YES

It was an ambitious three-disc album. Visually the cover, the packaging, the artwork?everything made an impact. It stuns you before you even hear a single note. Owning that album was already an achievement for a Yes fan. Listening to it was something else entirely.

Can you imagine what it was like to have this musical device in 1973 A double album was already crazy now imagine a triple album. It was like buying an opera. Yessongs was not only ambitious, it was also a commercial success and the most talked-about album at the time. It wasn't until the following year, in 1974, that Emerson, Lake & Palmer released Welcome Back My Friends?, also daring to publish a triple live album. But to truly capture the full dimension of Yes in 1973, maybe even a five-LP set would have been necessary. Other bands, like Genesis, opted for single albums, and many experts in progressive music argue that one of the reasons Italian prog never broke into the mainstream was because they didn't produce strong live recordings. If that's the case, it makes you wonder: can a truly great live recording define your entire legacy.

Yessongs was recorded during the North American tour for Close to the Edge, and it has the distinction of being the last performance with Bill Bruford and the first with Alan White, who plays on most of the tracks. Musically, the album presents many limitations, especially technological ones. The band couldn't fully replicate what they were doing in the studio. Beyond those limitations, the final mix wasn't quite what anyone expected either but it ended up giving the album its unique identity. Personally, I don't mind the sound, nor do I love it; it's fine. The tracklist plays like a greatest hits collection from 1973, with highlights from The Yes Album, Fragile, and the complete Close to the Edge suite.

In addition to the audio release, Yessongs was also filmed and released in cinemas at the time a bold move that further cemented its iconic status. Over the years, the film was reissued on various video formats, always preserving its original sound. Despite the flaws in audio fidelity, this consistency gave it a timeless authenticity and raw charm that fans came to love.

I remember reading about an expedition of mountaineering doctors to Mount Everest in 1981. They were experimenting with different drugs and medications and how they were metabolized at high altitudes. I was a mountaineering enthusiast at the time and devoured everything I could on the subject. In one of the books about that expedition, I found personal notes from the members, and in them, a detail stood out: the music they listened to was Yessongs. They had it recorded on cassette and played it on Walkmans during the climb. Yes accompanied them on their journey.

From that little anecdote, I became a fan of Yes despite buying the album in the mid-80s and not actually listening to it until almost 10 years later.

I believe that this grandeur conditioned Yes' career. It took them from being a great progressive rock band to a legendary one. And it undoubtedly shaped everything that followed: longer songs, increasingly complex and ambitious albums everything was touched by the scale and impact of Yessongs.

The Ladder and Magnification are arguably Yes' most turbulent albums?not because of their musical content, but because of the circumstances surrounding their creation and release.

Magnification was originally set to be released on September 11, 2001. The tragic events of that day forced a delay and cast a long shadow over its reception. But The Ladder, released two years earlier, faced its own tragic chapter: the sudden death of its producer, Bruce Fairbairn.

In late 1998, Yes regrouped in Vancouver to write new material. For the first time in years, they returned to collaborative songwriting, abandoning solo contributions in favor of building songs together from fragments and ideas. This period also marked keyboardist Igor Khoroshev's full-time integration into the band.

The title The Ladder was inspired by a 1966 artwork by Yoko Ono, famously seen by John Lennon?a ladder leading up to a magnifying glass that revealed the word "YES." It's a fitting metaphor for an album that aims for something affirming and meaningful but ultimately falls short.

Bruce Fairbairn played an unusually hands-on role. He attended rehearsals, helped select material, and brought renewed energy to the sessions. It was his idea to return to analog textures he convinced Chris Squire to use his classic Rickenbacker bass again, giving the recordings a familiar Yes flavor. Steve Howe would later describe him as one of the most cooperative producers he had ever worked with.

Then, on May 17, 1999, during the final stages of mixing, Fairbairn died suddenly of a heart attack. Known for his punctuality, concerns were raised when he failed to show up to the studio. His passing left the band stunned and cast a somber tone over the completion of the album. The final track, "Nine Voices," was dedicated to him.

Musically, The Ladder is an improvement over the dismal Open Your Eyes, which had somehow sold well despite its lack of inspiration. Structurally, the album is more coherent, and the title track?a 9-minute highlight is genuinely beautiful, easily one of Yes' best songs in years.

