. The bass is a little too high in the mix, but Chris Squire´s playing is as beautiful and skillful as ever. Sometimes I´m not sure if Jon Anderson´s voice was recorded right all the time. The same goes for the harmony vocals. Peter Banks suffers the most as he is hardly noticed (lack of interest? He was sacked soon after this release).
In all, I see this as a transitional album. They tried different approaches to the music and some worked, some didn´t. However, the songwriting department did improve and their potential would be shown in the next album with full force. There are some strong tunes and in general I think this album is superior to their debut. However, it is also way below anything they would do in the next few years. Be sure to have their major albums before getting this one.

"No Opportunity Necessary, No Experience Needed" Normally, I don't think a band with original material should start off an album with a cover song, but none of the other pieces are energetic enough to warrant going first. The introduction contains a heavy organ and the orchestra. The bass groove is most powerful during the verses, and Anderson really does a phenomenal job singing this one. The orchestral-based interlude always makes me think of the theme for "The Magnificent Seven" even though the tunes are quite different. I consider this Yes's best cover song (even though there aren't many of them), and I enjoyed it the very first time I heard it.
"Then" Like "Survival" from the previous album, this is one song I wish the band would do live now. It's an excellent song, full of very interesting parts, at just under six minutes. The introduction has a descending organ and guitar line before Kaye locks into a groove, while Banks and Squire fiddle around over it. Anderson's singing is delightful, especially during the chorus. Squire makes his bass sound like a deep machine gun during the instrumental section, and Banks and Kaye really show what they're made of. At times, the music sounds like it could have been part of the soundtrack to a James Bond film, and this is largely due to the orchestra's involvement. Afterwards, only Squire and Banks play, and after Anderson finishes the song (very quietly), the band and brass section wrap it up quickly.
"Everydays" Here's the second cover song (this one from Buffalo Springfield), and the problem is, it's terribly boring. The trembling strings, the pizzicato, the uninteresting drumming, Anderson's dreary singing, and the lack of rock instrumentation,make the first couple of minutes tiresome. The heavy rock section that follows is wild and doesn't really flow, but at least it's a relief from what came before. Banks gets a rare opportunity to show his stuff throughout the entire middle section. Sadly, the song becomes what it was in the beginning- bland and tedious. The very end is just random.
"Sweet Dreams" If Yes ever wrote a pop song before 90125, this is definitely it. But it's good, and one I enjoy hearing. I was pleased the band pulled it out of their catalogue on their DVD Songs from Tsongas, though I would've picked something else myself. Despite its generally simple structure, there are some fine bass and guitar runs, and the chorus is a lot of fun to sing along with.
"The Prophet" Kaye enjoys time in the spotlight during the first minute of "The Prophet." Even though he is clearly not as talented, I like his organ playing here better than most of what Keith Emerson ever did on his solo spots on the ELP studio records. The strings, and later the whole band, joins Kaye in setting things up for the song proper. The vocal work, especially over the strings, is some of the best on the album, as Anderson gives his voice some "oomph" that is clearly lacking on most of Yes's first two albums. I enjoy Squire's playing on the short section just before the final verse. This song, which overall is the closest to progressive rock on this record, finishes strongly.
"Clear Days" The shortest number here is a bland little ditty that really features only the strings section and Anderson singing. The music sounds like something that would be performed during an extravagant wedding.
"Astral Traveler" Yet another exceptional Yes song, "Astral Traveler" has some exciting instrumentation throughout. I like the warbling effects applied to the vocals, and the entire piece has very clear direction. Banks gets in two solos, one on a muffled guitar with a jazz tone, the other with a crispy, distorted tone. There is more machine-gun bass-playing from Squire, and Bruford's drumming is fantastic. I also especially like the lyrics. Like "The Prophet," this one is definitely "progressive rock" and shows exactly where the band is heading musically.
"Time and a Word" The title track is not progressive rock, really, but still a positive and pleasant acoustic guitar-based song. I like how the lead guitar is played through a Leslie, and Squire's bass work during the chorus is top-notch. Most of all, the vocal harmonies are exceptional.

Then: Bruford shows us some of his skills. I can't say it is a bad song, but I don't like it very much. 3,55 stars.
Everydays: very influenced by jazz, it is a kind of a ballad, at least in the beginning. After 2 minutes, the song takes an entirely different course and becomes aggressive and fast. 3,6 stars.
The Prophet: it has good rhythm, melody and lyrics. For me, it's very melancholic. In some parts, it is very catchy. 3,85 stars.
Clear Days: at the beginning and end, the violins remind me of Ray Shulman's violin riffs, from Gentle Giant. It is the calm and melodic song of the album. The lyrics are beautiful. I sympathize with this song... It reminds of a girl from the old days? 4,2 stars.
No Opportunity Necessary, No Experience Needed: I don't know the original song, so I can't say if they did a good cover, but this song is amazing. Powerful, I'd say. Full of energy, mainly by the fast drums and rhythmic bass line. 4,3 stars.
Astral Traveller: very mystic song, it also is powerful. Jon sings through a Leslie Speaker, which gives a special effect to the vocals. The solo is really powerful and just shows us how good Mr. Banks was. Bruford once again has fast fills on drums. I really like this song. 4,5 stars.
Time and a Word: it deserves to be the album title. Well orchestrated, this song has good lyrics, rhythm, melody and is beautiful. The chorus is memorable ! 4,65 stars.
Sweet Dreams: when I listen to this song I feel like the band is trying to pass me a message: 'bye 60's, hello 70's !'. It is VERY melancholic. I haven't lived the 60's or the 70's, but I feel very melancholic ! Undoubtedly the best song on the album, when I listen to it I get into a trip, a long journey. Powerful, beautiful, magic, pure feeling. Listening to it, you'll have SWEET DREAMS. 5 stars.
Yes, a great album to enter the seventies. Highly recommended to Symphonic Rock lovers. 4 stars.

This equally flat follow up to their not exactly mind-blowing debut put the future of Yes in the balance. The fact that it actually did worse in terms of sales, failing completely to put them on the map in America, and causing Atlantic to seriously reconsider their contract only goes to underline how much work (and personnel changes) were required in order to make this band a success.
The opening cover of Ritchie Haven's No Opportunity Necessary, No Experience Required shows Jon Anderson in the same mould as on the debut - barking out the lyrics and losing all sense of the original's vitality and drama. The vocal harmonies are not Springfield/CSN any more, they're utterly laughable.
The interpretation is, underneath all the sloppily engineered orchestration, not a bad one, musically, as it creates a powerful driving boogie that actually suits it. The opening orchestration is a complete joke, though, only topped in cringeworthiness by the sudden interjection into the title music from The Big Country, by Jerome Moss.
This style, though, is very close again to that of Scottish band Clouds, who used subtle orchestrations on their 1968 debut, Scrapbook, as well as the sudden classical style excursions and jazz moments.
The orchestration thing was inspired by The Nice and Deep Purple, according to AMG - but to these ears, Clouds are the natural predecessor. It sounds awful to me - and it sounded awful to poor Peter Banks, who was later sacked from the band. Unlike Clouds, though, Yes had a few students from the Royal College of Music as the orchestra, under the guidance of unknown Tony Cox - which might explain its general awfulness.
Add to that the crushing presence of Squire's bass, turning Bruford's kit into so many biscuit tins, and this is a real Spinal Tap moment in the history of Yes.
Then begins with a real Lord-like hammond, and more of that ridiculous orchestration, but, thanks to Bruford's drumming, is much more interesting. All manner of Genesis styled bits and pieces float through, with Emerson flavoured dischords from Tony Kaye. The instrumental section is mildly interesting, but mostly bluff in a kind of ELP style.
You can tell that Yes were trying to get onto the bandwagon they saw forming in the music of Crimson et al - but this falls far short of the mark until 4 minutes or so, when there is a sudden drop down to a laid-back coda, reminiscent of the middle section of Moonchild - or perhaps Child In Time, until Anderson ruins it all with those interminable squeaky vocals.
Next up is the lightly jazzy downtempo interpretation of Stephen Stills Everydays, which suffers even more from the orchestration, which is out of tune in places. Oddly enough, in other places, it works very well well well... speaking of which, when those words are sung, the piece is ruined for me.
Again, Anderson completely fails to pick up the feeling of the original piece - he totally loses the wonderful chromatic runs of the original, the thrown away well, well, wells, as well as the light-hearted sunshine at the core of the piece.
This moves on to a section that begins interestingly, before descending into a rather messy jam, Squire leading all the way, with loads of parallel chord movement that sets my teeth on edge. It's a peculiar mixture of bits and pieces that work and sound good, and more stuff that just sounds horrid, which you sit through in case another good bit appears.
Generally, it spectacularly fails to create the atmosphere of the original, instead, creating a kind of pastiche atmosphere of the progressive music scene, of which this is at the fringe - and not for the right reasons.
Sweet Dreams has a sort of proggy chugging rhythm on the bass and an uber- repetitive, catchy melody. There are flavours of the Beatles strongly running through this pop-styled song, but there are also a number of interesting changes in the music, and Banks puts in some interesting rhythm parts, reminiscent of the Byrds. The instrumental section is a bit of a train wreck, however. Mainly, it's Anderson's voice that kills the piece - which is a pity, as musically, it's more interesting than a lot of reviews might have you believe.
Kaye's intro to The Prophet stumbles around blindly after the first 30 seconds or so - but begins very promisingly, setting up a nice proggy texture. The intrusive strings soon wreck proceedings completely, and the piece flails around trying to find some kind of direction - but fails miserably.
Interesting sounds poke through, but mainly, this piece is based around a few simple jams - the main one being based on a single chord. Where it isn't, the sections are short and mainly a Squire/Bruford showcase duet. These latter are sometimes interesting, but never develop.
The orchestration then introduces Clear Days, a mercifully short saccharine-sweet ballad. Buried in the mix are some meandering piano lines from Kaye, which sound like they might be quite interesting.
Then we're blasted with a funky riff from Banks, picked up by the rest of the band - a tired walking bass line from Squire, and some brave efforts from Bruford to save things rhythmically in Astral Traveller.
The warped effect on Anderson's bark soon gets old, and the continued intensity of this piece makes for tiring listening - yet there is something that draws me in, until the kind of tinkly bit half way through - another classic Spinal Tap moment of the most embarrassing sort - and even then, there are still moments of near-glory in the music, even in the continuing single chord jams, with off-kilter rhythms and superb sonic arrangements.
Definitely the proggiest piece on this entire album.
Finally, the title track - which one would expect to be the high point of the album; the moment everything has been leading up to.
Instead, we get this rather unconvincing song with an interesting arrangement, sans the horrible orchestration at last, that shows a band tentatively experimenting with different chord progressions within the confines of a pop song.
So ultimately, there's not a lot of variety in this album, no overarching concept, a preponderance with pop song writing, horrible string orchestration - Motown did it much better, years before - a tendency to wear their influences on their sleeves to the point of including covers, some really painful moments, and awful vocals and lyrics.
On the bright side, there are some very interesting musical moments, and the album offers a kind of compulsion on that basis - you trawl through the dross in order to hear the good bits, and are duly rewarded, even if momentarily. Oh, and 50% of the songs are longer than 5 minutes.
Since Yes have long been considered among the darlings of Prog, this is definitely an album to listen to, even if not actually own. It's also worth exploring the tiny back catalogue of Marquee-mates Clouds, who are now here in the archives to more fully appreciate this album in context.
Not a very good album - but a recommended, if not compulsory listen for all collectors and fans of Prog.

