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Symphonic Prog • United Kingdom

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Yes biography
Active since 1968 with varying formations - Two major hiatus between 1981-1983 and 2004-2008

YES formed in London (UK) in 1968 with Jon ANDERSON (vocals), Chris SQUIRE (bass, vocals), Peter BANKS (guitar, vocals), Tony KAYE (keyboards), and Bill BRUFORD (drums). Well-known and influential mainstream progressive from the 1970's, and still around in some form ever since, they were highly influential in their heyday, especially notable for the really creative "Relayer", which included at the time Swiss keyboardist Patrick MORAZ who replaced Rick WAKEMAN

During the 1970s, YES pioneered the use of synthesizers and sound effects in modern music. Driven by Jon's artistic vision, they produced such timeless, symphonic-rock masterworks as "Roundabout," "Close To the Edge," and "Awaken". In the 1980s, YES pushed new digital sampling technologies to their limits, selling millions of records and influencing a generation of digital musicians with classics like "Owner Of A Lonely Heart" and "Rhythm Of Love". Moving through the 1990s and into the new millennium, the band keeps expanding its boundaries by using the latest hard-disk recording techniques and, most recently, working with a full orchestra to create their genre-defying music.

YES gained large popularity with their brand of mysticism and grand-scale compositions. "Fragile" and "Close to the Edge" are considered their best works as it's symphonic, complex, cerebral, spiritual and moving. These albums featured beautiful harmonies and strong, occasionally heavy playing. Also, "Fragile" contained the popular hit song "Roundabout". This was followed by the controversial "Tales from Topographic Oceans" LP, which was a double album consisting of only four 20-minute length suites centering on religious concepts. Also, "Relayer" was their most experimental, yet grandiose and symphonic. They broke up, until the new jewel "Going For The One" and its incredible "Awaken" was issued in 1977. In later years, YES would go through many transformations. There were other very good YES albums after "Going For The One" ("Drama", "Keys To Ascension" and suprisingly "The Ladder") but this is the last great album.

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Buy YES Music

Topographic Drama - Live Across America (2CD)Topographic Drama - Live Across America (2CD)
Rhino Records 2017
Audio CD$15.03
Ultimate Yes: 35th Anniversary Collection (3CD, Digi-Pak)Ultimate Yes: 35th Anniversary Collection (3CD, Digi-Pak)
Elektra Catalog Group 2004
Audio CD$14.02
$7.91 (used)
Atlantic 2011
Audio CD$3.16
$3.41 (used)
Yes Album, The (Expanded & Remastered)Yes Album, The (Expanded & Remastered)
Elektra Catalog Group 2003
Audio CD$4.67
$2.70 (used)
Close To The Edge (Expanded & Remastered)Close To The Edge (Expanded & Remastered)
Elektra Catalog Group 2003
Audio CD$5.59
$6.00 (used)
Fragile: Expanded / RemixedFragile: Expanded / Remixed
Panegyric 2015
Blu-ray Audio$17.94
$17.93 (used)
Elektra / Wea 2004
Audio CD$4.77
$1.94 (used)
Tales From Topographic Oceans: Expanded Edition 3 CD+1 Blu-rayTales From Topographic Oceans: Expanded Edition 3 CD+1 Blu-ray
Panegyric 2016
Blu-ray Audio$25.11
Remastered · Extra tracks
Elektra 2003
Audio CD$4.98
$3.98 (used)
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YES discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

YES top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.25 | 1184 ratings
3.29 | 1234 ratings
Time And A Word
4.29 | 2569 ratings
The Yes Album
4.44 | 3178 ratings
4.66 | 4029 ratings
Close To The Edge
3.90 | 2186 ratings
Tales From Topographic Oceans
4.36 | 2742 ratings
4.03 | 1812 ratings
Going For The One
2.97 | 1371 ratings
3.76 | 1514 ratings
2.96 | 1407 ratings
2.50 | 1032 ratings
Big Generator
2.50 | 950 ratings
3.06 | 864 ratings
2.03 | 751 ratings
Open Your Eyes
3.27 | 887 ratings
The Ladder
3.75 | 1012 ratings
3.41 | 1005 ratings
Fly From Here
2.37 | 529 ratings
Heaven & Earth