But the rest of the album doesn't hold up. Much of it feels lightweight and uninspired. "New Language" tries to recreate the energy of earlier epics and fares slightly better, but still pales in comparison to the band's classic material. "The Messenger," a tribute to Bob Marley, completely misses the mark. Rather than channeling Marley's spirit, it feels like a genre experiment gone wrong.

Overall, the album feels like a contractual obligation. With 11 tracks running just over an hour, there's very little that truly sticks. Most of these songs would never have made it onto an album during the band's prime years.

The production lets the album down. Whether Fairbairn managed to complete the mix before his death or someone else stepped in, the result is cold and overprocessed. Steve Howe's guitar sounds metallic and unnatural, Alan White's drums are buried and lifeless, and the bass is oddly bright and disconnected from the rest of the mix Igor Khoroshev is the only one who stands out, as his good taste is evident in the analog sounds he uses, especially in the titled track. The whole thing feels flat and sterile?lacking the warmth and dynamism that defined Yes in their peak era.

The Ladder could have been something meaningful. The band was working well together, the energy in the studio was reportedly good, and there was a clear attempt to recapture the old magic. But the tragic loss of their producer, the uneven songwriting, and the uninspired production turned the album into something that never quite takes off.

Roger Dean's cover art nods to the band's classic era, but the music within doesn't live up to the promise. In the end, The Ladder isn't a triumphant climb upward?it's a weary ascent to nowhere.

Yes lost their direction after Union. What followed was a string of poor studio albums: Talk in 1994, Open Your Eyes in 1997, and The Ladder in 1999 perhaps the best of the three, but still part of a musically weak period. The band seemed to realize that reviving their 1970s classics was far more profitable. There was little genuine interest in creating anything truly good. This was the era of Igor Khoroshev, and it marked one of the most uninspired chapters in Yes's history. Rick Wakeman made occasional appearances, managing to rescue the band from total collapse.

Despite the lack of inspiration, Yes released Keys to Ascension in 1996?1997, featuring Wakeman once again. It turned out to be a profitable move and served as a kind of truce with their frustrated and disillusioned fans.

Then came The Ladder. Wakeman was no longer in the band, and the album felt like a small effort to do something better but that would be explored later. The bigger question remained: how would Yes face the coming decade, the 2000s. Would they simply continue celebrating their past, or take a stand and release something newly inspired?

Khoroshev's departure opened up the possibility of Rick Wakeman's return to the studio but not without controversy. Khoroshev was involved in a backstage incident in which he made repeated unwanted advances toward two female security guards. He was later charged with assault and battery and sexual battery, both misdemeanors. There were also reports of him being loud and verbally abusive at his hotel. Despite the scandal, Yes emerged publicly unscathed, but Wakeman did not return, and the band once again found itself without a keyboardist.

Although The Ladder showed some signs of renewed focus, the band still lacked the spark of old. That spark would finally ignite during a bold shift in vision one that traded keyboards for a full symphony orchestra.

Yes then took a break to reflect, and it was during this pause that Jon Anderson and Steve Howe proposed an idea that would mark a sharp turn away from the synthetic sound of the 1990s: a symphonic album with entirely new material. It was something Yes hadn't attempted since Time and a Word in 1970. Everyone agreed it would be a return to their roots with a bold and unexpected twist.

The band began work on demos and initial recordings. Initially, they approached Trevor Horn to produce the album, but he declined due to a backlog of unfinished projects. Instead, Horn recommended Tim Weidner. For the orchestral arrangements, Yes chose Larry Groupe, a lifelong fan of the band. The collaboration was creative and relaxed, with Groupe bringing in the San Diego Symphony Orchestra to handle the orchestral parts.

Steve Howe entered the project with enthusiasm, though that soon gave way to caution. He later revealed that the album had been difficult to complete, describing it as a "problematic one to make," and credited the "relentless efforts" of executive producer Jordan Berliant, Weidner, and himself for getting it over the finish line. Despite saying the album contained "too much music" on one disc, Howe admitted that the band "did get it right" in the end.