Nobody can deny that the album is a healthy leap from their modest self titled release, but still weak in comparison of records released the same year like "ELP" or Trespass", which were far ahead in creativity, originality and complexity. Despite this fact, "Time and a Word" is a pretty good album with some outstanding moments bit others weak and even far bellow the average.
The pompous "No Opportunity Necessary, No Experience Needed" opens the album, which I believe is a mistake, being that the track is a cover version of Ritchie Havens song, combined with Jerome Moross' soundtrack for "The Big Country", and a band that pretends to be one of the leaders of a recently born movement can't rely so much in covers (Their previous album already had two), doesn't matter how good they can be.
Of course the arrangements are original, even the usually annoying Anderson's vocals sound great, the only problem lies in the terrible and out of tune backing vocals (something unusual with Squire in the band)
The orchestral mixture makes the track stronger, but still I can't stop imagining Gregory Peck on a cowboy movie each time I listen the track, and this makes it sound even more dated than when released, bad start for a good but uneven album.
"Then" is a great improvement, at last we can listen an excellent song, complex, well elaborate, with interesting structures and radical changes. Again Join Anderson's voice is sweet and less acute than usual (When did he started sounding as Farinelli?), the violins are a perfect addition to Kaye's keyboards. A magnificent song.
"Everydays" is a good song, very Jazzy and well elaborate, but again a cover, this time from a song by Stephen Stills, way too much if you add the two tracks from the previous album and of course "America" by Paul Simon, but this is the last occasion in which this would happen, their subsequent albums would contain only their own material.
"Sweet Dreams" proves that a Prog band can also rock and do it well, despite the good arrangements, the wonderful keyboards and imaginative guitar by Peter Banks, it's a blues oriented track, the only question I keep asking is why did the backing vocals were so out of tune around all the album.
If only Tony Kaye had sounded like in "The Prophet" on all the tracks, probably YES would had never recruited Rick Wakeman, never so Baroque and dramatic as in this song, the good keyboardist does an excellent job leading the band towards a Jazzy track and making it well all along, with that typical late 80's Psyche oriented sound, I always wondered why they don't play "The Prophet" on stage.
As said before, the problem with "Time and A Word" is that the album is uneven, the best prove is "Clear Days" a short and boring orchestral interlude that I believe was recorded only to reach the 39 minutes the album lasts, otherwise I can't understand how a sub- standard song was included.
Now "Astral Traveler" is another excellent song in which they blend the Baroque keyboards with a 100% Prog Rock structure, again Peter Banks plays excellent guitar sections that blend perfectly with the rest of the band, specially with good old Bill Bruford who does one of his most elaborate performances.
The album ends with the title song, a timeless classic that sounds today as good as it did in 1970, soft but at the same time complex, for the first time in the album the backing vocals are outstanding, absolutely melancholic that represents the first stage of YES with honors.
Now, I don't like the albums with so many covers, but all are well performed and leaving behind two weaker tracks, "Time and a Word" is a huge improvement that allows us to listen for the first time echoes from the future greatness of YES.
Not a masterpiece neither an excellent addition to any Prog collection, but a good album, so I believe three stars is a fair rating.

In terms of the songs, Yes had not yet reached the era where their epics would define them - the longest song on this album isn't quite 7 minutes (even with the bonus tracks).
It starts strongly enough with No Opportunity Necessary, No Experience Needed - a cover, but one with enough energy to have the listener feeling appropriately upbeat. It is not hugely memorable afterwards, I find, but nonetheless a fine opening. The following song, Then, is perhaps stronger, as Yes were really starting to master their songwriting, even if they weren't quite the masters that they would become with their next album.
Everydays is yet another cover, and not a hugely strong one; it is followed by Sweet Dreams, another upbeat tune that is more memorable than the opener. Other than that, there is not much to be said about it.
The next two songs, The Prophet and Clear Days, both have nice soundscapes but are as forgettable as almost everything else on the album. The only reason to keep listening through them is to reach the end of the album, which includes two highlights, and the strongest songs off the album - Astral Traveller and Time and a Word (the title track).
Astral Traveller is a catchy guitar-driven song, one of the two on the album without the orchestra. This song would not receive a lot of live play, however, although it has been featured in their most recent (2008-2009) tour, with Chris Squire being the only member of the band who was around at the time of this albums recording. It really is a gem, and while perhaps not as much of a masterpiece as anything from Yes' golden era, definitely a great track.
Time and a Word is idyllic in the way that many future Yes tracks would be, under the lyrical guidance of Jon Anderson. While not quite as much of a flight of fancy as future tracks, the chorus:
"There's a time, and the time is now and it's right for me, it's right for me, and the time is now. There's a word, and the word is love and it's right for me, it's right for me, and the word is love."
Is appropriately upbeat and catchy enough.
Overall, however, those two songs are the only ones truly memorable. For people who are not into the band, this album is little more than a curiosity - they would have stronger tracks on future albums, and Symphonic Live is probably the best way to go to hear Yes with an orchestra, as you can hear some of the best songs from their entire catalogue on that disc.

Time and a Word was Peter Banks' last album with Yes, and with that, Tony Kaye knew his time was soon to come. This album features use of an orchestra, which is one of the main reasons for Peter's disagreements with the band, and with his guitar being buried in the mix, Peter left shortly afterwards.
This album features a dirty Hammond organ sound played by Tony kaye, and is most recognized with organist Jon Lord of Deep Purple fame. His sound is so rich, and so cathedralic it feels like Kaye IS the orchestra! Bill Bruford has started to get his drum playing rolling and ready for his famous snare sound, featured on albums like Close to the Edge and Fragile. Yes' symphonic sound is really symphonic on this album, especially in terms of composition, and as said in previous reviews, instrumentation.
This album is an epic showcasing of Bruford's drum skills, with maniac rhythms jumping all over him, and he deflects their hits, one by one, with his mighty drumming abilities. Peter Banks once said: "We made 5 pounds more than Genesis at that time, so I didn't join them in the end", but regretted his mistake shortly after departing from Yes, rough day Peter, eh? This album has been overlooked because of many successful, or hoped-to-be-successful albums of 1970, like "In the Wake of Poseidon", which was supposed to be an epic sequel to In the Court, or even Genesis' Trespass.
The writing on this album is fantastic, yet underestimated by many, be it famous rock critics, or just your friend from next door. I agree, some songs were definitely not musts on this album, like Then, or the beginning of Everydays, but they are still musts in order for you to have this album listened to ass a whole. However, things like the louder part of Everydays are what I like to hear; Bruford's cymbals crashing, Chris Squire's high bass notes rocking my woofers, Banks' classically influenced guitar solos, and Tony Kaye's chorale Hammond organ sound are the things that make my day. Sweet Dreams is a Tormato song to me, and by that I mean that its feel and sound are very similar to those in the 1978 Yes album, Tormato. The Prophet sounds a lot like a song off Badger's One Live Badger album, which is coincidentally the band Tony Kaye started after being kicked out of Yes, with it's heavy organ sound and guitar/organ/bass synchronized parts, yet differenting it from the Badger sound are Jon Anderson's vocals and the massive orchestra. The song Astral Traveller is what Banks-Kaye-time-Yes was all about, which is like what happens on Everydays, cymbal crashing, drum bashing, bass slapping, keyboard mashing rock n' roll!
I don't get why Banks was so eager to leave the band after this album: his parts were fantastic, he was mixed just right and was well heard, and he just did a great job overall. Chris Squire is the only Yes member to appear on every Yes album, but not only that, but he has also been in groups The Syn and Mabel Greer's Toyshop, both of which later evolved into Yes. This album is the ending of a very good Yesyear...
4/5, because the orchestra is a few notches below bad, and that does not please me, with it being a very important part of the album, musically. Astral Traveller would be a better fitting album bookend, while Time and a Word sounds more like a mid-album track on Yes's debut album

Time and a Word is Yes' 1970 album, the year which many Prog bands surged or at least released something decent; Emerson, Lake & Palmer with their groundbreaking debut album, Genesis with their angelic second album Trespass, King Crimson with a jazzier version of their groundbreaking debut, and so on.
Yes' debut showed us Yes as a decent rock band playing some nice covers and some potentially great tunes, yet to be crafted and developed as much as in future years, still enjoyable despite simplicity and/or typical rock cliches. Yes with Time and a Word, while continuing to be pretty much rock musicians dealing with an average orchestra, they really surpassed themeselves, and quite a lot I must add.
While the orchestra kind-of shadowed Peter Banks guitar, Tony Kaye and Chris Squire take the lead and WOW, what a lead! Tony Kaye shining on the distorted early 70's Hammond-Organ, just like Ken Hensley and Jon Lord were doing at the same time, while Tony Kaye also added some classical and subtle substances, very alike what Tony Banks was doing with Genesis the same year. Chris Squire on the other hand, with the guitar being pretty buried on the mix, his bass playing is very loud and thank god for that! Lots of great powerful and addictive bass lines to enjoy.
Jon Anderson and Bill Bruford are quite far from being what they were to become, they still stand-out in plenty of sections which amaze me since it's such a early stage for these musicians to show what they really are capable of.
Some may be afraid of the orchestra damaging the quality of the album, and to tell you the truth, it does somehow, but that's when you listen to it for the first time, you'll find it immature, cheesy and maybe even annoying. However with time you get used to it and start to appreciate some passages, believe me or not I now can't really imagine this album without it(the orchestra). In many passages it works just like a mellotron, adding a mood and atmosphere that that specific passage requires, in other passages it works as a reinforcement, since the guitar is pretty low, the orchestra plays the same(as the guitar) but louder and with more power.
Stand-out songs for the prog-fan are definitely the songs that exceed the 5 minute mark; Then, Everydays(yes, it's a cover, but it's done greatly), The Prophet and Astral Traveller, all presenting what I mentioned: the loud and sparky bass, the distorted, though clever, organ, helpful orchestra, and some nice moments from the rest. Going even deeper in the analysis of these, The Prophet and Astral Traveller would settle pretty much the basis from future Prog classics featured in The Yes Album.
While the rest of the songs are pretty much what made the debut album, a array from enjoyable decent-eleborated pop/soft songs, which includes the ''minor-hit''(among prog-fans) Sweet Dreams with Jon's 'signature', up-lifting, mood.
Time and a Word stands as a common 1970 album from a future classic Prog band, great ideas, strong compositions and promising musicians. However, for me the overall strength of the compositions of this album goes a bit beyond the typical 1970 album, delving through very thoughtful musical passages which few have done within this stage of earliness, also the fact that the band is exploring new ideas and dares to attempt what in 10 years or so they would never have, is something I truly enjoy and that's what makes this album worthy of 4 stars. (take note that I'm a sucker for early albums by 70's Prog/Rock bands, not sure if it's the different sound they present or the ''free-spirit '' in them or the general rule of using the Hammond Organ, either way(s) I love it)

"No Opportunity Necessary, No Experience Needed" is a great tune. Nice orchestra, though it dosen't really flesh out the sound, it just seems to override the sound of the band, this is a good opener. Very good lyrics and Chris plays some great basslines. The organs are distorted, as usual with Tony. "Then" is has a quiet opener with some odd chords played by Peter bands, though the organs are nice. The bassline is loud and distorted as usual, thanks Chris. The vocals are very nice on this song, and Bill starts to play really well on this track, very complex drum part. The orchestra really opens this song out, and it's a lovely track you just can't skip. "Everydays" is a bit of a boring song for me. It seems to be the Yes standard, but more about love, and you can hear Jon going his lowest on a note. Nice soft vocal harmonies, but this song is just too uninteresting for me. "Sweet Dreams" starts with a cool upbeat sound, nice bassline, great guitar, nice keyboards, and the vocals are great. Bill plays a very solid beat from start to finish, never sounding dull. It's a nice sound on this track, but the orchestra dosen't help the sound on this track. "The Prophet" is the most progressive on this album, sounding a lot like Uriah Heep with the keyboards. The lyrics are imaginitive, and they fit well with the sound. The orchestra makes this track awesome, making it so progressive to the ears. Dirty and distorted bass by Chris squire, excellent track for bass. "Clear Days" is a ballad type of song, a bit boring, nice piano, but it dosen't seem to carry through me very well like some of the other songs. "Astral Traveller" is another good track, starts with an odd guitar riff fading in loud. The drums and bass rythym section is great on this track, Bill is playing a really good thing. The lyrics are very nice on this track. "Time and a Word" is the best closer that I have heard, ever. The bassline is tender and great, I just get a great feeling from this track. I don't know why, the acoustic guitar is just really nice.
This album is solid, though lacks in cosistancy. This deserves a 4 stars because it's farily progressive, but not as great as their other albums that they would release.