YES Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.32 | 866 ratings
3.63 | 447 ratings
2.27 | 228 ratings
9012 Live: The Solos
4.09 | 467 ratings
Keys to Ascension
3.96 | 435 ratings
Keys to Ascension 2
2.58 | 133 ratings
BBC Sessions 1969-1970 Something's Coming (2 Cds)
3.59 | 199 ratings
House of Yes: Live From the House of Blues
2.67 | 37 ratings
Extended Versions
2.92 | 34 ratings
Roundabout: The Best Of Yes- Live
3.84 | 167 ratings
Live at Montreux 2003
4.22 | 277 ratings
Symphonic Live
4.49 | 146 ratings
Keys To Ascension (Full)
3.29 | 34 ratings
Astral Traveller (The BBC Sessions)
3.55 | 123 ratings
In The Present - Live From Lyon
3.61 | 53 ratings
Union Live
2.78 | 49 ratings
Like It Is: Yes at the Bristol Hippodrome
4.20 | 63 ratings
Progeny - Seven Shows from Seventy-Two
3.34 | 51 ratings
Like It Is - Yes at the Mesa Arts Centre
4.17 | 12 ratings
Topographic Drama: Live Across America

YES Videos (DVD, Blu-ray, VHS etc)

3.66 | 163 ratings
Yessongs (DVD)
3.18 | 97 ratings
9012 LIVE (DVD)
4.13 | 84 ratings
Yesyears (DVD)
3.67 | 39 ratings
The Union Tour Live
2.93 | 53 ratings
Greatest Video Hits
4.80 | 5 ratings
The Best Of MusikLaden Live
3.61 | 113 ratings
House Of Yes: Live From The House Of Blues (DVD)
3.69 | 124 ratings
Keys to Ascension (DVD)
4.60 | 306 ratings
Symphonic Live (DVD)
3.09 | 70 ratings
2.38 | 78 ratings
Live in Philadelphia 1979
3.14 | 33 ratings
Inside Yes 1968-1973
3.57 | 88 ratings
Yes Acoustic: Guaranteed No Hiss
4.29 | 162 ratings
Songs From Tsongas: 35th Anniversary Concert (DVD)
3.43 | 65 ratings
Live 1975 At Q.P.R. Vol. 1
3.34 | 59 ratings
Live 1975 At Q.P.R. Vol. 2
3.63 | 54 ratings
Yes (Classic Artists)
3.94 | 128 ratings
Montreux 2003 (DVD)
3.83 | 44 ratings
Yes - The New Director's Cut
3.83 | 40 ratings
The Lost Broadcasts
3.19 | 28 ratings
Rock Of The 70's
3.90 | 58 ratings
Union - Live
3.00 | 4 ratings
Live Hemel Hempstead Pavillion October 3rd 1971

YES Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.40 | 5 ratings
2 Originals Of Yes
3.09 | 207 ratings
3.80 | 168 ratings
Classic Yes
3.27 | 110 ratings
3.45 | 73 ratings
3.03 | 71 ratings
Highlights: The Very Best of Yes
2.58 | 31 ratings
The Best of Yes
3.55 | 459 ratings
2.74 | 21 ratings
4.28 | 115 ratings
In A Word
3.13 | 91 ratings
Ultimate Yes: 35th Anniversary Collection
2.14 | 60 ratings
2.52 | 23 ratings
Topography: The Yes Anthology
3.24 | 139 ratings
The Word Is Live
3.96 | 24 ratings
Essentially Yes
3.52 | 18 ratings
Collection 2CD: Yes
5.00 | 2 ratings
Wonderous Stories: The Best of Yes
3.95 | 38 ratings
Progeny: Highlights From Seventy-Two

