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YES

Symphonic Prog • United Kingdom


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Yes biography
YES formed 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.

These albums can be found under Various Artists - Concept albums and themed compilations :
Yes - Solo Family Album (19...
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Buy YES Music


Progeny: Seven Shows From Seventy-Two (14CD Deluxe Box)Progeny: Seven Shows From Seventy-Two (14CD Deluxe Box)
Box set
Atlantic Catalog Group 2015
Audio CD$89.98
Yes AlbumYes Album
Elektra / Wea 2003
Audio CD$3.81
$3.88 (used)
9012590125
Elektra / Wea 2004
Audio CD$3.83
$3.95 (used)
Like It Is - YES At The Bristol Hippodrome(2CD/DVD Deluxe Edition)Like It Is - YES At The Bristol Hippodrome(2CD/DVD Deluxe Edition)
Frontiers Music Srl 2014
Audio CD$13.03
$5.90 (used)
FragileFragile
Elektra / Wea 2003
Audio CD$4.04
$4.04 (used)
Close to the EdgeClose to the Edge
Elektra / Wea 2003
Audio CD$4.22
$2.98 (used)
RelayerRelayer
Import
Imports 2014
Blu-ray Audio$18.91
$25.06 (used)
Tales From Topographic OceansTales From Topographic Oceans
Rhino/Elektra 2003
Audio CD$9.30
$7.50 (used)
The Studio Albums 1969-1987The Studio Albums 1969-1987
Atlantic Catalog Group 2013
Audio CD$39.76
$57.38 (used)
Heaven & EarthHeaven & Earth
Frontiers Records 2014
Audio CD$7.46
$8.99 (used)
Right Now on Ebay (logo)
YES. Your move.....45rpm. USD $3.00 Buy It Now 1h 29m
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1h 45m
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2h 25m
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2h 35m
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3h 4m
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CD something's coming - the bbc recordings 1969-1970
YES
~ USD $16.73
LP time and a word
YES
~ USD $19.33


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YES shows & tickets


  • Cruise To The Edge 2015 on 15 Nov 2015

YES discography


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

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

3.24 | 949 ratings
Yes
1969
3.27 | 993 ratings
Time and a Word
1970
4.29 | 2078 ratings
The Yes Album
1971
4.43 | 2585 ratings
Fragile
1971
4.65 | 3349 ratings
Close To The Edge
1972
3.88 | 1829 ratings
Tales From Topographic Oceans
1973
4.36 | 2249 ratings
Relayer
1974
4.04 | 1487 ratings
Going for the One
1977
2.93 | 1128 ratings
Tormato
1978
3.75 | 1235 ratings
Drama
1980
2.93 | 1160 ratings
90125
1983
2.47 | 841 ratings
Big Generator
1987
2.48 | 776 ratings
Union
1991
3.03 | 701 ratings
Talk
1994
2.04 | 613 ratings
Open Your Eyes
1997
3.28 | 727 ratings
The Ladder
1999
3.76 | 835 ratings
Magnification
2001
3.41 | 829 ratings
Fly From Here
2011
2.47 | 327 ratings
Heaven & Earth
2014

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

4.29 | 725 ratings
Yessongs
1973
3.61 | 376 ratings
Yesshows
1980
2.24 | 186 ratings
9012 Live: The Solos
1985
4.11 | 385 ratings
Keys to Ascension
1996
3.95 | 360 ratings
Keys to Ascension 2
1997
2.53 | 112 ratings
BBC Sessions 1969-1970 Something's Coming (2 Cds)
1997
3.59 | 167 ratings
House of Yes: Live From the House of Blues
2001
2.81 | 69 ratings
YesSymphonic
2001
2.64 | 34 ratings
Extended Versions
2002
2.89 | 30 ratings
Roundabout: The Best Of Yes- Live
2003
3.23 | 124 ratings
The Word Is Live
2005
3.82 | 136 ratings
Live at Montreux 2003
2007
4.21 | 227 ratings
Symphonic Live
2009
4.50 | 97 ratings
Keys To Ascension (I & II + DVD)
2010
3.38 | 26 ratings
Astral Traveller (The BBC Sessions)
2011
3.57 | 105 ratings
In The Present - Live From Lyon
2011
3.53 | 34 ratings
Union Live
2011
2.84 | 18 ratings
Like It Is: Yes at the Bristol Hippodrome
2014