Songs:
No Opportunity Necessary, No Experience Needed (4 stars) Organ, strings and bass play an openning fanfare that sounds like a theme for a Wild West movie. The bass is groovin' throughout the song. The instrumental mid-section is rockin' with the band and the orchestra moving as one. The lyrics suggest some kind of wake up call to be positive and not dwell on the negative; as a Christian I hear an indirect reference to Jesus in the lyrics as well.
Then (3 stars) The lyrics describe the conditions and qualities of how a better world on earth with heavenly overtones of greater experience and mutual cooperation will come to pass. Dramatic strings accent the song's pensive tone until the chorus opens up the mood to a mild rapture. Then a long instrumental section revs up the energy before it slows way down into a serene jazzy space. The previous lyrics are repeated against this mellower background while the bass plays jazzy phrases. The song abruptly ends with an explosion of brass and brass aftershocks.
Everydays (3 stars) The lyrics seem to hint at the many joys and wonders that seem all but buried in the mundanity of everyday life. This is presented to a laid back swing beat and jazzy vocals; la- de-da. Then the word "day" which ends a lyrical stanze is repeated with eerie instrumental sounds hinting at something about to break to the surface. The dull illusion fades as the instrumental section comes in on an intense hi hat. Then a staccato bass and organ melody followed by a guitar jam. Then organ and orchestra join in eventually climaxing...and the song returns to its dull world vision; la-de-da, de-da. Both this song and to a lesser extent the previous one have the quality that they attempt to take the listener on a journey somewhere in short order and back again; and these songs have the little extra length to help accomplish that journey without it feeling too rushed. These are signs of a definite impulse towards the grand progressive rock songs Yes would later create.
Sweet Dreams (3 stars) Dreams can bring you out of any hole you may fall into says this straight-forward pop song. The bass is out for a rigorous stroll hear and pumps a great deal of rhythmic energy into this song giving it almost a march-like feel. The other instruments hunker down and provide the background to the vocals and bass.
The Prophet (4 stars) Ah, the blazing, seering organ that starts this song is a great dose of keyboard wizardry, one that I haven't seen enough appreciation given to. The long, satisfying spell of an organ solo finds its way into a theme from Holst's "Jupiter, the Bringer of Jollity". Then the guitar comes in to guide the energy down into a more flowing energy. The strings highlight the spiritual lyrics who tell of a man who speaks of a higher truth that is both personal and more than personal. The strings once again add drama and by the end of the song you have really rocked and rolled.
Clear Days (3 stars) Our happiness becomes clear in brief moments but those moments are in touch with eternity. Sweet strings and piano accompany these lyrics. The song ends with a more apprehensive tone.
Astral Traveller (4 stars) The lyrics seem to allude to out of body experiences in the form of efforts at literally soaring into the sky. The guitar sets the tone for the traveller. The singer's distorted voice suggests a transportation to another realm. Staccato rhythm throughout sets you up for the instrumental section which starts with baroque variations on a melody. This changes into a slow guitar mediation against the faster background. Then as the guitar rachets things up we come back to the original instrumental theme. Throughout this song there is a percussive quality that lends a unique tone. It begins to chip away at the 60s pop and jazz style into something more abstract and more like rock. The contrast between lyrical section and the instrumental section is not so stark as in many of Yes' other songs at this point.
Time and a Word (3 stars) This is straight-forward hippy love song sung with all due seriousness by a sincere believer. Like "Sweet Dreams" this song relaxes the instrumental muscles a bit. The chorus is surprisingly infectious and makes for an excellent closing song for the album.
Dear Father (3 stars) Lyrics seem to be about Jesus speaking with God, the Father, about his mission. He shows his human side, resisting His calling. The instrumentals and orchestra play a grand theme behind the vocals. The instrumental coda is nice with the orchestra as well ending the song with that 60s pop energy that will suddenly disappear on their next album.
No Opportunity Necessary, No Experience Needed (Original Mix) (2 stars) No stereo back and forth to the strings on the openning of this edit (which didn't seem to sound right on the album version of this song anyway). With a suppressed or absent orchestra other elements like organ and background vocals stand out more, but often not to good effect.
Sweet Dreams (Original Mix) (2 stars) Again background elements, in this case, backing vocals, are brought forward. There is additional guitar work in the solo which ends up making this song longer in spite of it being played a bit faster.
The Prophet (Single Version) (2 stars) Again a subdued orchestar reveals some sounds that don't quite mesh.
Album: As I felt in my review of Jethro Tull's "Benefit" this album by Yes makes an incremental improvement over the previous album. The songs have a more coherent, natural quality even as they attempt to reach out at times into contrasting musical moods. The band and the orchestra play well together, each with their own confidence. The serious song lyrics are somewhat deluted by the giddy energy of 60s pop and shaken up by the muscular thump of the bass. Yes was a band that seemed ready to break the bounds of pop-rock but still felt restrained to not so long songs and even doing covers. But by the time the year 1971 rolls around progressive rock will have entered its golden age and such restraints will be left far behind by Yes and the other giants of the still birthing genre.
MP3 recommendation:
Four stars (4 stars) 1. No Opportunity Necessary, No Experience Needed (4 stars) 2. The Prophet (4 stars) 3. Astral Traveller (4 stars)

REVIEW: Time and a Word is difficult for me. Both to listen to and review. For, when I hear it, part of me wants to congratulate Jon Anderson for continuing up the 'mountain of progressive-ness'. Yet, part of me also wants to slap him in the face for being so prematurely pretentious. Yes, I'm talking about the orchestra. Enhancing a rock album with an orchestra, is considered a bit of a "mid-career crisis". It is designed for bombastic double albums and rock operas with their inevitable world tours. But Yes hadn't reached the middle of their career yet; this was only their second album. And in my opinion, the orchestra restricts the record as a result.
A lot of people compare Time and a Word to YES; the two come as a sort of 'pair'. This isn't surprising (they were the only two albums to feature that line-up). And most people rate them pretty much equally. The thing is, Time and a Word, SHOULD be better than Yes, and compositionally it is. In fact, most elements of the album are an improvement: theres more of a focus, more complex arrangements, and an increased showcase of instrumental skill. However, the album is handicapped by its orchestra. It's too ambitious, and the band, still young and relatively inexperienced, don't carry it off well. If they had waited until their world-domination status to make a symphonic album, it may have worked in their favour (Maginification doesn't count, they were hardly "on top of the world" when they made that). And so what we get on Time and a Word, is the snazzy and impressive nature of YES, ruined by the sloppy application of the orchestra, who seem to be just as confused by it all as the listener. There are great moments, but you have to ignore the symphonic decoration to appreciate them. Violins add nothing to a great rock song. Cellos add nothing to a jazz workout. Quirky brass adds nothing to a Richie Havens cover (and what's the Western insert all about?!).
For Yes, Time and a Word was one step forward, two steps back. The mistake of the orchestra was forgivable, but a mistake nonetheless. They were lucky to survive this one...

Jon Anderson monopolizes the songwriting credits on this album; Chris Squire, who co-wrote four songs on the debut, is only involved on one song here. THE PROPHET is the sole Squire collaboration, and it's an ambitious but dull piece featuring nice Hammond and really cheesy strings. Anderson indulges himself on CLEAR DAYS, which has a chamber feel thanks to the string arrangement, while SWEET DREAMS and the title track are catchy sing-along tracks. For me, ASTRAL TRAVELLER is the album's highlight with its treated vocals and Peter Banks' choppy guitar. As with a track or two on the first album there's a Genesis influence here, during the central instrumental section. Time And A Word is small-beer in comparison to subsequent Yes albums. It's ok, but then again it's not as good as the first album and I could happily do without those orchestrations. So, in my opinion this is for fans only.

My favorite tune on the entire album was "Everydays." It is a killer song! The first song "No Opprotunity" is also well done, with the middle section that has a theme that comes straight out of a western movie I have seen before. Very cool! In fact the whole first side is good. The band has begun to arrive as a major force in the prog movement. I like a couple songs on the second side, "The Prophet" and "Clear Days," and "Astral Traveler."
Yes is coming together here and they do some nice work. It is essential to the band, but again not to the listener. I give it 3 stars.

Essentially, all of the problems with this album are summed up in that opening blurb there. Commercially saavy as the band was, somebody in the band realized the imminent surge of popularity and acceptance of progressive rock, and my guess is they wanted to stake their claim ASAP. But honestly, they jumped the gun - the songs may be less accessible than those on the debut, but they're still centered around more-or-less conventional jazz- rock motifs and normal pop-stylings. In other words, there's really not that much to betray what the band would become in just a year's time.
Meanwhile, the orchestral arrangements, which ostensibly were intended to 'lift up' the seriousness of the album, only manage to (a) annoy the listener with their inappropriateness (with a couple of exceptions) and (b) obfuscate the actual band performances. In particular, poor Pete Banks is absolutely smothered on this album - it was enough for him to compete with Chris' bass, which increasingly moves to the forefront of the mix, and the addition of various strings and brass instruments makes Pete very difficult to hear in many cases.
But even with these weaknesses, the album could still be great if the songs were consistently great. Alas, half of the album is very good, while the other half ... isn't. The worst offender of all, of course, has to be "The Prophet." The lengthy introduction (which has nothing to do with the rest of the song), is an irritating puttering by Tony on his organ, as he steals elements of Genesis' "The Knife" and diddles around in a minor key for a full two- and-a-half minutes. And the main song ... guh, it sounds like a minor-key version of the theme to Sesame Street!!!! I mean, come on, it's one thing to steal your inspiration from various rock artists or whatever. But the theme to Sesame Street??!!!
Three of the other songs are also irritating for various reasons. The orchestral arrangements for "Then" positively do not work - the actual song is an ok minor-key groove, but the orchestra muddies things up to such an extent that it gives me a headache. "Astral Traveller" does have a slightly more entertaining minor-key groove, not to mention some decent enough guitar from Pete, but I never have a good feeling about the song as a whole when it ends. Maybe it's the watery vocals and awkward chorus, who knows. And "Clear Days," an all-orchestral ballad, completely passes me by each time.
So that leaves four songs which, fortunately for all, are REALLY good. Oddly, two of them are covers, but whatever - the performances rule. The highlight, of course, is their cover of an obscure Richie Haven's number called "No Opportunity Necessary, No Experience Required." If you've ever wanted a solid musical definition of 'over-the-top', this should be where you head. An opening organ blast, like the band turning the ignition for the song, and then strings all over the place! Then, of course, Anderson starts preachin' it while Squire pounds out a bassline at an insanely fast clip, and then the strings break into "The Big Country" (not the theme to "How The West Was Won," as I thought for forever; thanks to the person who corrected me). It's corny as hell, but it's well-arranged and well-played corn, so how can I not love it?
The other cover, a Steven Stills number called "Everydays," doesn't disappoint either. The strings actually sound in place (in fact, it's hard to imagine this version without them - live versions sans strings, while very cool, sound really strange), and the middle jam is a neat free-jazz type explosion with Pete and Chris each going nuts (with Pete throwing in some random classical quotations as well). It's not quite as concise as "No Opportunity," but it's still plenty enjoyable.
And, of course, there are two wonderful pop songs, the likes of which we wouldn't hear from the band again for years without end. "Sweet Dreams" drops the strings, thank goodness, and the band comes through with an extremely compact, extremely catchy pop number with understandable lyrics. The title track also shines through - it may seem like a typical lightweight hippie anthem, but man, Jon Anderson was and is a lightweight hippie. The lyrics are simplistic, but so unbelievably catchy and idealistic that they can't help but bring a smile to your face. Well, ok, unless you think they're really dumb. In any case, though, the melody is also extremely catchy and non-trivial, so what more do you want?
So there you go - a band in a state of confusion, not knowing where to go, trying to expand towards the future but only succeeding with what had worked in the past. So, of course, the band did the only logical thing - they fired Pete Banks so quickly that he didn't even get to pose for the cover photo. After all, somebody had to take the fall, so why not the guitarist who had been smothered by a producer and a hyperactive bassist?