YES Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.30 | 22 ratings
Something's Coming
3.47 | 15 ratings
Looking Around
2.82 | 26 ratings
Sweetness / Something's Coming
3.29 | 17 ratings
Sweet Dreams
3.40 | 35 ratings
Time and a Word
3.45 | 45 ratings
Your Move
3.03 | 13 ratings
4.64 | 14 ratings
And You And I (Part 1 & 2)
2.84 | 46 ratings
4.73 | 15 ratings
And You And I
2.83 | 15 ratings
3.26 | 38 ratings
Soon - Sound Chaser - Roundabout
2.40 | 15 ratings
Yes Solos
3.66 | 40 ratings
Wonderous Stories 12''
4.04 | 38 ratings
Going For The One 12''
3.91 | 11 ratings
Turn Of The Century
2.66 | 48 ratings
Don't Kill The Whale
3.01 | 35 ratings
Into The Lens
4.27 | 43 ratings
2.35 | 40 ratings
Owner of a Lonely Heart (promo single)
2.15 | 44 ratings
Owner Of A Lonely Heart
2.72 | 36 ratings
Leave It
2.82 | 21 ratings
Twelve Inches on Tape
3.10 | 32 ratings
It Can Happen
2.33 | 8 ratings
Rhythm Of Love
2.94 | 29 ratings
Love Will Find A Way
2.25 | 37 ratings
Rhythm Of Love (2)
3.33 | 20 ratings
Saving My Heart
2.54 | 40 ratings
Owner Of A Lonely Heart
2.43 | 9 ratings
Lift Me Up
2.73 | 18 ratings
Make It Easy
2.60 | 11 ratings
Yesyears - Sampler
2.60 | 24 ratings
The Calling
3.00 | 2 ratings
Lightning Strikes (She Ay ... Do Wa Bap)
2.83 | 71 ratings
2.13 | 4 ratings
Selections From The Word Is Live
3.06 | 61 ratings
We Can Fly

YES Reviews

Showing last 10 reviews only
 Yesterdays by YES album cover Boxset/Compilation, 1975
3.09 | 207 ratings

Yes Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 149

Yes, was formed in 1968 with Jon Anderson (vocals), Chris Squire (bass), Peter Banks (guitars), Tony Kaye (keyboards) and Bill Bruford (drums). Yes, always was a band where members often changed, and in some cases the members went out and returned to the group very often. Yes became as one of the most important bands of the 70's, together with Genesis and Pink Floyd. These three bands were the bands who farther contributed to the rise of the movement of Progressive Rock. These are probably the three bands, which more have influenced progressive groups, until today.

'Yesterdays' is a compilation of Yes and was released in 1975. 'Yesterdays' is a collection of songs of the band and was launched at the time in which the band members released their solo musical projects. It consists mostly of material of their first two albums, their eponymous debut studio album 'Yes' and their second studio album 'Time And A Word'. Added to this, it features the B side 'Dear Father' and a cover of the song 'America' of Simon & Garfunkel.

All tracks on this compilation feature the original line up of the group with Peter Banks and Tony Kaye, except on 'America', which includes Steve Howe and Rick Wakeman, on guitar and keyboards respectively. So, the band members that participate on this compilation are Jon Anderson (vocals), Peter Banks (guitar), Steve Howe (guitar), Tony Kaye (keyboards), Rick Wakeman (keyboards), Chris Squire (vocals and bass guitar) and Bill Bruford (drums).

This was the last Yes' album until their tenth studio album 'Drama' to use a cover of the artwork of Roger Dean. The front cover of the album presents elements of the front cover of 'Time And A Word', and when I say the front cover of the album I mean the U.K. front cover, while the back cover was designed to be used as an alternative front cover.

'Yesterdays' has eight tracks. The first track 'America' is a cover of a Simon & Garfunkel's song released on their studio album 'Bookends', in 1968. It never was released on any studio album of them. It was featured on an Atlantic Record sampler album called 'The New Age Of Atlantic', in 1972, which was a collection of songs that became noted, especially due to two of them. The Yes' 'America' cover song and Led Zeppelin's 'Hey, Hey, What Can I Do', both unavailable elsewhere at that time. The second track 'Looking Around' was released on 'Yes', the third track 'Time And A Word' was released on 'Time And A Word', the fourth track 'Sweet Dreams' was released on 'Time And A Word', the fifth track 'Then' was released on 'Time And A Word', the sixth track 'Survival' was released on 'Yes', the seventh track 'Astral Traveller' was released on 'Time And A Word' and the eighth track 'Dear Father' was also a song which never was released on any studio album of Yes. It was released as the B side of the 'Sweet Dreams' single, a song taken from 'Time And A Word' and that was the single that served to promote the album at the time.

So, 'Yesterdays' is basically a compilation of tracks from the two very first Yes' albums. But Atlantic was of course wise enough to also include a couple of non album tracks, as a bait. The version of Paul Simon's 'America' was originally released as a single in 1972, but here we get the full length, a 10 minute version, in all its glory. It shows very well how a simple and light pop tune can be transformed into a complex progressive rock track. This track is a complete surprise because, besides being an extensive version of the original song, isn't a soft ballad song as the original version. It respects completely the original spirit of the song but is, at the same time, a completely new song. And we also may say that this is practically a Yes' song. This is a great cover song. The other non album track is 'Dear Father', a simple and beautiful song which was only released as a single. It's a very calm song with many time changes and with beautiful Jon Anderson's vocals perfectly supported by Chris Squire's vocals. However, its inclusion here will probably please completists most, as the song has a rather typical B side quality and is really not all that good. The rest of the album consists of thoughtfully selected songs from the first two albums. As I said before, from the debut we have 'Survival' and 'Looking Around', and from the second 'Astral Traveller', 'Then', 'Sweet Dreams' and the title track.