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

3.63 | 136 ratings
Yessongs (DVD)
1973
3.13 | 81 ratings
9012 LIVE (DVD)
1985
4.31 | 71 ratings
Yesyears - A Retrospective
1991
3.68 | 35 ratings
The Union Tour Live
1991
2.89 | 42 ratings
Greatest Video Hits
1991
3.58 | 98 ratings
House Of Yes: Live From The House Of Blues (DVD)
2000
3.65 | 103 ratings
Keys to Ascension (DVD)
2000
4.59 | 264 ratings
Symphonic Live (DVD)
2002
3.15 | 60 ratings
Yesspeak
2003
2.34 | 70 ratings
Live in Philadelphia 1979
2003
3.13 | 29 ratings
Inside Yes 1968-1973
2003
3.60 | 75 ratings
Yes Acoustic: Guaranteed No Hiss
2004
4.28 | 138 ratings
Songs From Tsongas: 35th Anniversary Concert (DVD)
2005
3.39 | 56 ratings
Live 1975 At Q.P.R. Vol. 1
2005
3.28 | 51 ratings
Live 1975 At Q.P.R. Vol. 2
2005
3.62 | 52 ratings
Yes (Classic Artists)
2006
3.92 | 113 ratings
Montreux 2003 (DVD)
2007
3.82 | 42 ratings
Yes - The New Director's Cut
2008
3.81 | 35 ratings
The Lost Broadcasts
2009
3.17 | 28 ratings
Rock Of The 70's
2009
3.88 | 50 ratings
Union - Live
2010
3.00 | 1 ratings
Live Hemel Hempstead Pavillion October 3rd 1971
2013

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

0.00 | 0 ratings
2 Originals Of Yes
1973
3.15 | 180 ratings
Yesterdays
1975
3.86 | 146 ratings
Classic Yes
1981
3.26 | 95 ratings
Yesyears
1991
3.40 | 63 ratings
Yesstory
1992
3.05 | 64 ratings
Highlights: The Very Best of Yes
1993
2.58 | 30 ratings
The Best of Yes
2000
3.53 | 437 ratings
Keystudio
2001
2.74 | 21 ratings
Yestoday
2002
4.29 | 101 ratings
In A Word
2002
3.20 | 88 ratings
Ultimate Yes: 35th Anniversary Collection
2003
2.14 | 57 ratings
Yes Remixes
2003
2.50 | 22 ratings
Topography: The Yes Anthology
2004
4.14 | 21 ratings
Essentially Yes
2006
3.48 | 18 ratings
Collection 2CD: Yes
2008

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

4.26 | 22 ratings
Something's Coming
1969
3.34 | 13 ratings
Looking Around
1969
2.79 | 25 ratings
Sweetness / Something's Coming
1969
3.24 | 13 ratings
Sweet Dreams
1970
3.76 | 28 ratings
Time and a Word
1970
3.89 | 37 ratings
Your Move
1971
5.00 | 1 ratings
Carrusel (Roundabout)
1972
5.00 | 2 ratings
And You And I (Part 1 & 2)
1972
3.20 | 38 ratings
America
1972
5.00 | 2 ratings
And You And I
1974
2.78 | 14 ratings
Yes Solos
1976
3.21 | 36 ratings
Soon - Sound Chaser - Roundabout
1976
3.64 | 38 ratings
Wonderous Stories 12''
1977
4.02 | 35 ratings
Going For The One 12''
1977
4.50 | 2 ratings
Turn Of The Century
1977
2.60 | 43 ratings
Don't Kill The Whale
1978
3.22 | 31 ratings
Into The Lens / Does It Really Happen?
1980
4.17 | 35 ratings
Roundabout
1981
2.27 | 36 ratings
Owner of a Lonely Heart (promo single)
1983
2.19 | 35 ratings
Owner of a Lonely Heart (EP)
1983
3.27 | 29 ratings
Leave It 12''
1984
3.49 | 26 ratings
It Can Happen
1984
2.81 | 19 ratings
Twelve Inches on Tape
1984
3.24 | 22 ratings
Love Will Find A Way
1987
2.45 | 31 ratings
Rhythm of Love (EP)
1987
3.29 | 19 ratings
Saving My Heart
1991
2.45 | 36 ratings
Owner Of A Lonely Heart
1991
2.82 | 19 ratings
Make It Easy
1991
2.52 | 10 ratings
Yesyears - Sampler
1991
2.82 | 15 ratings
The Calling (single edit)
1994
3.18 | 57 ratings
We Can Fly - Single (Radio Edit)
2011

YES Reviews


Showing last 10 reviews only
 Fragile by YES album cover Studio Album, 1971
4.43 | 2585 ratings

BUY
Fragile
Yes Symphonic Prog

Review by TCat
Prog Reviewer

5 stars This is Yes' first album with the classic line-up that we have grown to know and love, all the cylinders are firing well and all of the geniuses are in place. The only difference in the line up from the previous "The Yes Album" is the addition of the keyboardist extraordinaire Rick Wakeman who replaced Tony Kaye. The difference in the keyboards is obvious almost immediately as we can hear the confidence in Wakeman's playing. Even though the previous album is a masterpiece also, if there was anything missing, it was a more up-front, in-your-face type keyboardist and they found that in Wakeman. The keys are more defined and technically complex, and thus, you have the classic amazing Yes sound beginning with this album.