Music generally is very orchestrated, but often there are jazz-rock basis under the skin of many compositions. Sound in moments is a bit bombastic (in ELP style), but I believe two main problems there are Yes still didn't find their own musical style and compositionally songs are a bit unfocused.
As a result there are plenty of really great moments, but it's difficult to chose fully great composition, and during one song there always are some great sections, and some not so good.
Often criticized by Yes fans, I still believe this album is really good one, with many interesting moments on it. It really shows band's potential and basis where from band started their fantastic flight. No comparable with best band's albums for sure...
My rating is 3+, almost 3,5.


Just like other reviewers, I think that Chris Squire's bass was excellent throughout. I really noticed that recently (but come to think of it, this release was no exception). Bill Bruford's drumming was also superb as usual. In fact, there were strong contributions by all including nice organ and solo guitar parts. I think "Sweet Dreams" is a cool early Yes track. "The Prophet" is one of the high points for me and my favourite moment on the album.
The amazing guitarist Steve Howe arrived just after this release and later also keyboardist Rick Wakeman, so Yes' music was to change for the better. "Time And A Word" is still a good album though and well worth checking out especially if you like the band's other works.

"No Opportunity Necessary..." is probably a track that didn't find room on the debut album, as it's not much different. They are using an orchestra, but on this first song there are just some strings at the end. I have to say that Tony Kaye and Peter Banks don't sound too different from Howe and Wakeman on this track.
"Then" is well played and arranged. In particular bass and keyboards make a great work, but the song is not yet mature. Also in this case the orchestra doesn't make great things. Only the brasses that appear in a sort of chorus are symptoms of an orchestra behind. Unfortunately the arrangement is better than the song itself.
The orchestra appears at the beginning of the jazzy "Everydays". This is really a good track on which keyboard and orchestra make the variations over the main theme carried on by Anderson, Bruford and Squire. After a couple of minutes a jazz tempo by Brufod introduces a more rocky section on which Kaye performs a very good keyboard riif helped by Banks, then they o back to the jazz-club mood of the beginning of the song. One of the best album's tracks.
"Sweet Dreams" is a taste of things to come. It's still far from the heights of CTTE or Fragile, but it's already a YES song. The one that I was remembering more before giving a spin to this album after a number of years
"The Prophet" looks like a patchwork of different short pieces grouped together. The result is quite good and for the first time the orchestral work is relevant.
"Clear Days" is a filler. Strings and Jon's voice for a mellow short song.
"Astral Travellers" is opened by a guitar fading in. It's one of the best things of the album. After the funky beginning, the central section of bass and guitar is excellent, then the track progresses very well. A great song with a great performance by Squire.
Finally the title track, something that the YES are still performing live after 40 years. (I should say 25 as the last time that I've been at a YES gig was about 15 years ago. However it's a great closer.
I don't like speaking of bonus tracks or re-releases, specially when I have the original vinyl, so I stop here. This is an album more solid than the first, very promising on which they might have saved some money by giving up to the non-needed orchestra. Good, but newbies please start from "The Yes Album".

While this album was recorded with an orchestra, the arrangement does not overpower the rock band. Tony Cox apparently had the good sense to just use the orchestra to strengthen the sound (something the broadend keyboards of Tony Kaye, and later the addition of Rick Wakeman would render unnecessary).
The songs are slightly more complex than on the debut album, but have yet to reach the complexity that "The Yes Album" would introduce to their sound. But still, as an early prog release, it begins to show the bands potential.
I find myself particularly drawn back to Everydays, a Stephen Stills song that Yes plays with a very jazzy flair. It's the only song I've heard where Yes reminds me of The Nice.
3.5 stars

For me their isn't a poor one, Astral Traveler, The Prophet & Time And A Word being my personal favourites. Least favourite is the 1st one. Im not going into all the reasons why people should buy but you all should listen a few times. Whenever I go back to hearing it after a couple of years, I always am surprised why I forget how good it is.
Essential for me and maybe people who might think the band's epic material is a bit indulgent, may well find this one more enjoyable as it is accessible with shorter tracks and still keeps an alternative 60's style.

A few songs do stand quite well on their own. The opener, "No Opportunity Necessary, No Experience Needed", is a very strong rock song with terrific organ, catchy chorus, and Squire's heavy bass thumping. Not a very experimental song, but definitely a great opening song. "The Prophet" is very dark and sounds like it could've come off of the Trespass album by Genesis. "Then" is probably the most progressive song on the album, and packs in a remarkable amount of short interesting passages throughout it's short duration. "Astral Traveler" is a very driving rock song with weird underwater sounding vocals, which I assume are supposed to sound astral. "Sweet Dreams" is probably the most optimistic and poppy song on the album, and is quite fun to listen to and definitely sounds post-hippie.
This is a good album from pre-classic era Yes, and even though there are a few stand out tracks on this album it just doesn't seem as good as their debut, in my opinion. But I'm sure fans of The Yes Album would find some fantastic music to love here.

Time and a Word, or how being a child becomes molested by the idea that you HAVE to grow up. Their sophomore slump! It's a humpty dumpty dump! (of poorly made musical decisions which lead to a less-than-enthralling musical experience). I can safely say that, unlike the vast majority, I'll blatantly rate Time and a Word lower than their debut. Not a lot (it's not as if the overriding keyboards were far from them at any point in their career). Most folks will hear this and think 'oh it's because Wakeman and Howe weren't staples of the band just yet!', but what they don't know is Howe and Wakeman are actually stitches.
Boy, they goof up a bunch of decent songs. Aside from the hammering keyboard groogling (only word I can think of for the bubbly churning and gut-vomiting noise that thing creates), and aside from the ocean vocals (seriously, was it a group session they had that ended with '[%*!#] humanity!'?). Aside from all that, 'Astral Traveller' is a competent rocker, I suppose. What else am I supposed to call it? Well-performed hogwash? I can see them wishing to be taken seriously, and I can see that they possessed real, stable playing ability, but I can't say they didn't lose their heads with this one. When Banks is allowed to be let loose (which is much less often now), he still cooks, but all of it makes wonder?why do you have to grow up?


"Time and a word" is a more Beatlesque affair than what might become expected of the band, given albums like "Tales from Topographic Oceans", "Relayer", "Close to the Edge" etc. The songs hover around the five minute mark. They are very innovative, but they received a lot of help from an orchestra. The tracks kind of blend prog, psych and pop-rock, and they do it rather well. The tracks often have catchy choruses but blend that with some complex instrumental parts and detailed introductions.
"Everydays" is a slightly jazzy number, and I'm not sure if Jon Anderson was trying to sing like Billie Holiday but it's a fine song! Written by Steven Stills! The title track is Beatlesque pop at it's finest, and 'Then' is another jazzy song, and the string arrangement works really well here. Possibly the best song is the pumping, infectious rocker 'Sweet Dreams'.
The other songs vary in quality, but mostly aren't too bad; "Astral Traveller" might be a failed attempt at sounding like "Legend of a mind", "Clear Days" is a McCartney-styled ballad. "No Opportunity Necessary" is a cover of a Richie Havens song (funny how he turns up in prog circles; in 1978 he sang two songs on 'Please Don't Touch'. "Dear Father" is a worthy pop- psych song that is a bonus track, despite a trite-sounding chorus. "The Prophet" is probably the most ambitious song here, an early attempt at a prog-epic.
The drawbacks are that it doesn't always cohese well. There are too many messy instrumental sections and not enough exciting ones. These problems kind of belie the top-notch songwriting. Oh well, you can't always win!

"No Opportunity Necessary" takes an okay folksy tune by Richie Havens & makes it ROCK. There is a quotation from "The Big Country" in the middle. This track is a ROCKET SHIP. My only complaint is the, er, "experimental" panning used on the strings during the opening fanfare. Really, guys?
"Then" floats down in chromatic chords, to begin rolling on Bruford's ultra-fast snare. I love Anderson's lyrics - probably the best articulation of his "message" available in these early days. There is a nifty time change in the middle. The orchestra really does add a lot here. This track has all the elements I love, and yet - it just doesn't grab me that much. Ah, well.
Pull up a bar stool for "Everydays." Whew, man. Smoky. Yes play jazz better than jazz musicians, in my opinion. Of course, this is pretty archetypal jazz, but wowie zowie. The midsection is another wonderful instrumental work-out. "Time and a Word" is full of this sort of thing - something I love. Look out for the quote from Bach in the guitar solo. Peter Banks is incredible.
"Sweet Dreams" is the "hit single." It grinds along at a pleasant pace, but doesn't have a whole lot to say. The midsection provides an excellent old-time rock feel - and those lyrics aren't all bad! A little more "experimental production" on this track actually feels pretty cool this time. But man, those chord progressions sure are cheesy.
I used to be bored to death by "The Prophet." Many listenings later, I love it. The intro goes through about five distinct moods before a single word is sung. Show-offy? Yeah. Awesome? Also yeah. And that organ is HUGE - and it has a delicious violet hue. The vocal hooks are excellent as always.
"Clear Days" is a solo Anderson track, backed by strings and piano. The lyrics move from local feelings for girl into cosmic unity. Two days - one with your love, one with the universe. The ending is magic - shimmering strings in darkness, and a looping riff in 5/4.
Oh, "Astral Traveler" -- proto-"Starship Trooper" space-Yes-rock. The vocals are wrung through an interesting warble effect, probably a Leslie speaker. The middle section, though fey, introduces some incredible ensemble playing ideas.
"Time and a Word" -- the track -- is BEYOND cheesy. I love it. The clunky acoustic guitar, and those LYRICS... "there's a word, and the word is love and it's right for me." Cheesy, yeah. Also a "Hey Jude" knockoff. But if there's one thing I'm a sucker for, it's "Hey Jude" knockoffs. This song is beautiful.
Wow, this album is wonderful. More "experimental" effects than usual make it slightly interesting in places, but hey, it was 1970. The orchestra plays great, the music is tight, and I love this album.