Conclusion: Usually, I don't much care about progressive rock compilations. However, in this case, I'm convinced that somehow 'Yesterdays' is a little bit different. If by one hand this is an historical document of the group, by other hand it has two songs that never were released on any studio album of them. In the third place, and most important of all, this compilation is very good representative of the first musical period of the group, a kind of a pre- musical period, a period where Steve Howe and Rick Wakeman weren't yet present in the group. So, 'Yesterdays' will be a fine alternative if you want to get a glimpse of Yes in their earliest phase without having to buy both their two first albums. The only thing I can't understand is the absence of 'Harold Land', one of the two best tracks on 'Yes'. Despite 'Looking Around' be a good song, it hasn't the progressivity and quality of 'Harold Land' and it should have been replaced by it. But 'America' makes it also worth having for others. And Roger Dean's cover art should also be counted as a bonus.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Magnification by YES album cover Studio Album, 2001
3.75 | 1012 ratings

Yes Symphonic Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

4 stars "Magnification" is the followup to the mildly successible "The Ladder" with a lineup consisting of Jon Anderson on lead vocals, acoustic & MIDI guitars, Steve Howe on pedal steel, acoustic & electric guitars, mandolin, Chris Squire on bass, Alan White on drums, percussion, and on keyboards we have... NOBODY! This is the only Yes album without a keyboardist. Heck, even Alan White has a go on piano at one point but can a Yes album survive without a Wakeman or Downes on the keys? Yes it can. The most striking thing about this album is it boasts an absolutely beautiful symphonic orchestra conducted by the likes of Larry Groupé, Bruce Donnelly and Frank Macchia. The result is a cinematic soundscape that opens the music of Yes into grand territories. Yes also have returned to their progressive sound and there are a few tracks that are absolute masterpieces such as In The Presence Of.

The album cover is another misfire sadly as Roger Dean made their other albums look so attractive. I ended up getting this on cassette after avoiding it for many years. I was absolutely delighted that it is an excellent album throughout. I first heard tracks from this on the live "Tsongas" DVD as they were touring it at the time. Magnification opens proceedings with a grandiose prog filled track. Infectious hooks and powerful singing are accompanied by sweeping orchestration and a wonderful outro that segued straight into Spirit Of Survival. This second track has a funky bassline and very cinematic orchestrations. I am absolutely loving the orchestra intonationas and the lead guitar of Howe is phenomenal as always. This is a very dramatic song and lifts the spirit with lyrics filled with hope. Don't Go is a catchy thing with Anderson imploring us not to be cruel or dark and not to go as we were supposed to be together forever, but them's the breaks. It is a more commercial feel compared to the opening tracks but the orchestra and Howe's quirky guitar licks keeps it interesting. Give Love Each Day opens with somber orchestra sweeps like a movie soundtrack, glorious it its composition. The bass chimes in and Anderson has some reflection in his lyrics; "Standing here on sacred ground, Some days it's a mad world let it be, Words of promise fill the air, empty voices, How long have we waited? And every time I hold your hand, You bring to me this promised land, I live for you this promised land." It may remind some of Queensryche who had an album about the Promised Land. I like the harmonies Squire provides too, and his bass is exemplary. The outro is a Beatles soundalike passage that works perfectly like Penny Lane or Strawberry Fields revisited. Can You Imagine is a short track compared to the rest at 2:58, and works as a beautiful tribute to Chris Squire who sings on this along with Anderson some potent lyrics "can you imagine what it is like seeing life from the other side". Again the orchestra is simply stunning on this track. We Agree is Yes in a quiet mood with a lot of sweeping orchestrations and a strong theme of believing in the days we will talk about, an optimistic lyrical content throughout "we will perpetuate this song of love".

Soft As A Dove is a lovely song with gorgeous flute and acoustic over violin strings. Anderson has a very good vocal and the lyrics are heartfelt.