This essential album is made up of songs credited to the entire band and also shorter tracks composed and credited to each single member of the band, sort of like ELP's "Works Volumes I and II" but more consistent. (By the way, "Fragile" was released long before "Works", but I just make the statement as a comparison to album structure.) We start off with the ever popular "Roundabout" which should only be heard in the full album version, not the edited versions that were made for radio play. This is the perfect album starter and immediately lets us know what we are in for when listening to this album. The mix is perfect as you can hear every single instrument and each contributor equally and as such you can hear all of the wonderful things that go into each of Yes' most complex works. I know this song has been overplayed, but the amazing thing is that I still love this song and it still has not lost it's amazingness to me like other overplayed radio songs have. Definitely still one of my all time favorites, but then this album has a few of those. Next is Rick Wakeman's solo contribution to the album called "Cans and Brahms" which is a keyboard arrangement of a composition by Brahms. Sort of underwhelming considering the pompousness of Wakeman's other compositions, but still short and enjoyable. Another solo contribution follows, this time from Jon Anderson. "We Have Heaven" is a complex composition of multi-tracked vocals all of Jon in an amazing harmonic blissfulness. There is some support of instruments, but they are minimal and drowned in the vocals. Once we get to the climax of this short song, we are swallowed up in harmonics each singing all the different hooks from the melody at the same time when this is suddenly stopped by the sound of a door slamming and the sound of footfalls of someone running away.

The next track is a long epic "South Side of the Sky" which is not one of my most favorite epic songs but it is still a great one. I do love the long piano interlude from Rick here though, and it is at this point that we know that Yes has made a wise choice. The interlude is full of flourish, beauty and excitement, and proves that you don't need special effects and fancy synthesizer to create a powerful passage, this time it is all done acoustically and it is amazing. The rest of the song is great, but not one of their best. The next track is the short contribution from Bill Bruford. At only :35 seconds, this composition has more going on in it than most other bands can put in a typical 5 minute song. It goes by quickly, but still begs to be listened to closely. There is nothing typical about this song, but it does plenty to prove that Bruford is an amazing musician. Another band composition follows, this time a relatively short one called "Long Distance Runaround" which ends up segueing into "The Fish" which is the outstanding contribution by Chris Squire. These two songs have always been expected to be heard together almost as one song. Of course, this features the bass which is amazing. The good thing about this entire album is you can hear the bass as much as all of the other instruments, but in later albums like "Relayer" and "Going for the One" the bass seems to be pushed down into the mix. Even though the version of "The Fish" is longer and slightly better on the "Yessongs" live 3 album set, this one is still amazing.

Finally, the last track is another one of my all time Yes favorites "Heart of the Sunrise". This has to have one of the best bass/guitar hooks in existence that switches back and forth from 6/8 to 3/4 time without even blinking. The introduction of the song goes on for quite some time and I love this part of it. It starts right off on a tension filled riff at high power and lots of energy before calming down for a while with a killer bass line and building back up slowly to the high energy riff again before the tension breaks again and it comes into the main melody. Jon sings softly in 6/8 with a 5/8 riff thrown in just to keep it unconventional and Rick adds a 9/8 meter keyboard riff and the song builds and releases several times repeating several riffs, especially that crazy powerful hook that is so entrancing. This song just has to be heard, that's all there is to it. If there ever was a perfect rock composition, this is it! I just can't say enough about it. Oh, then "We Have Heaven" has a short reprise thrown in at the end.

Anyway, yes I love "Heart of the Sunrise", but I love this whole album and even though "South Side of the Sky" is one of their weaker epics (except for that piano solo), it is still better than most musicians can even hope to come up with and still does not take away the fact that this is by all means an essential Yes album and essential prog album.

If you get the 2003 reissue, you also get the excellent cover of the Paul Simon song "America" which is Yes-ified completely and made into a progressive rock marvel sounding almost nothing like the Simon & Garfunkel version and stretched out to over 10 minutes. You also get an early version of "Roundabout" which has some interesting twists from the version we are used to.

Anyway, no progressive rock collection should be without this album. It's just as important as their next album "Close to the Edge". 5 stars, but if there was a 6th star for perfect albums, this one would have it.

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 Fly From Here by YES album cover Studio Album, 2011
3.41 | 829 ratings

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Fly From Here
Yes Symphonic Prog

Review by TCat
Prog Reviewer

2 stars Okay, so I am admittedly a huge fan of Yes and I even gave "Drama" 5 stars which I still and always will believe it deserves. So, with the return of Trevor Rabin and Geoff Downs (both from the "Drama" lineup) and the long standing band members Steve Howe, Alan White and Chris Squire, I thought we had something that would really work here. But wait, who is this Benoit David? Why isn't Trevor singing lead this time around? Oh well, it's bound to be another great album like "Drama" right? Even without Jon Anderson? It all worked before!