Magnification was released on 10 September 2001. It was originally scheduled for release in North America on 11 September 2001. However, plans were disrupted by the terrorist attacks that occurred in New York City on the same day. As a result, the release was postponed to 4 December 2001. The album's chances of success were further damaged when Beyond Music went out of business just one month after its release. Musically, Magnification is sweeping and cinematic, blending Yes's signature progressive structures with lush orchestral arrangements. The band embraced a more organic, spiritual tone, with introspective lyrics and broad dynamics that gave the album a sense of both grandeur and intimacy.

The album is well worked and songs sounds great, "Can You Imagine," features Chris Squire on lead vocals with Anderson on backing vocals. It was originally recorded as a demo in 1981 for the proposed supergroup XYZ (featuring Squire, White, and Jimmy Page), and the session was remembered by Alan White as particularly fun.

The album is the best thing Yes had done on studio in a long time. The band finally gave free rein to their creativity and achieved something that, while not unforgettable, is quite good and it would also be Yes's last studio work with Jon Anderson. Though overlooked at the time due to unfortunate timing and poor label support, Magnification has aged well and is now regarded by many fans.

Yes's biggest success wasn't 90125 it was Union. Perhaps it wasn't a commercial success, but it was Yes's success in transforming from a huge band into a living legend. Beyond the music, with Union it was the commercial move of bringing together all the members of the band not only for a studio album but also for a tour.

Yes became a company that generated millions in profits. For Union, there was great merchandising. I remember t-shirts with original art by Roger Dean, posters, and reissues of old albums. There was also a video that accompanied a 4-CD box set, Yesyears. I initially had Yesyears retrospective on VHS. All of it generated sales, profits, and high expectations among fans. The Union tour was already rolling and generating more than positive comments.

The Yesyears documentary surprised me from beginning to end, with an introduction showing Yes playing in 1969 with Peter Banks performing No Opportunity Necessary, No Experience Needed live?something I had never seen or heard before. From then on, only surprises.

The documentary is the story of Yes told by its own members in their own words. We can see Chris Squire explaining how he met the other members, how he contacted Bill Bruford, Rick Wakeman, and so on, with each member of the band. They talk about the first jams, the compositions, how Fragile or Close to the Edge were created. Something that in 1991 was unthinkable and never seen before?everything was new.

It was a historical document, and for the fans, it was necessary to witness this moment in the band. The video interviews are entertaining and enjoyable. You can see a happy band that is having a great time.

Yes, it was Yes's time, and the video shows you interesting things. If you weren't a Yes fan, this documentary might convince you to become one. This video was the first of its kind. Later, other bands and solo artists would take that format to tell their story, and they would do so. Even The Beatles would follow suit when they made their famous Anthology.

Yesyears, as the VHS back cover says: "yesyears is the definitive entire musical history." exclusive interviews behind-the-scenes footage from their '91 reunion tour over two hours of rare archival footage, studio sessions, and timeless performances, including:

This video is something unique and, as history has already shown, unrepeatable. Ninety four minutes of brilliant moments, exciting things from the band, drama, and important stories never before seen by Yes fans. Perhaps there could have been something with Peter Banks or Patrick Moraz, but beyond that, it's a great historical document.

What is the best Yes live album? That's a difficult question and the answer isn't simple either. Some might say it's a 1979 recording, when the band was more technologically equipped to perform their complex material than they were in 1972. Others might argue for the Relayer tour, where those same complex songs were delivered with incredible precision and mastery.

For me, as a fan, I've always loved Yessongs, despite its rough sound and the band's struggle to fully capture their studio magic on stage at that time. I also have a deep appreciation for the Patrick Moraz era, and even the Union tour, with its epic, emotional performances that are hard to match.

However, I believe the true peak of Yes live performance came with Keys to Ascension. There's a reason for that : technological, musical, and generational. By that point, the classic lineup had reunited with all the tools and maturity to finally deliver the ultimate live Yes experience. It's a moment very hard to surpass.

And now, I'm not a fan of the current incarnation of Yes at all. I personally prefer Jon Anderson's solo work over the version of Yes led by Steve Howe who refuses to retire or fade away. With the passing of Alan White, Howe is now the only remaining classic member of the band. Despite that, Yes is like a giant that keeps rising and refusing to disappear. It has survived Jon Anderson's departure, the death of Chris Squire, and now Alan White.