Dreamtime is an epic 10:45 track and has a progressive structure beginning with an intro of off kilter musicianship, the after a lovely verse, very upbeat percussion and bass pluck out a very intense rhythm. The orchestra is at its most dramatic and augments the very strong bassline. Howe's guitar finesse is hitting a peak here, and I adore the melody and Anderson gives this everything he has in the tank. This is a hiddden gem in the Yes catalogue undoubtedly ready to unearth for those willing to dig it up. The orchestra at te end is as good as any movie soundtrack and is a powerful addition that really grabs me on every listen. This is a brilliant track, dammit, why couldn't they do this on their previous albums during the 90s?

In the Presence of is the 10:24 epic that appeared on a few compilations and live concerts. It was the only song I owned from the "In A Word" box set and I played it often. Arguably it is the best way for the band to farewell their studio recording days and indeed it was the last for this lineup and Anderson was replaced 10 years later by David Benoit. The song opens with a beautiful Anderson vocal, and is that Alan White on piano? Squire comes in soon and then that orchestra makes the soundscape soar into the heavens. This is a great track, the live performances never disappoint and of course it is the most well known track on this album as a result of the live approach.

The last track though is a short thing called Time Is Time. Perhaps this is Yes saying Goodbye, the lyrics may suggest this. I saw this track live online with Wakeman at the keys and its better than this version as a result, but still its a way to go out on a very good album that stands the test of time.

The complexity, inspired originality and downright bombastic approach of Yes returns on "Magnification" and were'nt the prog community pleased? The orchestra is an embellishment in a similar way to the live Symphonic Yes that is a masterpeice DVD so get hold of that if you can. Those who come to this album may be disappointed if they expect it to be in the vein of the prog giants of yesteryear, but the members still generate that Yes sound that has made them legends of prog. Hopefully this album will lead newcomers to their past masterpieces, namely their albums "The Yes Album" right up to "Relayer", where they really transformed the face of prog rock.

Goodbye Yes.

 The Ladder by YES album cover Studio Album, 1999
3.27 | 887 ratings

The Ladder
Yes Symphonic Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars Yes redeem themselves after a slew of mediocrity in the 90s with "The Ladder". From the outset there is a huge leap back into progressive territory on the opening track Homeworld. Clocking over 9 minutes and full of wonderful instrumental sections and the awesome vocals of Anderson with reflective lyrics, one wonders where the band had disappeared to on their last album "Open Your Eyes". The keyboard workouts of Igor Khoroshev are great, he is now an official member, and it has a definite progressive structure, with a rather provocative ending with wind blowing and Anderson singing to a lonely piano. Its a wonderful way to begin this album.

The Roger Dean album cover is certainly welcome back after some hideous covers, and it perhaps signifies that the band are going for a more progressive sound, not the AOR sound that was permeating their 90s catalogue. It Will Be A Good Day (The River) is a decent song with some hopeful lyrics "make me believe again, making me free again."

Lightning Strikes jumps along at a frenetic pace and may be well placed in a disco with its danceable rhythms. Its okay though because it bounces along with such energy that it shows Yes can do disco when the mood hits them. I like the way it breaks into a new time sig in the half time feel, and Squire has fun on the bass here, and thats not a crime. The opening flute solo is borrowed from The Kinks' song Phenomenal Cat from their album "The Kinks Are the Village Green Preservation Society". Can I? is mercifully short at 1:32, and is basically a didgeridoo going for it while Anderson ad libs jazz mumbo jumbo vocals. Noteable for the didgeridoo only. This segues into Face to Face with very funky bass, and some really nice lyrics. It holds the attention with infectious chorus and great harmonies throughout.

If Only You Knew is a beautiful love song with Anderson in fine form. To Be Alive (Hep Yadda) is okay as an inspirational song with hopeful lyrics. It is a bit repetitious at times but the uptempo beat grows on you.

Finally is a 6 minute song with bright rhythms, powerful singing and some of Steve Howe's best work as he makes his lead guitar soar on some chilling solos. The orchestral keyboards are mesmirising and Anderson sings with an air of beauty.

The album occasionally runs out of steam at the end but there is quality evident. The Messenger has a reggae feel because Anderson wrote it about the person who has influenced his music, the late reggae master Bob Marley. New Language is a lengthy track at 9:19, and has a wonderful bassline and some nice time sig changes as well as keyboard workouts and a ton of reflective lyrics to ponder over; "I speak from some sort of protection of learning, Even though I make it up as I go on, A special trait is that I've tried To reach all feelings, So I speak a new language of love, Some say that it is written in the circle, Others that it is written in the sun, But I protect myself by seeing this experience, As a metaphor for moving on."

