Lizard has picked bass sound, non-mellotron keyboards plus an epic piece with Anderson singing on it, all important Yes features.

mechanicalflattery wrote: *shrug*

Perhaps elements of the sound of "The Ladder" could be compared in some respects to the sounds and composition approach adopted by '80's KC? I'm mainly thinking of the electronic percussion here so it's a superficial comparison, please don't grill me on this. 

By the way how often do we have to express annoyance with CAPTCHA - I usually don't get the comparison pictures, instead the checkbox to confirm that I am not human, followed by a success message then an error page that says I don't have permission to post 

 

but to answer the thread, as mentioned above, apples and oranges, NONE.

Red is more aggressive overall, certainly, but LTIA has an unpredictability and idiosyncrasy perhaps reminiscent of Relayer, the one album with its clattering percussion and stomping drive and the other with that fractured guitar trying to rip itself apart.. If nothing else, LTIA and Relayer are arguably the most experimental albums by their respective bands, chaotic maelstroms threatening to splinter apart at any moment (although both with their quieter moments naturally). Red is more controlled and mathematical, the minimalist build up in Starless being the most obvious example. 

Hi,

NONE

Yes this one sounds like Yes. But in general they represent prog from a different perspective and lack KC's jazzy edge.

I repeat an earlier comment: how about the rythm section of ABHW, with both Bruford and Tony Levin, this evidently for the 80's incarnation of KC...

another connection is Tony Levin , who played on ABWH and Yes 'Union' , and in bunch of KC-related projeKCts

Where is this coming from?

Alan White learned all Yes catalog in 3 days, when he was hired.

and Bruford didnt play in Relayer.

imho they are equal in terms of greatness. just different.

it the same as Chris Squire vs Geddy Lee or apples vs oranges

Geddy is also much better than Chris. These all four musicians do their stuff in a great way, but it´s a fact that some musicians are better than others. You don´t find the differences easily, but hear it, when somebody´s have to continue after so great drummer as Bill (I think he´s the world´s best). I think I would have hear the same, if Chris had to go into Rush after Geddy has left it. If you don´t understand what I am saying, then this is useful to continue.

Hi,

I'm not sure I like to compare musicians ... it simply isn't fair, and someone thinking that this has more than that, or less than that, is like saying ... one's wee wee just isn't enough for the job ... get a bigger bass guitar? ... get a louder guitar lead? ... get a drummer with more toms?

There are distances and deserts between Chris Squire and Tony Levin or Greg Lake, or even John Wetton, whose progressive roots, in bands like FAMILY were also very strong and interesting, although a bit strange, but they came alive with the right folks around him ... in King Crimson.

I, specially, find the comparison between Alan White and Bill Bruford. They are two completely different drummers, and while I thought that AW was more rock oriented, and Bruford more jazz'y oriented with touch, I think that what YES needed at the time, was a more rock'y edge to help bring about their new material, and make sure it was enjoyed and played on radio (FM radio in the USA), at the time, when something more jazz'y would be likely to not get as much attention, since things at the time 1972, were going towards rock, bigger and louder.

And in the end, Bill joining King Crimson, was actually an outstanding fit for him, and I wish he had not retired and be one of the drummers in the current 3 drummer setup in KC, and help blow out the audience ... and show the fans ... this is about MUSIC ... not mechanics or gymnastics between drummers! Surprisingly enough the one drummer that would likely suffer the most in that idea would be Gavin Harrison, who is likely too mechanical and mathematical for Bill's taste, but it would allow Bill to do touches and percussions on the side.

As for guitar ... both very distance, although my thoughts are that Steve Howe solo's way too much and fortunately, it does not hurt the music of YES, and has become a strong staple of it, and this is something that Robert Fripp does not do ... for him, it's about the composition as a whole and its inter-mechanics and subtleties ... and I think that Steve Howe depended on Chris Squire to add these "touches" to make the rest of the music more interesting, and of course, it all worked well and we remember almost all of the pieces they did. In King Crimson, I think this would only happen in rehearsal, and it would probably end up being used in a new piece somewhere down the line ...

I was going to say...Alan White might be the only person who can put his feet in Bruford's shoes in terms of Yes. That guy is so underrated and under appreciated for the level of intensity he not only had to follow up on, but managed to maintain and even top on Relayer!

Bruford is my favorite drummer of all time. White is no Bruford, but he almost makes you feel like Bill never left. He was the perfect fit for Yes after CtTE to my ears!

Otherwise, I agree with "apples and oranges," although Prince Rupert Awakes was a nice break from KC tradition! 

Fripp was very close to becoming guitarist for Yes when Banks was booted out, I'm glad that didn't happen because the ego battles would have been epic! 

I find this strange ... just because this bass is used, or that mellotron, or that organ, all of a sudden it is supposed to sound like YES, when it is not even close, even in the lyrics and general composition. And this is the hard part for me ... just because the mellotron was used, it did not make them all sound like the Moody Blues ... but then we can say that is sounded like YES, or that ... the cat pooped in the litter box and it smells!

Listening to a piece of music, for ME, is not about does it sound like this or that ... it is about the way the instruments get used and work together to create a vision for the music, even if there are no lyrics to give us an "idea" (what a crock that is!) ... the music must live on its own, not because of someone else ... heck, so it becomes like saying that Tchaikovsky ripped off Beethoven (or vice versa) because he used 24 violins ... and Xmany of something else!

Are we talking music?