Not this time. This sounds like Yes cover band. Oh wait a minute, it almost is! The lead singer here sounds like a poor man's version of Jon Anderson, he sounds like a cheap imitator. Even with the amazing musicians who are Yes regulars sound like they are forcing everything. Everything about this album screams out Imitation Yes.

Okay, so we do at least have a 24 minute multi song suite, so that looks interesting, right? Don't be fooled. It is a song that was already demoed to be a song by The Buggles (Trevor Horn and Geoff Downes new wave band) and it was rejected from any original track listings on any of their albums. So how in the hell did they think it would be worthy of a Yes album? Do you know what it sounds like? It sounds like a Buggles song.

I can't help but be disappointed here. This album just lacks emotion and heart felt dynamics. It sounds like a bunch of amateurs trying to copy a progressive rock formula. The only thing going for it is the sound is well produced, but that is all wasted by having to listen to a plastic sounding imitation. No originality here either. Everything just sounds like a poor rip off.

I don't like being so negative, but I hold some very high standards for a band I have loved throughout the years, a band as hugely influential as Yes. This album is a shame for me, it makes me hesitate to admit my love for Yes. But, Yes afficianados will understand, I'm sure. Yes is still one of the best, just not in this incarnation. This isn't Yes, it's only a bad imitation. I wish they would have released this under The Buggles moniker. At least then everyone would have expected the results, not that it would have made them any better.

Where is the band that I loved so much? This gets 2 stars only because the production is great, the rest of it is awful.

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 Like It Is: Yes at the Bristol Hippodrome by YES album cover Live, 2014
2.84 | 18 ratings

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Like It Is: Yes at the Bristol Hippodrome
Yes Symphonic Prog

Review by Neu!mann
Prog Reviewer

2 stars Forgive me for ignoring the two CDs in this three-disc set and going straight to the DVD. Both formats document the same May 2014 performance song for song, the redundancy in presentation matched by a likewise unessential performance. And that's a sad thing to write, especially about one of the bands that made this web site possible. What happened / To this song / We once knew so well..?

Pop the video disc into its player, and the menu opens with a montage of ticket stubs, stage photos, and other concert memorabilia from the band's mid-'70s peak, underneath the familiar symphonic walk-on of Stravinsky's "Firebird Suite". The visual medley, together with the evocative touchstone of Roger Dean's cover illustration, are sentimental reminders of a Yes nowhere to be found elsewhere in the package.

Forty years later the band with the same name has been reduced to little more than a tired nostalgia act, something Progressive Rock was never meant to be. A freshly-minted studio album with new vocalist Jon Davison ("Heaven and Earth", 2014) was already in the can, albeit not yet released when this show was recorded. But the setlist for the gig was strictly regressive, exhuming the classic albums "Going for the One" and "The Yes Album" in their entirety, every note played verbatim but at a more age-appropriate tempo.

It's hard to maintain your Progressive credentials with such a complacent agenda. Were it not for the (relative) fresh blood in the 44-year old Davison, the show might have been an ideal afternoon's diversion for the shut-ins at the local Bristol geriatric hospital. The new singer actually presents a not-unpleasing facsimile of expatriate Yes-founder Jon Anderson, lacking only his role model's infectious New Age charisma and enthusiasm. But the combined age of the remaining quintet, if placed end-to-end, would stretch all the way back to the American War of Independence, and their energy level here was equally fusty.

To be fair, the Bristol audience wasn't any livelier. You can see them whenever the cameras pan over the crowd, sitting stone-faced in passive attendance to the museum display on stage. There's a discouraging sense of obligation to the whole event, visible on either side of the footlights. Older fans can be very forgiving, but not even the strongest of rose-colored prescription lenses can restore the band's youthful vitality, or transform Geoff Downes into Rick Wakeman (the latter is sorely missed on the "Going for the One" songs).

The final insult to Yes aficionados can be glimpsed on the big overhead screen during the song "Yours Is No Disgrace": images of "The Yes Album" cover from 1971, cut to match the Bonanza-like rhythm of the opening theme but carefully framed to omit every band member except Steve Howe and Chris Squire. Was it an unhappy legal necessity, or an obvious historical whitewash?

At least the album's title is honest. "Like It Is"...which I suppose can be translated to mean "Take It Or Leave It". Given that choice, even the most devoted Proghead might be tempted to consider the second option. One guttering star, with a second white dwarf added in memory of bygone glories.