Nine Voices (Longwalker) closes the album with acoustic vibrations and a pensive Anderson thinking about the forces that surround us, nine voices singing as one, this dialogue." Howe drives the song with fast finger picking and strumming and there is a rototum percussion sound.

So in conclusion "The Ladder" is superior to any of their albums since "Going For The One". It is only just a notch above "Talk" but it sits comfortably above any albums in between these. A worthwhile Yes album and it paved the way for the last album to feature Anderson "Magnification", which would turn out to be the last great triumph for Yes.

 Magnification by YES album cover Studio Album, 2001
3.75 | 1012 ratings

Yes Symphonic Prog

Review by Norbert

4 stars Magnification is the seventeenth (or eightteenth if you count Keystudio as a studio album)studio album by the British symphonic progressive rock legends Yes. The artwork is rather simplisctic, clearly only the band's logo was done by Roger Dean. The album has 10 tracks it has about 60 minutes of playing time.It is their last album recorded with singer Jon Anderson in the band, and their only one recorded as a four-piece and without a proper keyboardist. Drummer Alan White plays some piano parts , we can hear Jon Anderson's MIDI guitar, and a full symphonic orchestra, which is actually not credited in the bookle, only Larry Groupé for orchestral composition, arrangements and as conductor. The orchestrations are excellent and keyboards are mostly not really missed. The performance of Jon Anderson, Steve Howe, Chris Squire (RIP) and Alan White is outstanding as usual. The music is more simple as it was in the glory days between 1971 and 1977, but basically this is the beautiful, complex, uplifting smyhonic progressive music, which made Yes famous. I only have some problems with Don't go, which drifts seriously in "silly pop" territory, and they could finish the album with a more memorable track than Time is time. My favourite is probably Dreamtime, Give love each day, We agree, and the opening title track. Magnification may be not a rival for Fragile or Relayer, but a very nice offering of this legendary band towards the twilight of their career. Four solid stars, in my opinion.
 Time And A Word by YES album cover Studio Album, 1970
3.29 | 1234 ratings

Time And A Word
Yes Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 145

"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*)

 Yes by YES album cover Studio Album, 1969
3.25 | 1184 ratings

Yes Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 144

Yes was founded in 1968 by vocalist Jon Anderson and bassist Chris Squire. In May 1968, Squire met Anderson in a Soho nightclub, where Anderson was working with a band. As they had a common interest in vocal harmony they began working together. After a while, both decided they needed a new drummer and Bill Bruford was recruited from an ad in Melody Maker. As the previous guitarist Clive Bailey left the band, Peter Banks joined them and soon another new member also joined the group, the keyboardist Tony Kaye. After the entry of Tony Kaye, the band was complete and they adopted the name Yes. The name was suggested by Banks, with the argument that the word would be highlighted in advertising posters. According to Anderson, the name was accepted because it represented a very positive word.

'Yes' is the eponymous debut studio album of Yes and was released in 1969. It's considered as one of the first progressive rock albums in the history of the progressive rock music. Although Yes' debut album isn't exactly what they're remembered most for, but still is a decent piece of proto-prog. From quite obvious reasons this is also their most 60's influenced album. Two of the tracks, 'Beyond And Before' and 'Sweetness' dates back from the time when Anderson and Squire were in a band called Mabel Greer's Toyshop. Some of the Yes' trademarks can already been heard here, like the falsetto vocal harmonies and the powerful and distinctive bass playing of Squire. But, this is of course a much more basic and rougher album than their following symphonic progressive rock classics from the 70's.