I'm not going to slag this album. Even though Yes were all over the place trying to come up with a style and identity that would take them to the next level, I can't say they didn't give it the good sophomore try. It certainly sounds different than their debut as they threw in more elaborate passages and even added orchestral embellishments to show the world they meant business. Unfortunately, these changes came at the expense of Peter Bank's 'acid rock meets jazz' jams, whose role in this effort sounds a bit dwarfed by, well, everyone else in the band. Squire's bass, in particular, is brought to the forefront like a big throbbing fully erect, ahem, guitar. And why not since he's ON THIS THING. The guy puts on a clinic and propels this stuff like an angry metal god stuck in a happy realm of peace and hope. For all its faults, there can be no denial that there's some sweet instrumentation going on here.
Things begin with a noisy Hammond assault before the orchestra kicks in, announcing to the world that Yes were ready to tame the wild west by bewildering the natives with the power of PROG. The song itself moves like a herd of wild buffalo, but the corniness of the strings and horns temper the results. The lyrics to this cover aren't too far off from Jon's mindset, but I can almost hear him yearning to break free from the tune's constraints and soar up two octaves to wail about spaceships bringing inner peace across rivers of time. It's decent, but doesn't show off the band's true potential.
"Then" is a better number, with a swinging Twiggy on acid vibe during the verses until the instrumental break that's a bit of a space rock / symphonic prog hybrid. It ends on a mellower note, furthering its overall unpredictability. I found it to be one of the cooler numbers.
"Everydays" starts off like a tripped out ballad, and here the strings actually work in adding atmosphere. Like the last track, the tune eventually breaks out into a bouncing instrumental showcase before returning to its calm beginnings, although there is a bit of noise at the end. Again, keepin' things unpredictable. I can dig it.
"Sweet Dreams" is one of my favs here. It's a pop-prog track with a heavy bass and super catchy vocal melody. It has some 60s vibes to it, letting us know that Yes weren't about to jump into the bleak moody bandwagon like plenty of other groups were doing in 1970. As proggy as this band were to become, they always had this strong sense of melody that made some of their stuff just so damn hummable, even during their epics.
"The Prophet" is alright, but a bit aimless at times and the strings are all over the place to add cotton candy to the whole thing. Things don't get any better with "Clear Days", a mushy ballad where John sings about little girls and dreams or something. It's cheesy.
"Astral Traveller" brings back the good stuff, although at first it sounds like a variation of "Then" with that swingin' vibe and similar chord progression. Then it gets interesting with lots of soloing going on, including a nice bass solo. Hey, Peter shows that he's still in the band too! At least for awhile.
The title track that ends this album has this ridiculously catchy chorus, partially due to the ultra-goofy lyrics. I always have to play some dumb pop song with a super catchy hook after I finish this album lest I walk around with "There's a word, and the word is LOVE and it's right for me!" stuck in my head for hours. I have nothing against the sentiment at all really; violence and destruction is fine as angry music and videogame entertainment, but in life itself there's just too many beautiful women out there in the world for me to have a warmongering attitude. Still, the song is just so in-my-face that I'd probably have a heart attack if I had to sing this at karaoke night.
No doubt the band got better after this album. It's amazing how much impact Steve Howe brought to the band, and he was clearly needed to add some grit and chops to the mix. The band wouldn't ditch its themes of 'love and hope through bizarre time signature changes' but so what? A little optimism isn't a bad thing, and this optimism kept the band alive to hit the big-time the following year. They didn't just catch up to the other groups, but blew most of them away.


"Time And A Word" is an overlooked transitional album between immaturity and maturity.
After the unsuccessful debut, Yes come out with what some consider the least enjoyable album of the band during their golden era. "Time And A Word", however, shows clear improvements, and is a good transitional album between immaturity and maturity.
Compared to the debut, things have unquestionably changed: while the first was more towards the psychedelic side, thus more melodic and naďve, "Time And A Word" is clearly a Prog Rock release: the musicianship has clearly improved, especially Jon Anderson, who doesn't sing quite like he'll do on following releases, but still becomes the center of attention when a part is sung. The drums, the guitars, the bass, and even the keyboards by Tony Kaye, soon to be replaced with legendary Rick Wakeman at the release of "Fragile", are also a big refinement. The overall sound of the LP is going towards a more mature type of music, as mentioned, Prog Rock: much more keyboards used, the song structures are definitely more interesting, the melodies more elaborate.
Despite all these things, it's still a not yet mature album, and it has some flaws, especially in the songwriting, which at times can be annoying, like in "Dear Father", where the melodies aren't doing it at all for me. The ability to write powerful, good, songs has not yet shown in "Time And A Word", thus some songs can be forgettable. However, others are much more appealing: "Astral Traveler" is a spacey, more memorable song, with great musicianship and performances. The opening track also shows some of the magic that will eventually be abundant in a Yes song, "No Opportunity Necessary, No Experience Needed". Then, the frustrations can be somewhat frequent in some other moments: other than the mentioned "Dear Father", a song like "The Prophet" starts great, but ends up to loose itself with a mediocre melody. "Then","Everydays", and the title track have also similar flaws.
Despite the negative sides, "Time And A Word" isn't a bad listen overall: the improvement should be considered, and it's what I am most considering when rating this album. Not at all like the following albums, but still, underrated.

I prefer much of this to Close to the Edge. The whole album is so rocking and intense that really there are few flaws to be found. 'Then' stands out as my favorite track. (Also, some awesome footage of that song can be found on YouTube) Astral Traveler, The Prophets, Everydays, and Time and a Word are great as well. This album is especially interesting as it really shows the evolution of Yes. It transitions very well into The Yes Album, which, as this album, flirts at times with hard rock.
One of the unique qualities of this album is the backing orchestra. It sounds very different than most backing orchestral tracks. Instead of blending in the background, the orchestra is very easily separable from Yes in the mix. Just an interesting item to note when listening.
Another point of interest is the lack of Yes's later pompous-ness and over-exaggeration of prog themes to be found on Close to the Edge, Going for the One, Fragile, etc.
Oh, and Bill Bruford. He is a monster on this album. Better than even some of his King Crimson stuff. Tony Kaye also gives a good performance. His style is completely different from Wakeman, but fits in just as well with the music.
9/10 (5*)


The track listing is as follows:
1) No Opportunity Necessary, No Experience Needed - Decent cover of a Richie Havens piece but nothing really that special (the exception being the rhythm section of course) in my eyes. 7/10
2) Then - This piece is one of those musically sophisticated pieces that doesn't get its dues. Chris and Bill work best on here in my opinion. Also, to top that off just look at those lyrics from Jon: "love is the only answer, hate is the root of cancer" (that's deep stuff my friends). In this song you can see and hear a band that is growing before our eyes and even though they are not quite there yet (on the album overall) there is potential for greatness. A sign of great things to come. 10/10
3) Everydays - A jazzy rock piece that is relaxing during the verses but then strikes you like lightning as its dynamics change up (they are fantastic I tell you) on you. I feel like this song is like Perpetual Change in the making (or its lesser known brother). 10/10
4) Sweet Dreams - This song has a great groove and a rhythm section to die for (Bill and Chris were one of the best rhythm sections, if not the best in Prog at the time). Not a bad vocal delivery from Jon either. 9/10
5) The Prophet - This piece has never been a fav of mine. It doesn't really cut it for me. Not a bad track at all but it just doesnt do much for me. 6/10
6) Clear Days - To me this song is same as "The Prophet" as it is nothing special (at least for my ears). I believe Yes was in the process of replacing Peter Banks (not 100% sure though) with this piece and it shows. Not a bad track though it is just not really to my liking. 6/10
7) Astral Traveller - This song is crazy and you see what Yes is really capable of on this track. They create that atmosphere that would eventually become Yes and the Yes Sound as it goes through many time signatures I believe the verse is in 7/4 (It might even be in 6/4). I maybe wrong but it's definitely not popular among rock bands (especially today) and odd time signatures like that during verses tickle my fancy hehe. The best song on the album bar none. 10/10
8) Time and a Word - Musically this song is pure pop but the lyrics speak to me on a deep level. I take the lyrics here to heart as they are the basis for my life and how I live it. Lyrics are really good. They want to get you to do something positive. I like it a lot. 9/10
Overall, despite some forgettable tracks (The Prophet and Clear Days) and the orchestration being somewhat mixed for me. I felt that Time and a Word was a step in the right direction for Yes as in this record the band showed us what they were really capable of (Astral Traveller, Everydays, Then, Sweet Dreams). It's not a perfect album or a masterpiece but it certainly is not bad either (I thought it was actually pretty damn good) but again since it pales in comparison to later Yes albums I am going to deduct it some. I am going to give yet another early Yes album a solid 4 stars. Peace out!

"No Opportunity Necessary, No Experience Necessary" brings you straight into what the album's going to sound like - some rock organs, orchestral experimentation, and some sketchy yet loveable production. An excellent opener, and compared to Richie Havens' original, and outstanding cover really, with some improved melodies, harmonies, and a great classic Chris Squire shaping of the low end. "Then" is a more progressive, perhaps less soulful track than the first. One of Jon Anderson's first compositions, it shows how much he has evolved since the late 60s songs. The melodies are still there but he introduces very intriguing strings sections thrown all over the place in a sort of "organised chaos" sense. Very harmonious chorus with the whole band complementing each other beautifully! The verses are a little dull on the whole (lyrically and sonically), but has such a great contrast on that chorus. Some great offbeat rhythms over the solos towards the end and on the whole, just awesome!
"Everydays" explores some different techniques, maintaining their signature Yes sound though. Very clever songwriting, and the strings are used to great effect again (tremolos and fingerpicked glissandos everywhere), with even more harmonies. Such a relaxing song, with quite mature post-psychedelic lyrics that pop up every now and then. The track becomes more musically chaotic with great offbeats again, Bill Bruford and Chris Squire to be particularly commended here. "Sweet Dreams": one of my favourite songs on the album. So uplifting both lyrically and melodically, and the whole feel is just phenomenal! I love the return to the sort of early 60s style stuff interrupting the song, building back up the next verse with towering harmonies. "The Prophet" is probably the worst is gets. I suppose it goes on a bit too long, but becomes much more structured at about 2 and a half minutes. It does all flow into each other, but maybe in the wrong place? Bill's drumming is astounding here, as is Tony Kaye and the strings (although overplayed in a couple of places - like Genesis' debut a year before this). Without a doubt, still a brilliant song and an excellent addition to the places - just a few flaws.
"Clear Days" is quite like a more classical "Sweet Dreams", with more absolutely tremendous lyrics and melodies delivered just incredibly by Jon Anderson's high and rasping vocals. The strings and piano work together very well, although maybe a little too much going on in the back all of the time. It could have built up like some of the previous songs. Too short for my liking (they could have taken some time off "The Prophet" and put in on here), but ends so well, with that solo violin coming over the top. "Astral Traveler" is more experimental than the previous track, with more organs and drumming, upholding the standard, with an odd trembling effect on Anderson's vocals, without sci-fi lyrics and cosmic harmonies! A great Pete Banks solo backed perfectly by Chris - couldn't imagine it any better! "Time And A Word", the title track, sums up the whole album really and brings it home excellently. The chord progressions are quite progressive and unpredictable (as with the whole of the album actually), and the lyrics and melodies once again are just lovely. Such a great way to end it, with a great continuous acoustic that reminds me of Led Zep's "Tangerine". The electric keeps that great pulsing feel heard on the previous song. Overall, it all comes together and feels so complete, as with all Yes albums that were to come. The start of great things for the band!
A-: The young group beginning to broaden their horizons to more musical areas, and shows Yes presenting their signature sound to the listeners. The bare essence of the band as they reach new possibilities, with some timeless melodies laid on top!
No Opportunity Necessary, No Experience Needed: ***** Then: ***** Everydays: **** Sweet Dreams: ***** The Prophet: **** Clear Days: **** Astral Traveler: **** Time and a Word: *****