Topographic Drama includes Jon Davison on lead vocals, acoustic guitar, and percussion; Steve Howe on guitars and backing vocals; Billy Sherwood on bass, backing vocals; Geoff Downes on keyboards; Alan White on drums and percussion; and Jay Schellen on additional drums and percussion. Schellen, now the current full-time drummer, would later replace the legendary Alan White. I think Topographic Drama Live Across America. It revives songs that had been long forgotten in the Yes repertoire, while also honoring the all time classics. The album opens with the entire Drama album, performed impeccably. Then come a few classics like "And You and I" and "Heart of the Sunrise," followed by an ambitious dive into Tales from Topographic Oceans with "The Revealing Science of God", the "Leaves of Green" (excerpt from The Ancient) and a powerful rendition of "Ritual." The set closes with an outstanding encore, stretching into a long and energetic finale with "Roundabout" and "Starship Trooper."

Topographic Drama Live Across America, beyond its historical significance is the last live recording with Alan White, and the first with Billy Sherwood as a full time member replacing the irreplaceable Chris Squire. It also features one of the best Roger Dean covers. The album is incredible: it sounds fabulous, the instruments are perfectly mixed, and the performances are some of the finest I've ever heard. Stylistically, it's almost flawless. This isn't just a good Yes live album it's one of the best made by any incarnation of the band, and perhaps one of my personal favorite.

There's a special atmosphere when listening to this album. There's something about what it generated at the time that appeals to me. Union was born out of a marketing problem, sparked by the public's curiosity about the internal conflicts that had divided Yes into two factions: ABWH on one side, and Squire, Rabin, White & Kaye on the other. On one side, Anderson and company; on the other, Squire, Rabin and company. Both had similar successes: some out of tradition, others trying to present a new side of this old band. But one thing united them: they both belonged to the same band, Yes.

So the label executives, along with representatives from each member, acted as mediators and presented them with a project that sounded like a resounding success. They also gave them the freedom to invite other musicians and producers. Everything was managed by the label, which saw the words "success" and "money" everywhere. Eventually, everyone agreed, and that's how ABWH settled their differences with their now-friends in Yes. Since they were both recording their respective albums, they decided to combine them and create a single project.

The only thing that truly united both projects was Jon Anderson's immeasurable voice. To make things more enjoyable, Chris Squire added his unmistakable backing vocals to both albums... all was happiness and good vibes. On one side, ABWH presented: I Would Have Waited Forever, Shock to the System, Masquerade, Without Hope You Cannot Start the Day, Silent Talking, Angkor Wat, Holding On, Evensong, Take the Water to the Mountain, Dangerous (Look in the Light of What You're Searching For); and on the other side, Yes presented: Lift Me Up, Saving My Heart, Miracle of Life, The More We Live Let Go.

According to Alan White, Yes had approximately three months to finish their songs.

In fact, Yes only contributed four songs, which contradicted Arista Records' initial claims. This reinforces my opinion about Union: more than a lucky coincidence, it was a calculated marketing strategy. ABWH had been working for a long time on a project that seemed uninspired and lacking momentum, perhaps even doomed to failure. Perhaps that's why they decided to merge the two projects. The question remains. The truth is, as a fan, I couldn't have been happier when the album was released. Seeing the entire Yes family on a single album, and with a tour already scheduled with every member of Yes in history, except for Peter Banks and Patrick Moraz, was something historic and unrepeatable.

Roger Dean's cover is, in my opinion, the best in Yes history. A true work of art. An impressive list of collaborators : Jonathan Elias, Eddie Offord, Mark Mancina, as well as musical collaborators like Tony Levin, Jim Crichton, Billy Sherwood, and Steve Porcaro, to name a few. It felt like a party, a Yes party. But, of course, there were always problems and disagreements, which were eventually resolved during the tour. The camaraderie returned.

The end result was again mediocre. Good songs, great musicians, but a terrible sound: overcompressed, overprocessed, and lacking in warmth. The music is incredible, but the excessive production and effects undermine it. To my regret, this would mark the beginning of a sound that would follow Yes until now. it's distinctive, yes, but not warm. I'm not saying it had to sound like Fragile, but it should have had a certain organic feel that's missing here.

Union is what it is. It's the reunion of Yes and a tour that brought it all together. An album that didn't live up to anyone's expectations, but conveyed a beautiful meaning. It was the only great Yes reunion. And the music Well, to be honest: Who cares, Union transcends music and has a more esoteric meaning.