'Yes' has eight tracks. The first track 'Beyond And Before' written by Squire and Clive Bailey is a good opener for the album. It's a very interesting song with good drumming, a very nice distorted guitar work, and here, we can clearly hear the typical sound of the bass of Squire. The song has also some harmony and beauty, and represents the beginning of Yes' sound. The second track 'I See You' written by Jim McGuinn and David Crosby is the first song on the album that wasn't written by the band. It's a cover of a song of The Birds and I must confess that this is a brilliant version made by Yes of the original song. This is, for me, the really great surprise on the album. Banks is at his best and did a fantastic guitar work and the voice of Anderson goes beautifully on this song. The third track 'Yesterday And Today' written by Anderson is the shortest song on the album. This is a sweet and beautiful acoustic ballad with some nice acoustic guitar and keyboard sounds in the background of Anderson's voice. This is really a very beautiful song. The fourth track 'Looking Around' written by Anderson and Squire is a song that, despite be one of the first songs of the group, we can call it a typical classic Yes' song. It's a song with some musical progressivity and where Banks and Kaye have very good musical contributions. However, the vocal parts are the most memorable due to the great and nice choral work. The fifth track 'Harold Land' written by Anderson, Bruford and Squire is a truly progressive song that reminds me strongly some of the first songs of Genesis. This is, in my humble opinion, one of the first progressive songs ever made. It has everything that should have. It has a pretty vocal performance, nice guitar, great keyboards, good bass line and a fantastic drum work. This is one of the highlights of the album and one of my favourite songs too. The sixth track 'Every Little Thing' written by John Lennon and Paul McCartney is the second song on the album that wasn't written by the band. It's a cover of a song of The Beatles and is also a very good version of the original song. This is a track with great drumming work, a good bass line and fantastic guitar work that opens the song with a great solo. This is a song that shows the great capacity of the band to transform songs in their own way. The seventh track 'Sweetness' written by Anderson, Bailey and Squire is another sweet, nice and pretty ballad. It has good vocal performance, nice background keyboards and good drumming work too. However, this is one of the weakest tracks on the album. The eighth track 'Survival' written by Anderson is, in my humble opinion, with 'Harold Land', one of the two highest points on the album. This is, probably, the best song on the album. It has beautiful vocals, great bass, catchy keyboards, good guitar and nice drumming. It has also beautiful lyrics and great choral work. This is a wonderful musical piece and an excellent example of the early progressive rock songs. This is a great and perfect way to close the album.

Conclusion: 'Yes' is a good debut album of the group. Despite two of the songs are covers and only two other songs, 'Harold Land' and 'Survival', can be considered great, this is a very interesting debut musical work, because even the cover songs are good and interesting versions of the original songs. If we compare this debut studio album with other debut studio albums of some other great bands from the 70's, we can say that 'Yes' is better than 'From Genesis To Revelation' of Genesis, is as good as 'The Aerosol Grey Machine' of Van Der Graaf Generator but is far away from being as good as 'In The Court Of The Crimson King' of King Crimson. So, all in all, 'Yes' marked, definitely, a very decent and solid starting point for a band that would become one of the greatest progressive rock bands ever.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Open Your Eyes by YES album cover Studio Album, 1997
2.03 | 751 ratings

Open Your Eyes
Yes Symphonic Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

1 stars Jon Anderson, Steve Howe, Chris Squire, Alan White, and Billy Sherwood kept Yes albums ticking over after a few line up changes and it has to be said that they were able to keep the Yes sound well and truly refined, but the song writing and production suffered. The harmonies on this album are occasionally phenomenal and of course Anderson's vocals are always a delight to the ears. "Open Your Eyes" is certainly not a great Yes album in the catalogue though it has a very bright uptempo feel, only ruined by over production and some really woeful tracks. There is little of any prog on here but it has a few decent vibrant rock songs nevertheless.

New State of Mind is a rocker that blows the cobwebs out of the speakers, with killer harmonies and welcome back Mr Howe. This is followed by OPen Your Eyes, a wonderful trtack with some vocals from Squire and Anderson trading off, you have to love that. This has an awesome bassline and some beautiful keyboard melodies. This is a definitive highlight on the album and indeed should have recognition in the 90s Yes catalogue as a highlight.

No Way We Can Lose is very unlike anything Yes did in the past but its radio friendly sound will appeal to some. Its nice but forgettable to be honest. The positive sound generated makes one long for a nice dark Wakeman keyboard melody or a Topographic moment, but you'll get none here. Its accessible for sure but that keyboard solo by Igor Khoroshev is dreadful. And Chris Squire get off that harmonica please.

Universal Garden has some spacey atmospheres, very good lead breaks and the vocals by Anderson are well executed. It may be the best track on this mediocre album.

Fortune Seller takes a funk dive into the depths of over produced drivel. Its a slam dunk in the face of a progressive band that have simply lost their way here. The harmonies are grating on the nerves and its too glossy and bright with nothing much to recommend it in the way of a decent instrumental break or lyrics.

Love Shine has an over produced bright crispy sound with too many harmonies. Its just saturated with saccharine sugar and sprinkled over with dollops of maple syrup. I had syrup dripping out of my speakers after this it is so saccharine.

