It's a good album and I agree Horn did a good job, although he did come unstuck at the live shows - I remember him going red in the face trying to reach some of the higher notes of the Anderson songs during the tour.

I know what you are saying---but voted for the album that has one of a kind genius (who can do anything) on guitar---Howe. Even if the music isn't 100% magic its always great to hear him play.

I know what you are saying---but voted for the album that has one of a kind genius (who can do anything) on guitar---Howe. Even if the music isn't 100% magic its always great to hear him play.

I love Steve Howe's guitar, from The Yes Album to Relayer, these are among my favorite guitar albums of all time, I love the feeling, the tone, but..... as a guitarist myself, I disagree he can do anything with guitar. On the other hand, especially in later period (80s and on..) he is quite tedious, not inventive anymore (he is obviously in it only for money), his live playing is often sloppy and generally he is stuck mostly in his Chet Atkins's (albeit upgraded) country-tinged guitar. He cannot play clear fast staccato or adjust himself for heavier styles. He is versatile in terms of changing plethora of different string instruments but not much in style range. Technically he is overrated imo, his parts are not difficult to master (although his tone and writing style in early period are still very unique).

I liked Beverly Hills 90210/90125/OU812 at the time, but don't tend to listen to it much these days.

No, just the one the really young people like. 

Yes, I recall Trevor Horn occasionally got unfairly booed at by the audience during the Drama tour.

 

Maybe that's why Trevor Horn went back to being a producer - and a very good one too - after the drama of the Drama tour.

I saw a performance of the Drama tour. It was different, but I agree that Trevor Horn did not deserve to be booed. He gave quite a good performance.

I've always been reluctant to dip into albums like 'Going for the One', '90125', 'Big Generator', etc..  (being a relatively  purist/hard core progger, I always have been a little afraid in tackling them..  (don't wanna break the spell of what 'Yes' means or has meant to me (imo); though, well, ya know, that goes changing with time.. it doesn't have the importance once had) and also now that is virtually free checking them out..), so I don't have a thorough idea of many of them (in part a reason for being on PA). 

Did the duely re-run on 90125 though.

The past round, that said, www.progarchives.com/forum/forum_posts.asp?TID=122081" rel="nofollow - Drama vs. Going for the One , sure taught me something though.. 'Going..' has goodies in there.. has a good sound generally, 'Parallels' a very welcomed dynamic piece, with Squire's bass adding heaviness and conversing nicely with the echoed and chorused catchy singing, as well as Howe's guitar and the incessant and loud keyboards (not changing my Drama vote though , at least not yet..). 'Turn of the Century's fair too.. The hugely praised 'Awaken' barely does anything for me.

So, is Drama for me..  I don't put it on the same level of the past Yes' masterpieces, but it sure has a clear prog intent on it (stained with 80's cheesiness in some places, but it is there..).

I still think you should give 90125 a spin sometime. It’s always good to branch out a bit. Of course, it is not the Yes that you know, just like the Howe version was so different from the Banks version. If you’re eating a carob bar, and if you expect it to taste like chocolate, you’ll be disappointed. But, if you enjoy it for what it is - carob - you might find that you like it. Trevor Rabin is not Steve Howe, never will be, and really shouldn’t be expected to sound anything like him. He sounds exactly like who he is, and good on him for staying true to himself. I do think they should have changed the band’s name, which is what was supposed to have happened. Rabin originally signed on with Cinema, not Yes. So, just think of it as “Cinema” and forget the Yes name altogether. On another note, I’ve discovered many recommendations on PA, and have really been enjoying them.

Tempus Fugit is a killer track.

Hehe.. yeah I wanted to choose a song for a name that wasn't one of the 'main', most well-known ones, but maybe an underrated jewel (I know MM is well known and appreciated); in the spirit of this Site, that is to meet, sometimes little-known stuff.

I appreciate your post, really. I kept thinking maybe <span style="display: inline !imant; : none; : rgb255, 255, 255; color: rgb0, 0, 0; font-family: Tahoma,Verdana,Arial,Helvetica,sans-serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-trans: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;">my post </span>could come across not so well to some (not saying you)..  sorry for that!

I totally hear you, and will apply your advice, though I think I do it somehow..  'Owner of a Lonely Heart' for example I find it superb, no mixed feelings there or anything. The guitar is fantastic.

By the way, with Genesis I was the same before..  but somehow I found it easier with the Collins' era (I liked Phil Collins as a solo artist before meeting Genesis), but with Yes, a specially dear to me, it has always been harder (with Genesis are only the early 80's ones, I mean not much further, it is true that I'm anchored mainly in the 70's..   it just is the style and spirit I love).

I'm a long-time great fan of Howe by the way, and can play some of his pieces on guitar. Some time ago I learnt about Chet Atkins too. I liked very much what you said and the vid you posted about him.