I suppose it's understandable why Yes' debut has never received too much praise or recognition; I personally liked the self-titled a lot, but the band were clearly a few steps away from finding the sound they're known for. It's not so understandable why Time and a Word also seems to have flown under the radar. Sure, Yes were an album away from inducting Steve Howe as their guitarist (and two from Rick Wakeman as keyboardist) but it was here where Yes' signature style took form. Time and a Word isn't Yes at their best, but it's an incredibly underrated slice of prog rock history.
Time and a Word is, in many ways, typical for a band's second album. It takes the successes of the first album and matures them, adding fresh elements when possible. In the context of Yes' career as a whole, Time and a Word is a transition piece, elevating the band from the psychedelic organ rock of the self-titled into something more ambitious and nuanced- Time and a Word would start a streak of ambitious symphonic prog that would last a decade. I've heard that Yes felt the urge to polish their technical skills once they heard King Crimson perform; even when compared to the relatively capable debut, it's clear that they took that challenge to heart with Time and a Word. Listening to "Then" or "The Prophet", one gets the impression of a band making an effort to push themselves wherever possible. Yes weren't as refined circa 1970 as they would be with their canonical masterpieces, but to hear a band with such an apparent motivation to aspire and improve is a treat of its own.
Whereas most symphonic prog makes use of synthesizers to get the 'symphonic' element across, Time and a Word hosts a full string section. The good intention is admittedly better than the execution itself, but it's nonetheless impressive to hear such a young band trying to work a true-to-life symphonic layer into their music. There are places where the string section gets overzealous (a great song is hiding somewhere in "Clear Days" for example, but the prominent string section sounds aimless) but it does give Time and a Word a unique sound- Yes wouldn't try this again until their nineteenth album, Magnification, in 2001. For proof of the string section's potential in Yes' music, just listen to the way it accentuates the instrumentation on "The Prophet" or the title track. The approach was in its rough stages, but I think Yes could have done some cool things with an orchestra, had they stayed the course.
While I've never been as impressed by Bill Bruford's work with Yes as others clearly have (I've always felt his talents were more apparent with King Crimson), the drums are among the most impressive elements here. Bruford's playing is dynamic and calculated, a style that works particularly well with this record. Of course, that all-too large proportion of listeners who cannot dissociate Yes from Howe and Wakeman will be wondering how their predecessors- Peter Banks and Tony Kaye respectively- fare on Time and a Word. Peter Banks' guitar work won me over with the self-titled debut, and only continues to do so with Time and a Word. While Steve Howe plays with a notable classical influence, Banks brings a jazzier tinge to Yes. While Time and a Word brought Yes much closer to their symphonic trademark than the debut, Banks' predilection for jazz is still evident in the playing- it makes me wonder what Yes might have sounded like, had Banks stuck with Yes. Tony Kaye's work on the keyboard isn't quite as impressive- he holds his own on Time and a Word, but he doesn't compare with the virtuosity Wakeman brought to the keyboard from Fragile onwards. As the most consistent and only stable member Yes has ever had, Chris Squire's brilliantly distinctive style with bass really takes form on Time and a Word. On "The Prophet" and "Astral Traveller" in particular, Squire's importance to the band is incredibly evident. Lastly, Jon Anderson's higher register vocals seem to be a love-it-or- hate-it thing for a lot of listeners, and his voice sounds similar here as it would for the rest of their progressive output, albeit in less refined form. Time and a Word is certainly more impressive from an instrumental perspective, and it would be at least another album before Anderson hit his vocal peak; with that said, he sounds particularly good on "Clear Days" and Time and a Word.
The songwriting here is generally pretty solid, albeit inconsistent in comparison to their later work. "The Prophet" and "Then" stand as two of Yes' strongest pieces- "The Prophet" in particular sounds like an epic condensed into seven minutes! On the other side, "Sweet Dreams" feels pretty one-sided, and "Clear Days" sounds like a half-baked Beatles tune. It's counter-productive to go comparing this to their 'classic' albums too much- Yes were at a different stage in their musical life then we're used to as listeners in retrospect. Its flaws should be forgiven for its risky ambition and vitality. If Yes' debut was a prelude to their glory years as a band, Time and a Word sees them making a bold first step into the realm of prospective greatness.

TIME AND A WORD progresses the songwriting and YES have moved forward another few steps towards their more popular sound that would come to full fruition on the next album. The songs on here are still very 60s sounding but the band is more adventurous. They keyboards are much more lively as are the other instruments. They lyrics are more cosmic and fantasy based. The string section is one that isn't as pronounced as I would imagine. The orchestral arrangements by Tony Cox are subtle and serve as a background filler more than as an actual member of the band. In this regard it works fairly well but I would like to have heard a little loosening of the reins in this department. As with the debut album, i'm quite surprised that I have warmed up to this sophomore release but upon revisiting it, I am quite taken but its beauty and charm and find this to be a worthy 4 star release. The rest is history. Peter Banks was asked to leave the band and Steve Howe joined at this time. He actually appeared on the photos on the US edition. "The Yes Album" would launch this band into the stratosphere, but this album is an interesting pre-masterpiece edition to your musical collection.

The band is of course a symphonic prog band. Thus, they have an obligatory motif of acoustic echoing and orchestral-style instrumentation contained within these couple of guys. I must say that this is excellent. Of course they've done it amazingly especially on later releases, but A Time and a Word gives you a little sample of what they've got going for them and for you, the listener in the future. The album features some beautiful previously stated acoustics as well as amazing vocals. Every instrument is played to it's full extent and is free of public criticism due to this (as stated before), before Yes became extremely popular. Something that's not exactly positive but I wouldn't take away from it is how not as accessible it is compared to their other releases. It features a lot more material from the heart as opposed to fancy time signatures to please time-weathered prog folk as well as the general consensus of the modern music world. It isn't anything displeasing; in fact for me, it's even better because there's less radio-friendliness and more true light-hearted experimentation coupled with occasional ominous overtones.
This album is one for the books. It is most definitely on par with the likes of Close to the Edge and Fragile, and is much better than The Yes Album with followed it up. I suggest you go pick up Time and a Word as soon as possible if you haven't already.
Go give it a listen.

The Rickenbacker playing is up-front and brutal, Squire could never be accused of shyness and modesty, so I thoroughly enjoyed following his devastating runs on each and every track. Bruford was already experimenting with his simple drum kit and keeping the time like only he can. The seeds of looming genius are obvious to behold. There are sections that are deliriously entertaining, like the biting guitar, choppy organ, booming bass and frantic drum interaction followed by lots of bluesy inflections, some jazzy feel (at times it was like listening to Sade) on 'Everydays'. The opener is also a rousing affair, an orchestral megalith that blasts ahead unrepentant, directed by that nasty bass that veers the whole piece into a more-Deep Purple/Uriah Heep direction. My only negative feeling is the rather ineffectual use of orchestra, it's obvious that other producers/arrangers mastered this union of rock and orchestra much better than Misters Cox and Colton. Perhaps with Moody Blues maestro Tony Clarke, the results may have been more symphonic as opposed to the feeling of Scotch tape that hovers over the pieces. There are also moments of amateurish simplicity where things just do not mix well, such as on 'Astral Traveller', which could have been so much better.
While it would be unnecessary to further elevate the upcoming series of albums which catapulted Yes to the highest office in Progland (and basically sucked for the next 20 years!), this remains an interesting educational recording, another clear example of how quickly the scene evolved in those 'glory days' of exalted perpetual change.
3 clock lyrics

I view this as an interesting little detour in the Yes discography. The addition of the orchestra was certainly part of the "feeling-out" process, and the experiment actually comes off quite well for the most part. The extra musicians (who by the way are uncredited; in fact the name of the ensemble is not even mentioned) are there to add to the sound rather than take away from it except for maybe one or two songs. However, their presence on the album did not sit well with other people in the band, as they felt they were being phased out by what the orchestra was playing. Peter Banks, original Yes guitarist, would actually leave the band after this album's tour?ultimately, I think, to their benefit.
First track here is another wonderful Yes cover, this time of Richie Havens' "No Opportunity Necessary, No Experience Needed." (How's that for a song title?) If the intro sounds like it comes from a Western movie, that's because it does?specifically, the 1958 William Wyler film The Big Country. This grand theme soon gives way to an upbeat, almost proto-"Roundabout" groove over which Tony Kaye lays down some tasty Hammond organ lines under Jon Anderson's vocals (great Chris Squire bass here too). The instrumental section finds Banks performing in tandem with the orchestra to great effect, and the track is generally a fun ride, although the ending is a bit clumsy.
"Then" is an Anderson original and shows a definite improvement in the group's songwriting from the first album. The lyrics are typical "hippie love" stuff, I suppose, but they complement the music wonderfully, and the orchestra backing on the chorus is lovely. The instrumental section is another trip, as Kaye turns in some sparkling organ solos that sound rather like Keith Emerson at times (by the way, I consider this album to be Kaye's best with Yes, performance-wise). The orchestral arrangement is more brass-heavy than the others on the album, and the build-up before the final verse, with crackling lead trumpet lines, almost reminds me of the Maynard Ferguson big band! The final verse is taken rubato before a dark and rather disjointed final chord, with low brass and HONKING saxophones.
The next (and last for a while) cover is Stephen Stills' "Everydays," originally recorded by the great Buffalo Springfield. This is one of the tracks where the orchestra really doesn't add much of anything to the performance, and consequently, this is one of my least favorites here, although the band arrangement is actually very good?significantly more jazz-flavored than Stills' original, and Banks' raunchy guitar solo is quite effective. However, the single version heard on the Yes remaster, which eliminates the orchestra entirely, is how it should have been released here in the first place.
"Sweet Dreams" is a welcome relief from the relative chaos of the previous tracks, as it's a bit more downtempo and also dispenses with the orchestra entirely. The band sounds very comfortable in the groove, though (especially Bill Bruford); the Beatley bridge is highlighted by fantastic vocal harmonies?the group's best yet?and the song generally communicates its' innocence quite well. This song also became an unlikely stage favorite on the Relayer tour just five years later, when the band was moving in an entirely different direction.
Side two's opener is "The Prophet," which begins with another great Kaye organ solo, again influenced by Emerson yet also sounding somewhat like a monster movie; the strings enter with a vaguely Eastern-sounding theme which is echoed by the band. Eventually this all gives way to a full-band instrumental section before the vocals, which basically summarize, Cliffs Notes-style, the Kahlil Gibran book of the same name (so Christgau wasn't BS'ing after all!). I won't say the transitions between vocal sections are a work of genius, but they still sound fresh and vital even today. A great, dense track that is too often forgotten.
"Clear Days" is not one of the better tracks here; it's another ballad in the "Yesterday and Today"/"Sweetness" vein, which showed that the band's slower tunes still had a long way to go. This one is just Jon solo vocals, sepia-toned piano and string section; the tune lumbers around for about two minutes before the sudden ending, with weird-sounding strings for no real reason.
"Astral Traveller" kicks off with a guitar figure that almost sounds like underground funk (!), with its scratched-out minor-chord variations before a quasi-tribal thumping groove, bolstered by yet another great Squire bass line. This is another track that features the band only, without orchestra. The vocals are marred throughout by fast Leslie effects on every voice, an ill-conceived piece of psychedelia; fortunately, they don't last long. Most of the song is given to instrumental passages that, to my ears at least, predate some of the stuff that Genesis would later pull off on Nursery Cryme and Foxtrot. (Did I ever mention that Tony Kaye is consistently awesome throughout this album? Because he is.) Banks' guitar playing is also at its best here, with a wonderful jazz-meets-rock solo that makes me wish for a moment that he had continued on with the band. Eventually the track fades out on the funk guitar from the intro, while band hits fade in at the same time before the "big finish"!
The closing title track ends things on a gentle note, as it's a ballad accompanied mostly by acoustic guitar (which I assume is played by Anderson). Like "Sweet Dreams," it's definitely in the Beatle mold, exemplified not only by the melodic and harmonic construction of the song itself, but also by the quasi-"Hey Jude" ending vamp with the orchestra playing variations on the melody. Although this track is not really one of my favorites today, it was important to me as a budding Yes fan and so I have a soft spot for it.
The Rhino remastered version of the album contains four bonus tracks: the original version of "Dear Father" (the B-side to "Sweet Dreams") with orchestra, an interesting change from what I'm used to on the Yes remaster; "original mixes" of "No Opportunity" and "Sweet Dreams" with no noticeable differences except that the latter song is about 30 seconds longer in this version; and the single edit of "The Prophet" which again is pretty much identical to the album version from what I can tell. Really, I don't even know why they bothered including these, unless there's some subtle thing I'm missing (if it's explained in the liner essay, I don't have it anymore).
An interesting footnote to this album is the fact that Yes produced music videos for five of its' songs?specifically, "No Opportunity Necessary," "Then," "Everydays," "Astral Traveller" and the title track, which is the only one to feature Banks. The others all feature new guitarist Steve Howe, whose presence must have come as a shock to some (he's even in the band photo on the US release). Anyway, these videos are notable solely for the fact that the band is obviously not even trying to play along with the recorded versions?plus, on the "Then" video, Squire and Kaye actually switch instruments for the whole song (Squire on keys, Kaye on bass) for reasons unknown.
Overall, my verdict of the first two Yes albums is that they have a certain charm to them despite not really measuring up to what they would do later. There is a certain "lazy day in the English countryside" innocence about this music, and that sort of sound definitely has its appeal. For all I know, some people might consider this the REAL Yes (kind of like how certain people also think the same about Pink Floyd). Early Yes has its fans, to be sure, and if you like adventurous music that still isn't too far out, I would recommend this along with the debut; it may be right up your alley. 3.5 stars out of 5.