From The Balcony is a gentle approach and a very pretty tune that I have heard live somewhere. It is a shining light amidst a lot of dull tracks. Anderson is virtually solo and it works well.

Somehow Someday is really annoying and frustrating as there are shades of the classic Yes style but is ruined by music that does not seem to fit.

Billy Sherwood does nothing to augment the Yes sound, but this album is worth one listen to hear some of the experimental solo album styles of Squire and Howe. It does not sound like a Yes album because they had shed their old style and not many were impressed. It has to go down as one of the worst in the catalogue. Now I am off to wash my ears out with a dose of "Fragile".

 Talk by YES album cover Studio Album, 1994
3.06 | 864 ratings

Yes Symphonic Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars "Talk" is a very underrated Yes album stemming from the troubled 90s era of the band. Jon Anderson returns to the fray and sounds wonderful throughout. Then of course, in the wake of Rick Wakeman, Steve Howe left nice and quietly on request to pursue whatever interests he wanted, only to be replaced by Trevor Rabin who sounds terrific giving a new sound to this progressive music with his electric guitar trademark style. Indeed at times he lends a much heavier feel to the tracks and this sound permeates the 90s sound of the time when grunge was entering the scene. This is still a very progressive album and has a standout track, Endless Dream, so good it deserves its own place in the Yes catalogue alongside masterpieces such as And You And I and Starship Trooper.

Other outstanding tracks include the soulful beauty of I Am Waiting. Real Love is Rabin at his best, and State Of Play has an infectious chorus and Anderson on high pitched vocals. Where Will You Be has a hypnotic keyboard and very soft gentle vocals that lock into your mind after a few listens. However none can match the awesomeness of Endless Dream, a return to the epic format that have made Yes such a powerhouse in the prog scene. The first two minutes are Yes at their finest. The lyrics are so beautiful they could bring tears to the eyes.

I love the work of Roger Dean on the Yes catalogue, but this is missing here and the cover is dreadful, let's face it, so that in itself flies in the face of a very good album. However the songs are delightfully upbeat and the musicianship is first class. Chris Squire was one of the great bassists and he absolutely nails it on each song. Alan White's percussion is also terrific, and Tony Kaye's keyboard style is exemplary.

The album deserves some recognition as being a new approach for the band, and it stands up well to some of the more low key albums such as "Union", "Big Generator" and "Tormato". It is far superior to these, though not a masterpiece by any stretch of the imagination. "Talk" is a real surprise to my ears as I have heard just about everything else the band have produced, and this has a great sound and the songs are well executed overall.

 The Yes Album by YES album cover Studio Album, 1971
4.29 | 2569 ratings

The Yes Album
Yes Symphonic Prog

Review by marcosbodziak

5 stars This and my first review on the forum, sorry for my bad English. This album and a masterpiece from beginning to the end, starting with yours is no disgrace, one of the best-known titles of Yes with sensational arrangements, then the weakest track for Min of the album, recorded by Steve Howe Live but with a great composition , after my favorite track of the album, Starship Trooper, sensational from start to finish, after iven seen good people, many find this the best track in the album, go person to person, then venture a great composition more timid, but very forcefully, then we gave the last track Perpetual change, one of the best bands in the group.
 Drama by YES album cover Studio Album, 1980
3.76 | 1514 ratings

Yes Symphonic Prog

Review by cypress

5 stars I love this site but never felt compelled to leave a review. I'm listening to Drama and was searching the web to see what people have said over the years. Interesting.

Yes, I was there when it came out and yes, I remember the backlash. This was head and shoulders better than their previous two outings. Me farting would have topped a lot of Tormato (I'm a king farter, really). The band is on fire and it's a nice rejoinder to those who were dismissing all the old dinosaur bands out of hand. The arrival of Geoff and Trevor has released the band from the constraints that were plaguing Yes. Steve and Chris are playing with an energy absent since at least Relayer, possibly longer.

The songs don't get bogged down in the excesses that a lot of prog bands couldn't shake in the transition period of the very late 70s, early 80s. Yes actually took note of and incorporated some of the leaner, tighter, less ornate approach of the day without betraying what they were.

For those that lamented the departure of Jon without listening critically all I can say it's your loss. Tempus Fugit is one of the greatest songs they ever recorded which means one of the greatest prog songs of all time. Machine Messiah and Into The Lens are both excellent.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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