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Yes - Fragile CD (album) cover

FRAGILE

Yes

 

Symphonic Prog

4.46 | 4043 ratings

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Penumbra
5 stars "Fragile", released in November, 1971 in the United Kingdom, is a seminal Symphonic Progressive Rock album. It is also a critical album of the early 1970's, spurring Rock on to become something more than pop music. Composed of nine amazing tracks ranging from experimental to classical, "Fragile" is a pure achievement of Symphonic Prog.

I. "Roundabout": One of Yes' greatest albums begins with a reversed chord. This tense, singular crescendo falls into a beautiful classical guitar piece. The soft guitar, in turn, leads to an explosion of bass guitar and drums. A perfect segue from peace to action crafts the background groove for Anderson to come in with his trademark double-channel vocals. The rhythm section, here including Howe's precise classical guitar, takes a back seat to the new addition, Rick Wakeman, and his keyboard playing. His masterful classically-inspired arpeggios on the Hammond organ set the mood in this anthemic piece. Added to the mix is a moog synthesizer and mellotron flute bank. The greatest point, besides the keyboard playing, is Chris Squire's signature growling, treble-heavy Rickenbacker bass guitar from 1969. A beautiful track, and one worthy of the recognition it has recieved over the years.

II. "Cans and Brahms": The first commissioned solo piece on "Fragile" is an excellent mix of Baroque and Classical technique. Wakeman's transcription of a section ofJohannes Brahms' third symphony isn't exactly a revolutionary arrangement, but his liberal use of the RMI Electra-piano is beautiful and the entire piece eminates a melodic aura.

III. "We Have Heaven": I absolutely love this piece of music, as it almost comes off as ridiculous in its 'fun' experimentation. Anderson's solo piece consists of echoed and double-tracked repetitions. It is not technically important or amazing, but it lends an interesting atmosphere of thought and imagination at what the "Moon Dog" is.

IV. "South Side of the Sky": When the previous piece fades into oblivion, this amazing and truly Symphonic piece opens with the sound of desolate silence. Out of nowhere, as in "Roundabout", an explosion occurs and Bruford's amazing drumming opens. Squire's aggressive bass guitar immediately joins to complete the rhythm section, and Wakeman's distant organ creates this amazing trio. Anderson's vocalizations are intense and powerful, speaking of journies, death, the past, and the future. One of the best grand piano solos of Yes' time as musicians flares up after two minutes, and Squire's bass picks up with the drums, in one of the better mood-change segues of Symphonic Prog's history. The piano takes the song from desolate and lonely to hopeful, all the while playing fiercely jazz and classical inspired music. As the piano fades into oblivion, the opening theme is re-introdued. Howe's violent electric guitar fills the void left by the death of Wakeman's piano, and is some of the best playing I've ever heard. One of the best pieces of music ever made by Yes.

V. "Five Per Cent for Nothing": Bruford's signature solo track, which has earned animosity since 1971 as a piece of blatant filler. Thirty-seven seconds of odd percussive noises, generated entirely by Bruford (except for a brief organ part of 2-3 seconds), sets up the piece, and then die. Considering each member recieved a 37% bonus on anything they made, Bruford consciously composed a joke. Seemingly pointless as it is, it adds quirkiness and humour.

VI. "Long Distance Runaround": A guitar and Electra-piano play together for a few seconds, and then the bass guitar and powerful drums enter. That is the essence of this piece, which is in actuality very skilfully played. A melodic groove works very will in forcing the listener to move around. Anderson reminisces about choices two people made in the past, the "Long Distance Runaround" being a metaphor for some process or event that happened. A loose jam evolves in the latter portion of the song, with drums, guitar, Electra-piano, and especially bass guitar doing a fair amount of cohesive work. Once Anderson finishes up, this quasi-memorable track fades into one of Yes' most memorable....

VII. "The Fish (Schindleria Praematurus)": One of this reviewer's favourite instrumentals, consisting of simple drums and Chris Squire's distorted bass guitar. Some liberal use of delay and distortion pedals lend a very quirky and conceptual feeling. The piece acts a visual; it is easy to see a fish frantically swimming about in a pond or under some vast ocean. Chris Squire's wah-wah tinged bass, along with a descending delayed bass attack, make up one of the most powerful anthems of a Yes composition.

VIII. "Mood for a Day": Without a single doubt the best recording present on "Fragile". Steve Howe's lone guitar is the ultimate mood piece, likely the reason for the name. Obviously influenced by the great classical master Andres Segovia, Howe aims for a masterful tinge of baroque technicality that is unrivalled in progressive rock. Only Steve Hackett of Genesis and Segovia himself could rival such beautiful solo classical guitar as this. It is perhaps reminscent of flamenco guitar, simply without the percussion; in the end, Howe's riffs, arpeggios, and concluding notes are perfectly played.

IX. "Heart of the Sunrise": Along with "Roundabout" and "South Side of the Sky", this is the seminal piece of progressive music on Yes' "Fragile". A massive introduction, consisting of Bruford's mighty jazz drumming, Squire's intensely fast bass guitar playing, and Wakeman's disturbing organ. After a brief prelude of what could pass as Progressive Metal, Rick Wakeman introduces the mellotron. One cannot accurately describe the heavenly sound introduced by this machine, and it makes this piece what it is: pure symphonic beauty. After a short interlude with waves of mellotron, the prelude's theme returns: drumming, bass, and now electric guitar are violent as ever. This too dies, and Anderson makes his debut on the last track of "Fragile"; his voice is quiet and respectful, as if in mourning. Wakeman, Bruford, Howe, and Squire all work together while the vocals are on philosophical tangents about love, decisions, dreams, and the beauty of the sunrise. The moog synthesizer and piano are allowed to shine for a few moments before the conclusion, but this piece is the epitome of players working together, so there is no flashy solo. Once "Heart of the Sunrise" finds its far-reaching conclusion, the effect of all the chords and instruments playing at once is overwhelming.

On "Fragile", all five members of Yes pull together to create an ultimate fusion of classical techniques with rock music, creating some of the greatest anthems of Symphonic Progressive Rock. Overall, 'Fragile" is an essential part of the Symphonic discography, and a shining jewel in the crown of Yes.

Penumbra | 5/5 |

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