Though there are one or two decent moments on this album, there really is nothing here for me to go back to. In fact, just saying "decent moments" really means "trying to find at least something memorable". I doubt I'll listen to them again.
A lot of diehard prog fans will likely find this to be blasphemous, but this album can only get one star from me. I'll never get rid of it because it's Yes and it belongs in my collection, but I can honestly say I don't think I'll ever listen to this album again.

Even though this album is an improvement on the last, there's still some cons. For some reason, there's string and orchestral accompaniment on most of the album, which can get pretty obtrusive in most cases. Another thing is that the production on this album is really inappropriate for the type of music this is, the album can sound like a Sinatra record at times.
This album really does have its moments though. The best songs on here are "The Prophet", "Astral Traveler", "No Opportunity Necessary, No Experience Needed", and "Time And Word". The third song I mentioned in that list is actually a Richie Havens cover, but Yes really make it their own on here. "Astral Traveler" and "The Prophet" are the most direct precursors to the band's later material on here. Also, "The Prophet" is probably my favorite cut off of the whole album. The title track is love ballad, though a tastefully done love ballad. Some other decent tracks are "Then" and the Buffalo Springfield cover "Everydays". Overall this is a significant improvement over the debut.
3.5 stars


"Time And A Word" is the second studio album of Yes and was released in 1970. It was the last band's album to feature their original line up, Jon Anderson, Chris Squire, Bill Bruford, Peter Banks and Tony Kaye. Banks was fired before the album's release. With the decision of use string arrangements on the most of the album's songs, Banks' role as guitarist was diminished and tensions within the band increased. Just after the album's recording is completed, was asked him to leave the band, which he reluctantly did. Then, Steve Howe would join the line up, replacing Banks.
"Time And A Word" also includes two songs that Anderson wrote with David Foster, a former band mate in The Warriors, the band formed by Anderson and his brother Tony Anderson, in 1964. So, as happened on their eponymous debut studio album "Yes", two of the eight songs of the album are covers. However, this was the last time that Yes recorded songs which were not made by the group. "Time And A Word" marked another difference in the band. From now on, the lyric writing of Anderson began to move from the simple love themes to subjects of a more big scale.
The UK and USA artworks for the album were different. The UK front cover used a black and white photo-montage of a nude woman with a butterfly. As this was inappropriate in the USA, because the American Puritanism, the USA front cover showed a picture of the band. Curiously, the picture shows Howe instead of Banks, despite he doesn't play on the album. However, the back cover of both versions of the album shows a picture of the original line up of the group.
"Time And A Word" has eight tracks. The first track "No Opportunity Necessary, No Experienced Needed" written by Richie Havens is the first cover song on the album. It's a strange way to open the album, because is unusual a band start an album with a cover song. However, I think that happened because this is the most energetic song on the album. It's a very good version of the original song, very powerful, full of energy, with fast drums and a great rhythmic bass line. It reminds me the great western movies, which isn't surprising because it features an orchestral musical arrangement of the main theme from the 1958 film "The Big Country". The second track "Then" written by Anderson is a very good song with some complexity, well elaborated, with interesting musical structures and radical musical changes. The voice of Anderson is very sweet and the addition of violins was an interesting choice. It's a very good and interesting track. The third track "Everydays" written by Stephen Stills is the second cover song on the album. This time is a Buffalo Springfield song, and is another good version very well elaborated of an original song. It's a song very influenced by jazz and in the beginning is a kind of a ballad, but after two minutes the song becomes more aggressive and fast. The fourth track "Sweet Dreams" written by Anderson and Foster is a bit a pop song very enjoyable to listening. It has a simple musical structure but we can hear on it a fine bass line, powerful keyboards and good guitar too. It's a blues oriented song with nice backing vocals. The fifth track "The Prophet" written by Anderson and Squire is a song with a more complex musical structure than some other songs on the album and is one of the most progressive songs too. It's one of the most epic tracks of the group in their early musical period and I have to mention also the fantastic keyboard work of Kaye. The sixth track "Clear Days" written by Anderson is a very short acoustic ballad nicely sung by Anderson and featuring lovely strings accompanied by a nice piano. As with on "Claugroi", the violins remind me Ray Shulman's violin riffs of Gentle Giant. However, this is probably the weakest moment on the album. The seventh track "Astral Traveller" written by Anderson is another very good song with a progressive rock musical structure. It's a song with great instrumental work by all members of the band, very well orchestrated. This is one of the first songs of Yes that represents the future sound of what will be the progressive songs of the group. The eighth track "Time And A Word" is the title track. It was written by Anderson and Foster and is another highlight of the album that became a Yes' classic song. It's a beautiful song with good lyrics, very melodic, with good chorus and very well orchestrated. It's the best known song of the album and it became a live staple for the band. It's a fantastic way to finish this musical work.
Conclusion: I agree with the opinions of some of my colleague reviewers on Progarchives, when they say that "Time And A Word" was a major step forward from Yes' eponymous debut studio album. But it was still, somehow, very distant of the musical quality of its successors, especially from their fifth studio album "Close To The Edge", the greatest masterpiece of the band. In reality, "Time And A Word" makes an incremental improvement over the previous eponymous debut studio album, because its songs are more mature, adult, cohesive and having, in general, superior quality. By the other hand, the inclusion of an orchestra on their music, despite the risks, shows us that it was an excellent idea. So, concluding and in short, Yes still had some more steps to go before they would reach their creative highlights and definitive masterpieces, but "Time And A Word" is a good piece of early 70's progressive rock, anyway.
Prog is my Ferrari. Jem Godfrey (Frost*)
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Razors Edge
-
kaktus63 (pavel m)
-
progressive (Roni Kantola)
-
Lynelgen
-
rachelene (Piero)
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sevillano12 (RAFAEL)
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BDTF
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J.W.BlomYes
-
ole-the-first (Oleg)
-
Bade
-
docshock (Thomas)
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thehodapp
-
Klingonian
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Sheets of Blue (Aaron Webster)
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zravkapt (Darryl) SPECIAL COLLABORATOR Post/Math Rock Team
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VOTOMS (Lucas)
-
eldan (victorg)
-
Sztermel (Patryk)
-
Piermax (Massimo)
-
progshachar (Shachar Perlman)
-
banrkodu
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popolvuh (Ari)
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CouldntThinkOfAUsern
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thebig_E (Evan Nanou)
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ycms
-
toadeda (Daniel TOADER)
-
spacelounge (Jack)
-
jolarson
-
Bunzer (Keith)
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Gongo
-
giko
-
Hippy (Jarrah Pratley)
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Solaris1999 (Fran T)
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Progressive Pete (Pete Edmondson)
-
thegalaxybeing (dENNIS)
-
Jose Luis Garcia
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Alberto VH (Alberto Villaseca Hernández)
-
prisonerno6
-
N-sz (Nicky)
-
Dougless
-
Gharvelt (Paul)
-
CrombyMouse
-
notesworth (Alex)
-
progkotsaklas (Kotsos Kotsou)
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CATALISIS (Mario Anzola)
-
genesinister (Harro)
-
Steadybox
-
Dougie of Anubis (Douglas Skene)
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Sargantana
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miamiscot (Scot Lade)
-
proggrog80
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Nick Cooper
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rrkk