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 Big Generator by YES album cover Studio Album, 1987
2.47 | 841 ratings

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Big Generator
Yes Symphonic Prog

Review by Star_Song_Age_Less

3 stars First, I must say that I love this album. For me personally, it's four stars. However, I recognize that it's not *really* prog... and therefore "excellent addition to any prog rock music collection" doesn't make too much sense. Taken as an island unto itself, though, without any previous expectations that Big Generator *should* be prog, I think this is a great album. The whole thing has a super '80s feel to it - you can date it immediately upon hearing the first few bars - and I rather think Yes managed to do that style much more successfully than a lot of other bands did. I think this is, in no small part, due to Chris Squire's choirboy-like voice (and Trevor Rabin's, too) combining with Anderson's. They sound very thick together and make satisfying vocal walls-of-sound that don't come off as hokey as a lot of other 80's rock vocals did.

In the context of Yes' history, this is one of few albums on which they came up with some incredibly catchy tunes. Big Generator is nowhere near as artistically ambitious as the vast majority of Yes' discography, but it *is* fun. I think of it in a completely different light from serious, artsy prog.

1. Rhythm Of Love - Catchy and fun right off the bat. Morning daydream, midnight fever - one notices that the lyrics here make considerably more sense than those on some other Yes albums. However, they don't have that sense of awe that I find Anderson's usual lyrics-for-their-sound inspire. 2. Big Generator - Okay. A little plodding. Still rather fun to listen to. 3. Shoot High Aim Low - A much more laid-back song with lyrics that seem to either be talking about making out in a car or getting caught in the middle of a slaughter. It has an expansive feel, a lot of organ, and a lot of thick vocals. 4. Almost Like Love - Another catchy fun one in the vein of Rhythm of Love, but I enjoy this one more. Somehow Yes injected some of that "awe" quality they usually have in more proggy songs into this one, and it's one of my favorites on the album. 5. Love Will Find A Way - A heartstring-tugging song about resisting becoming involved in a relationship - rather similar in topic to Owner of a Lonely Heart. However, I find this song more emotionally compelling. The guitar work in this one is at once melancholy and quick/catchy - a nice combination, making the song relatively light but still carrying a lot of feeling. 6. Final Eyes - Definitely my favorite of the tracks. It's basically a proggy ballad done seamlessly well. Every part of it has a hook and it sounds so thick I feel fully immersed in it the entire time. Some nice shiver-inducing chord changes. The lyrics in this one are a high for Anderson, not only understandable but emotionally engaging. 7. I'm Running - I think this is Yes' attempt to still be "progressive" on this album, but in my opinion it falls flat. It loses that catchiness that many of the songs on here have, and yet does not recover the performance flair of their earlier work. 8. Holy Lamb (3:15) - Unfortunately, a waste of a track. Nothing much occurs in it at all, and it makes for a disappointing ending to an album that previously had a great deal of energy.

So... not one of my favorite albums of all time, but an '80s rock album executed well overall.

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 Like It Is: Yes at the Bristol Hippodrome by YES album cover Live, 2014
2.84 | 18 ratings

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Like It Is: Yes at the Bristol Hippodrome
Yes Symphonic Prog

Review by Guillermo
Prog Reviewer

3 stars A live album recorded by YES during their "Three Albums Tour" in 2014, on which they played all the songs from their "The Yes Album", "Close to the Edge" and "Going for the One" studio albums, with a line-up which still consists of Chris Squire, Steve Howe, Alan White, Geoff Downes and Jon Davison. The songs from their "Close to the Edge" album were not released in this album, so only they released the songs from "The Yes Album" and "Going for the One".

They previously released another live album in 2011 which was recorded in late 2009 by Squire, Howe, White, with Oliver Wakeman on keyboards and Benoit David on lead vocals. But that album has other songs from other albums, not only from the three albums which I mentioned above. So, until now, the band have released two live albums without lead singer Jon Anderson, who had to leave the band in 2008 due to health problems. Rick Wakeman also left the band before Anderson also due to health problems, with both of them not doing long tours for the same reasons. So, Squire, Howe and White since 2008 have to tour without them.

I think that the idea to play full albums on tour is good, and despite the absences of both Anderson and R. Wakeman, the band still sounds well, but different. It is clear for a listener like me that both are not in the band anymore, a thing which is clearer from listening to both live albums. But I think that lead singer Jon Davison`s vocals are more close to Anderson`s vocals in comparison to Benoit David`s , who also is a good singer, but he sounded like he maybe had some problems reaching some high notes in concert. Davison`s vocals sound more "natural" to YES` music, and he even gives with his singing his own "musical personality" to the songs, doing a very good job as lead singer in YES. He seems to not have many problems reaching those very high notes that Anderson sang.