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crimsonking59
-
Titan (Martin)
-
Moonstone
-
Philoufk
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okeania
-
Spacebass
-
Imperial Zeppelin (Nasir)
-
Mr_MojoRisin (Daniel)
-
nickncm (emilio)
-
silvermax (Massimiliano Sivelli)
-
pnfod (pedro)
-
schreihalsrockt (René)
-
ProgKen23
-
bringa
-
DRB2505
-
GhostFish (Igor Kovalyov)
-
albertovitt (alberto vittorini)
-
Stereolab
-
keepitsimple
-
emperorken (Ken)
-
THX1138
-
eddiewants
-
floflo79 (Florian Decros)
-
Chewie
-
Archeus (Nyarlathotep)
-
csglinux
-
dragonflight
-
Miles78 (Miles)
-
mariuszty (mariuszty)
-
fireredsparkeon (Marco Aurélio)
-
conceptguy
-
k3no444 (Kenny)
-
psychprog1
-
mamotokaderate
-
mrctulio
-
Svetonio (Svetonio Monopod)
-
Bom
-
Nagai
-
lagos
-
andrewdene (Andrew Dene Helbig)
-
Progear (Progear)
-
Saduni
-
pinolo
-
muaddib878
-
Proghead1
-
stefanbedna (STEFAN)
-
PescadoInvisible
-
ElRocin (Jacinto)
-
Pastichoni (Marco Cayuso)
-
Jazzmaster
-
evolver1
-
calas425 (carlos)
-
Motgra (Anatolii)
-
bulbwidth
-
danproglover
-
madcap68
-
Razalduria (Stan)
-
texmarq
-
RockBottom (Dan T)
-
Barzymit (Błażej)
-
SchizoidMansFriend (Alexander Kovalchuk)
-
Mike1958
-
Tedhead
-
occido
-
Emptytankard
-
intres (alain senut)
-
Yogaprogyoda (William Jagger)
-
vcwild (Victor)
-
Passka (Čengele Mengele)
-
Progfan-G (David)
-
tabintheocean (Hoops McCann)
-
patkin (patrick)
-
Zubaaa (Adam Zubkoiwcz)
-
Edwin333 (Ed Lohrer)
-
Desmul (Sam Davies)
-
proghardy (Wolfran Ehrhardt)
-
CassandraLeo (Aaron)
-
Thunderhook
-
sankirtana (John)
-
Anaon (Julien)
-
BrunoSiebra (Victor Bruno fernandes Sieb)
-
brainsuccasurgery (Alain SUCCA)
-
Glimpse (Nicholas)
-
FlightOfTheJoeGoose (Joe P.)
-
Hell_Pet (Remco)
-
fphoenix (Joe)
-
yoghill (Thierry ANTOINE)
-
simmo (Jonathan Simpson)
-
danyboy (Dany Smith)
-
bpeterson1
-
EDINHO2015 (Eduardo Rodríguez)
-
KillerTampon (Sean)
-
Themis (Piotr)
-
habelard2 (Sergio Caleca)
-
Crawler10 (Antonio Flores)
-
pH7 (Egor)
-
Rustynutzaq (Jeffrey)
-
tmw554 (TIM WATSON)
-
noirion (Jeff)
-
victor123 (VICTOR)
-
Mithrandir_Prog (Dmitriy)
-
lunarston (Vyacheslav)
-
Aqqle1 (Ed)
-
Leafblade490
-
akeygon (akeygon)
-
rocknrolldoctor (Uwe Schwarz)
-
coelhorabaiolli (Coelho Rabaiolli)
-
SimeonR (Simeon)
-
pete284 (Pete Jones)
-
MrHaddington (Cornelius)
-
andersondeavila1979 (Anderson Paula de Avila)
-
DeepPurplePL (Witold)
-
magmat (Matteo Bai)
-
Kallabow (Paulius)
-
neff49 (Carlos Menguez)
-
freyacat (Eric J. Thorson)
-
TinoPP (Martin Lačný)
-
jfreeasabird (Juan Ignacio)
-
tsudduth24 (Tracy Sudduth)
-
Snowflake Obsidian (Gabriela)
-
Lieven Van Paemel (Lieven Van Paemel)
-
BMWRider (Mikel Koeniger)
-
JoeTheNobody (Jesus)
-
jrs71991
-
steve-s332 (Steve Stewart)
-
soundgarden (Marek)
-
Averroes (Kev)
-
Therexmin (Antonio Arias)
-
my_wall (david)
-
Dracula (Pablo)
-
santomelletj (santiago)
-
max007655 (Max Sagan)
-
RobertoVal (Roberto)
-
Pretoriano (Fernando Fernández Garganta)
-
BobVanguard (Bob Robinson)
-
Detal (Vitaliy)
-
manga
-
Hibby (Mike Gammie)
-
rreed6128
-
Pantagruel59 (Peter Szasz)
-
Awakened Stranger (JD)
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AndyH1969 (Andrzej)
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larryrap (Larry Weisman)
-
Fleckell (Taină Fleck)
-
TonyBach (antonio vazquez)
-
BeeJayMelb (Bruce Jenkins)
-
FXM (Francis Murphy)
-
chickennose50 (Mike Literus)
-
Khattab (marc)
-
Jaz (Jean Marc Corvisier)
-
AnotherMan
-
justin4950834-2 (justin)
-
kamyk_23 (Voytek)
-
alexanderkein (Alexander)
-
postprog (U. Schwarz)
-
CygnusX-01 (Daniel Toman)
-
vbprogplus (vincent boucher)
-
lexus (Serg)
-
Son.of.Tiresias (Paulus af Tungsten)
-
marulanda (Alex)
-
AucaCoyan
-
Geodezisdt (Alex)
-
mutantemusica (Fernando)
-
Fido73 (Etienne Brousseau)
-
Necrotica (Brendan Schroer) PROG REVIEWER
-
Daledebil (JOSE LUIS)
-
thesmokingman (C. Spender)
-
Seamge1979 (James)
-
Guile (Artur Rupp)
-
Miguel Rodriguez
-
Luchiano (Luciano Chiera)
-
TheWillowFarmer (Cil Phollins)
-
mejuta (Jukka Tarvonen)
-
az-mnogogreshny (Egor Golomidov)
-
rdavis1992 (Robert Davis)
-
FatherTiresias
-
icg46 (IGNACIO)
-
luvdrama (Brent Nelson)
-
emisan
-
ModernProg3 (Benjamin Dulias)
-
charles_ryder (Alexandr)
-
nestejatel (Nikita)
-
gloriousgoldfish (.)
-
Petr59 (Petr)
-
YesGen
-
Aprilfrost (Martin)
-
Moon Fool Mole
-
TheLionOfPrague (Hernan)
-
Peter27 (Peter Riles)
-
YoungProg (Logan)
-
Minty58 (Mike Blower)
-
Straight Air
-
HiziTeferi (Zversky Pazver)
-
Vasyaga (Vasily)
-
cookiemonster (Sid)
-
bankstatement (Em)
-
KK58 (Chris)
-
camel1986 (Mateusz)
-
Geomailer
-
Hanz24 (Hansel Hernández Córdoba)
-
RoboSlowmoMojoJojoe (Joseph)
-
Sursumcordal (Martin)
-
dukeofmar
-
jacekweb (Jacek Witkowski)
-
adkulpa (adriano)
-
Newhouse (Ton van den Nieuwenhuizen)
-
Ahmet0092 (Ahmet)
-
mr.heidegger (Mauro Annibali)
-
isle (Lars Vinther-Larsen)
-
Mr.Harold (Jakub)
-
Quizzus
-
ArthurWhite (Arthur)
-
yesman78 (Tony)
-
tonioquintero (Antonio)
-
Mikko_J (Mike Yash)
-
qiqe.f (Enrique)
-
SA-TC (Samuel)
-
sheadvt (Shea de Vries-Thomas)
-
Liam Walrus (Waldemar Corner)
-
ProgTracks (Mike Pollack)
-
yarzo (Judson)
-
JeanP (Jean)
-
nuncjusz (Bartosz Przyborowski)
-
stuartm (stuart)
-
MrEdu3 (Eduardo Santos)
-
tbarnes (Tim)
-
EduNP (Eduardo Nuńez)
-
MrMan2000 (Michael)
-
Upbeat Tango Monday (Andrés Alexander)
-
bmw (Borys Witkowski)
-
ster
-
Pastmaster (Occupant)
-
carltonh (Carlton Hobbs)
-
maxatrillian (Max)
-
ArtuomNechuev (Artuom)
-
katatonia (Aziz)
-
grom63 (Konstantin)
-
Pekka (Pekka Turunen)
-
Frayz (Faldy Reizandy)
-
ELPforever (Philippe RAU)
-
Rock_Man1961 (Andrew Maslowski)
-
RaulCorona (Raul Corona)
-
Quinino (Jose Simoes) SPECIAL COLLABORATOR Errors & Omissions Team
-
klockwerk (Jack Deckard)
-
TrannonG (Trannon)
-
ses (Edvin Ek)
-
DRONSZ (Marcelo Spindola Bacha)
-
Progresearcher (Dmitry Menshikov)
-
captainjest (Joe Peterson)
-
RuntimeError (Boris Musha)
-
ClockTower (James)
-
FroggyGlenn (Matt James)
-
whor (Walt Hor)
-
JC42 (Wolfgang Gast)
-
Goran1963 (Göran Nilsson)
-
McJingle (Ian McIntyre)
-
prekidi stvarnosti (Nikola Rakic)
-
freewheeler62 (Komarov Sergei)
-
Blinkyjoh (Jody)
-
Grendolio (Mark Tiffany)
-
TheDrearyDruid (Artur de Lara)
-
emblempride (Dandy Milligsgighagan)
-
ordinary perry (Perry Kallevig)
-
Harold Needle (Harold)
-
Nawlinstoo (LJC)
-
mooghead (luis)
-
Tarkus58 (Mike Blower)
-
karamazovy (Lee)
-
marc.josep (Marc)
-
Rodrigo Andrade7 (Rodrigo Santos Andrade)
-
fliertje (Frank van Lier)
-
vdpoop (Andrzej)
-
juli27 (Julián Manzano)
-
cunico (Wilson)
-
seouljester (jin)
-
Didu (Ovidiu Opris)
-
ZestyZach (Zach W)
-
Kingsnake (ACCOUNT DELETED)
-
APartOfTheUniverse (Matthew)
-
dredogg (Andreas)
-
Edmund_Dorff (Alexander)
-
Close To The Jazz (Justin Allen)
-
Darious (Daz)
-
N.Eighteen (Dmitriy)
-
Khachatryan (Alex)
-
Wyrdskein (Alan Nash)
-
Mystic Mamba (Stephen Clancy)
-
karolcia (Piotr Lachowicz)
-
bwood637 (Brandon)
-
HarbouringTheSoul
-
JT
-
ProckROGue (Chris)
-
Nogger (Roger)
-
Mortte (Martti Jousimo)
-
Wendyz73 (Václav Zíka)
-
Deewgoh (Pierre Simonot)
-
socrates0515 (Will Haight)
-
Samina1 (Victor Midtgĺrd)
-
nanczo
-
koubi1 (John Koubiadis)
-
KinchStalker (Cameren Lee)
-
Bloodred
-
rafford (Rafael Gonzalez)
-
lemn178 (Luis Martínez)
-
mhernand3 (Martin Hernandez Valdez)
-
maxproghed (Robert Max Kobige)
-
toio1962 (vittorio schiozzi)
-
Heletric (Shane Johnson)
-
leormego (Crimsoncrimson)
-
Q_ukko (Tuukka Jussila)
-
ElFarero (Chico)
-
Dr D (demian allan)
-
Ungoliant (Isak Rahm Isaevski)
-
jaumet1982 (Jaume Senabre)
-
Anesthetized (Álvaro Marín)
-
CJBroetto (Clayton Juliano Silva Broet)
-
freewheeleer1962 (Sergei Komarov)
-
antoniofontana (antonio fontana)
-
Ionme (Ioakimidis Ioakim)
-
ed14 (ILDAR)
-
Le_Nostalgique (Le Nostalgique)
-
FRow (Fernando)
-
mr.chief (Michal Wodz)
-
Newsworth (Mike Blower)
-
pink_prog80 (milos)
-
Friday13th
-
Regis00 (Reko Latvanen)
-
Mange Pange (Magnus Lenefors)
-
dickmusic (Jaakko Soimakallio)
-
UncleRust (Melvin)
-
jacobaeus (Alberto Nucci)
-
AugustoR (Augusto Rudzinski)
-
mitarai_panda (sunjunfei)
-
ForestFriend (Alex)
-
Cygner (Dmitry)
-
Pozitronas (Einaras Sipavičius)
-
hplc (Georgiy)
-
leonshalders (Felipe Shalders)
-
masked (Pablo Riofrio)
-
viceldan (VICTOR)
-
demolition man
-
Tearring (Gunter)
-
psgnw (Pat Garret)
-
Sevichragorp (Mario)
-
Siberian (Steve)
-
00nostromo (Alonso)
-
Maggese (Kürşat)
-
BrickGlass (Brick Williams)
-
Kentires (Aare)
-
Luciano Cardozo (Cardozo Luciano Fabrizio)
-
SkyVlad
-
graysnk2 (Grayson Kohary)
-
Sergeimolot (Sergei)
-
marcosbodziak (marcos gustavo)
-
AntonioC. (Antonio)
-
Schnatz (Perry)
-
CoimbraCaio (Caio)
-
Slava2270
-
Alberto Varela (Alberto Varela Hermida)
-
GrandHighSlipperman (...)
-
Soul2Create (David Romera)
-
MrPoisson (Hiram Silva)
-
Allain (Senut)
-
Hill St. (Steve Hill)
-
oqpi (Joe Doe)
-
Breaux (Kamil)
-
backdoorman (Diego)
-
kostpoll (Kostas Pollatos)
-
laurencesantos (Laurence Santos)
-
Snurb (Axel Bruns)
-
Phobophile (Dave)
-
TCat (TCat) PROG REVIEWER
-
hockeyhabs00 (perry)
-
daland75 (Brian King)
-
Zawer (Lorenzo)
-
luminol (ivan)
-
Ennio
-
fant0mas
-
roncohp (Ron Tagliapietra)
-
HarryAngel746 (Maciej)
-
valeral (Tonci)
-
joseph1962 (Joseph Acocella)
-
vic-tor (Victor)
-
tempest_77 (Tempest)
-
pilz
-
Industrial (Alexander)
-
GentleKing (Sjur)
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