Geoff Downes is also a very good keyboard player, and he also brings his own "musical personality" to these old songs. He sometimes seems to have some problems to find the right sounds of the keyboards to the songs, and some problems in trying to reproduce some parts of the songs from the "Going for the One" album (this is particularly clear to me in "Awaken"), but his playing in these songs is very good. He also includes some new arrangements to some songs (in "Wonderous Stories", and an organ part in the song "Going for the One", an instrument which R. Wakeman did not use in that song) which bring some variety to the music. It is good to listen to some variety in the arrangements in comparison to the original studio versions. But for the most part the band as a whole tended to play the songs more close to the original studio versions, more particularly in the case of the songs from "The Yes Album".

This live album also includes "A Venture", a song which was never before included in a live album from the band. The song is played very well, with a good piano solo by Downes at the end of the song.

Chris Squire still plays very well and he also sings very good backing vocals. Steve Howe is also a very good guitarist, and Alan White still is a very good drummer. But White sounds a bit "restrained" in most songs, playing them in a very professional way, but maybe lacking some "power" in his playing.

Anyway, the band still sounds well, but different. The change of lead singer, particularly, is the more clear element for me in the change of their sound, like in other bands.Maybe it is inevitable. But for listeners like me it is also inevitable to think that they sound a bit like a "tribute band" for their own music. But it is also good that bands like YES are still playing on tour and recording albums, even with some new musicians in the line-up. They still play very well...even with the absence of some former members like Anderson and R. Wakeman.

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 Live Hemel Hempstead Pavillion October 3rd 1971 by YES album cover DVD/Video, 2013
3.00 | 1 ratings

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Live Hemel Hempstead Pavillion October 3rd 1971
Yes Symphonic Prog

Review by Guillermo
Prog Reviewer

— First review of this album —
3 stars This is an interesting (but short) video documentary done by the BBC about YES and their then new line-up (Anderson, Bruford, Howe, Squire and Wakeman) with excerpts from songs played in a concert at Hemel Hempstead, in England, in 3-October-1971. The documentary also includes interviews with all the members of the band and some brief scenes filmed during a rehearsal of the song called "The Fish", plus some scenes of the tour crew doing their jobs before the concert. This video shows a still young band playing before an also young audience. In fact, this concert was the sixth of this new line-up, and they played very well, sounding very well rehearsed, and playing some songs from "The Yes Album" and some songs from their still forthcoming album titled "Fragile", which was released in the U.K. in November 1971. Wakeman joined the band in August 1971 and "Fragile" was recorded during September of that year. So, this video caughts the band in the early days of their so- called "classic line-up", and the filmed images from this concert maybe are the only ones available from this line- up (I could be wrong) because Bruford left the band in mid 1972 to join KING CRIMSON and before their next album ("Close to the Edge") was released. So, Bruford never toured with YES again until 1991-92 (during the "Union Tour"). So, this video documentary is more interesting for this fact despite it only includes excerpts from songs played at that concert. Maybe this video documentary was done to introduce the then new line-up to the general public shortly before the release of one of their most popular albums ("Fragile"). The quality of the sound and of the images is very good for the time it was filmed (1971). But...like other videos from YES and other Prog Rock bands the showing of only excerpts from songs played during a concert could be not very interesting for some fans. Anyway, it still is a interesting video documentary from the band done in a very good moment of its history.

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 Yesshows by YES album cover Live, 1980
3.61 | 376 ratings

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Yesshows
Yes Symphonic Prog

Review by TCat
Prog Reviewer

3 stars After the greatness of the first 3 record live set "Yessongs" back in 1973, Chris Squire was asked to put together another live album in 1980. The tracks on this new collection came from several shows recorded earlier and the tracks were all different from the "Yessongs" album, there were no repeats between this new collection and the previous live collection, so it was basically a continuation. This new live collection was entitled "Yesshows" and would be a 2 record set this time.

This collection featured two very long tracks, "Gates of Delirium" from "Relayer" and "Ritual" from "Tales from Topographical Oceans". These two songs take up most of the time on the album leaving room for only 5 more shorter tracks. Patrick Moraz plays keyboards for the two longer tracks. He was the original studio musician for "Gates of Delirium" but was taking on the "Ritual" track which was originally done by the master Rick Wakeman. Moraz does a very impressive job on both tracks and proves himself very well here. However, Moraz left the band just before the release of "Going for the One" and the other tracks on this album are played by Rick Wakeman, who returned to the band. Other than those two tracks, you have one of the classic Yes lineups with Alan White on the drums (who is considered a classic lineup, but so is Bill Buford, they were both awesome and interchanged with each other in their comings and goings to and from the band).

Unfortunately, the sound on this collection suffers mainly because of the mix. The good thing about the mix is you hear Steve Howe and Chris Squire quite well. But overall it is unbalanced because the keyboards are mixed too deeply into the mix and get buried in the sound. Every instrument in Yes after the first inclusion of Rick Wakeman was important, and having the keyboards buried really makes the overall sound suffer greatly.

Jon's vocals do stand out in the mix okay, and his singing is on target. However, the studio versions of these songs are so much better because of the overall sound. The sound was a little weak also in "Yessongs" but not this bad. That album still turned out to be an amazing live document. This one however, pales compared to the original. As other reviewers have said, you are better off getting the previous live album or "Keys to Ascension Vol. 1 and 2" over this one. The only problem with that though, is "Gates of Delirium" is not performed live on either of those, so that makes this collection still of value and not completely obsolete. If you really need that song in a live setting, then this is the best album to get that song on.

It is always great to hear how Yes can still perform these songs so well in a live setting and it is a testament to their musicianship in the playing of these complex masterpieces. I only wish the sound and the mix was better on this. As it is, I can only rate this with 3 stars. Good, but not essential unless you need to have a live recording of "Gates of Delirium".

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 Heaven & Earth by YES album cover Studio Album, 2014
2.47 | 327 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by Progosopher

2 stars Good Steve Howe starts this off with a nice introduction of notes fading in, just fine so far. Then it gets bubbly. Really bubbly. I mean frothy soap bubble bubbly, as if producer Roy Thomas Baker had scrubbed any and all edge out of the music. The sound is bright and clean, even sumptuous. This is nice music. Too nice. Perhaps the band as a whole has decided to outdo Jon Anderson's la-la-la style of happy songs and create the feel good album of their career. Only it doesn't feel particularly good. It feels like something is missing, which is ironic given that there are virtually no gaps in the music. Every little pause, every potential touch at drama, is filled by the lush production. Background drones, echoes, layers of instrumentation and vocals all smooth the sound out to a bland surface, even if they are all expertly done. Claude Debussy once said that music is the gaps in between the notes. If that is true, then this album qualifies little as music. That the songs are more precious than melodic is also part of the problem. None of them truly stand out. When I finish listening to this the sensation that remains is of a brightly lit cloud softly refracting in numerous shades of yellow, orange, and pink. This would be beautiful in an actual cloud, but not so much in music. Much of the playing is also pedestrian. Whenever some sort of edge comes into play, such as on Step Beyond, it is counteracted by opposing instrumentation. Howe's choppy guitar is smoothed over by the keys of Geoff Downes. In fact, I find his presence the strongest on the whole album. The keys are layered thickly. Howe does a great job on blending in with them, but it is too little to raise this album very high. To paraphrase a professor of mine, sometimes an album soars like an eagle but what we have here is a turkey pretending to be an eagle. Yes may have striven for creating a little bit of musical heaven, note my cloud imagery above, but they have given us an album that is more like a dimming fog than a billowing cloudscape. These kinds of images just keep presenting themselves to me as I listen. A fog can refract different colors of light and I think that looks cool, but again, that is not a good metaphor for music. It is not the quality of musicianship, not really. Jon Davison sounds good to me, I rather like his voice, and the background vocals of Howe and Squire sound good also. The playing is as clean as the production and precise. The problem with this album is not so much the lush production or the simplistic parts, although these augment the true root. No, the problem is the songs themselves. Any song or album requires good musicianship no matter the genre or style. For a band of the status of Yes, good musicianship is a given, and we find it here. But the best musicians need something good to work with, and with a genre such as rock, even prog rock, there needs to be good songs at the foundation, whether instrumental or vocal. The band does not have much to work with and no one is to blame but the band members themselves. After all, they wrote this album. My favorite moment is the final section of the closing number, Subway Walls. Overall, this song contains all the problems of the album in general, but that last section is truly uplifting and even energizing. If only they could have captured that feel more often. Heaven and Earth, an album I was anticipating with unusual excitement, especially after the very good Fly From Here, has proved my greatest disappointment from what is arguably my favorite band ever. Yes are among the elder statesmen of Prog, and one would hope that their profound abilities and august experience would result in an absolute masterwork, especially given the slow rate of releases these days. Great composers such as Haydn, Mozart, Beethoven, Tchaikovsky, all produced their greatest works at the ends of their lives. John Coltrane took his music into higher and higher levels. Steve Hackett has never sounded better than he does now. The latest album from Rush is their best in decades. And Yes? They seem to be trying to appeal to the brony crowd and to attract tweens who do not yet know better when it comes to the music they listen to. It has its merits but it is difficult to recommend this album very highly. I will admit that it does provide a pleasant listen in itself, just not one that deserves the moniker of Yes. There is nothing offensive about it, and mayhaps that is what actually offends. Pleasant I say in the sense that soft pillows and cushy chairs are pleasant; in the sense that a sunrise plieing above a verdant landscape of rolling hills and shaded dells is pleasant. Sign me up for that, but I require a little more edge to my music, a little more inspiration, a few more rough spots, and some of those gaps that Debussy loved so well

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 Yes Solos by YES album cover Singles/EPs/Fan Club/Promo, 1976
2.78 | 14 ratings

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Yes Solos
Yes Symphonic Prog

Review by TCat
Prog Reviewer

1 stars This is a rare sampler released in 1976 (between the Yes releases "Relayer" and "Going for the One") of tracks from solo albums the individual band members at the time: Jon Anderson, Steve Howe, Chris Squire, Patrick Moraz and Alan White. This was an attempt to try to get some radio airplay for the individual musicians relying on their status as Yes band members. As you can expect, you get quite a variety of music here, some great, some okay and some downright bad and cheesy. Production fluctuates throughout and genres are all over the place.

Each artist has two tracks that represent them here. Jon's tracks are from the album "Olias of Sunhillow" opening the sampler with track 5 from that album and closing the sampler with track 2 also from that album. Both of these songs are decent songs from the Yes vocalist, they are somewhat lite progressive and pleasant sounding. Chris Squire (bassist) is represented by two songs (tracks 2 and 9 on this sampler) from the "Fish Out of Water" album which are tracks 1 and 4 from that album. These are both excellent songs that showcase not only Chris' excellent bass playing, but his great songwriting skills and okay singing voice. Steve Howe takes up tracks 3 and 8 on the sampler and his songs come from the album "Beginnings"; tracks 4 and 9 respectively from that album. His first song is very good and gives a great representation of his guitar skills and his not always so great vocals (but they are passable at least). The second song is not as great but okay at least and also features a brass section. Patrick Moraz's first song is a piano solo and very new age sounding, but then his 2nd song is a full band with substandard vocals that is also very new age sounding, even though new age didn't really exist at the time. Both songs are quite cheesy. Alan White unfortunately doesn't fare much better in his representative songs that take up tracks 5 and 6 on the sampler (back to back). The first is a piano led instrumental which is really only Albinoni's "Adagio". The other track is a full band with lyrics sung by a soulful voice. It is very poppy and the voice again is cheesy but the brass section and the percussion is still great.

This sampler is only good for collectors or completionists. The songs are available on regular albums and are probably better served there than they are on this haphazard sounding sampler. I can only give this a poor rating because the production is not always very good, the songs are not conhesive and not always the best representations of the band members solo works, even for the time of the release. I highly doubt this sampler served it's purpose very well. For those who have to find it for their collections, all I can say is good luck, but it's probably not worth the time it will take to find it. You are better off getting the proper solo albums or sticking with the masterpieces released by the band. 1 star.

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 Fragile by YES album cover Studio Album, 1971
4.43 | 2585 ratings

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Fragile
Yes Symphonic Prog

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars In 1971 YES was riding the prog wave by releasing not just one but two classics that year. After going through several lineup changes it was time for yet another. Tony Kaye was asked to leave the band for not wanting to adapt to the group's ever expanding musical vision and incorporating more modern keyboard sounds to the mix and as a result the band scouted out Strawbs keyboardist Rick Wakeman cementing the band's most famous and celebrated of lineups in their several decade career. Noticeably different between "The Yes Album" and FRAGILE is on the former it had a bluegrass and countrified feel at times whereas with the addition of the classically trained Wakeman, the emphasis is much more in the classical music arena.

This album marked huge success in the YES world. The album proved the power of prog and its holy progginess hit the top 10 on the Billboard album charts and even spawned a top 40 hit with "Roundabout." FRAGILE also marks a new beginning with Roger Dean hopping on board to create his fantasy inspired artwork which would be a staple of the band throughout the 70s. Without doubt the album cover and title are inspired by the recently invented Earth Day and the global awareness of just how delicate and FRAGILE the life support systems on this planet can be.

The album does have one thing in common with "The Yes Album." The four longer full band tracks alternate with five shorter tracks that each member of the band contributed as to give each member a glimpse into their musical vision that isn't always apparent when melding in a band situation. The idea was conjured up more for a money saving one than an act of brilliance because it saved time and money in the recording process. Consequently the album may sound a little disjointed but after listening to this for years i have kinda come to the point where it is ok and i actually like the turbulent changes ranging from Wakeman's Brahms cover (Cans And Brahms), to Anderson's vocal dubbing fantasy (We Have Heaven), to Bruford's 4/4 timing with proggy-to-the-max dressing (Five Per Cent For Nothing) and Howe's beautiful classical guitar piece (Mood For A Day).

The longer tracks, "Roundabout," "Long Distance Roundabout" and "Heart Of The Sunrise" have to be some of the most catchy sounding progressive music ever! Each delivers a different mood mixing beautiful melodies with hearty instrumental workouts. The new lineup melds well together and although this album could be deemed a rehearsal for the following more sophisticated albums, FRAGILE works wonderfully in its own right providing yet another transitory experience in the fluidity of YES' ever-changing career. This is one of my first prog albums so it has that specialness attached as well, but even listening to it now with a more objective ear, it rings a uniqueness and warmth that very few other albums in history do.

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