Relayer was Alan White's true consecration as Yes's drummer. It also proved that the band didn't rely on Rick Wakeman to create outstanding music. Relayer stands as Yes's most experimental album, with Patrick Moraz showcasing his brilliance and firmly establishing himself among the top-tier keyboardists of the era.

It was Moraz who invited Yes to his native Switzerland specifically to Vevey, on Lake Geneva, a heavenly and elegant location. There, the band began working on new material, fully inspired. But just as the sessions were getting underway, Brian Lane and Atlantic Records delivered a surprising twist: the return of an old friend.

Wakeman's return brought mixed feelings on one hand, the joy of reuniting with a familiar face, and on the other, uncertainty about what would happen to Moraz, who was already contributing to new material. Some of that work had taken shape by then, including early ideas for "Awaken," "Wonderous Stories," and "Parallels." However, Moraz was ultimately asked to step aside.

Despite this, he had proven himself musically and personally his contributions to the Relayer album and tour, and on solo projects like Beginnings ( Howe) and Fish Out of Water ( Squier ), showed his spirit of collaboration. Still, his relationship with the band ended poorly. He later criticized Yes for a lack of financial and artistic recognition. Chris Squire noted the tension between Moraz and Howe, even calling Moraz "a pain in the ass for everyone."

Yes stayed in Switzerland partly for tax reasons and continued working with Wakeman, who re-entered the fold smoothly. The result was Going for the One, one of the most entertaining and inspired sessions the band had experienced in years.

At this point, Yes was emerging from a solo-heavy phase. Going for the One marked the return of the full band dynamic. Despite the dominance of disco in 1977 and growing pressure from their label, Yes pulled off a surprise hit with "Wonderous Stories," their first major radio success since "Roundabout." Produced by Eddie Offord, the album is clean, vibrant, and refreshingly direct compared to the denser works that preceded it.

The music feels fresh and exploratory. The title track is fast and quirky, with Steve Howe's lap steel guitar and horse racing-themed lyrics. "Turn of the Century," inspired by the Pygmalion myth, is a masterpiece of mood and melody, with one of Howe's most beautiful acoustic introductions. "Parallels" hits harder, driven by Wakeman's thunderous church organ and Squire's heavy rhythm recorded in a Geneva church using an elaborate real-time studio link.

Side two opens with the serene "Wonderous Stories," full of melodic nuance and vintage Wakeman charm. The album closes with the majestic "Awaken," a spiritual epic that combines church organ, harp, and deeply reflective vocals. It remains one of the band's most transcendent achievements.

The cover marked a departure too: no Roger Dean on the front. Instead, Hipgnosis delivered a bold photographic cover, while Dean contributed the inner artwork. The shift symbolized a new chapter for Yes.

Finally, Going for the One, despite not always pleasing fans of the more experimental side of Yes, is an extraordinary and brilliant album. It captures a band in motion?mature, bold, and willing to embrace change. They managed to remain artistically honest while achieving commercial success, and for 1977, that's no small feat.

I am convinced that Steve Howe is the missing piece in the musical puzzle of Yes'the one that gives the band its unmistakable sound. He is the key member of Yes. While Peter Banks was a great guitarist in his own right, Steve Howe is something else entirely: not just a great guitarist, but a genius. His unique tone, phrasing, and ability to move between classical, jazz, and rock styles with total fluidity defines the sound of Yes for all time.

From the moment Howe joined the band, the entire dynamic shifted. The Yes Album is the proof'a transitional work that bridges the gap between the early, more conventional Yes and the modern progressive powerhouse they would soon become. After two earlier albums that were mostly uneven' with a few flashes of brilliance'this release marked a leap forward in every way. The compositions became more ambitious, the arrangements more cohesive, and the band began to explore new sonic territory with confidence.

All you can hear from Yes in the past'despite moments of promise'now sounds naive and inoffensive compared to what's presented here. This album feels bolder, more alive, and far more focused. The band found its voice, and from here onward, they wouldn't look back.

One of the keys to that evolution was Howe's use of a wide variety of stringed instruments'not just electric guitar, but also mandolins, classical guitars, and 12-string acoustics. That diversity in timbre added richness and character to Yes's music that hadn't been there before. He didn't just shred or solo'he told stories with each instrument. Tracks like 'The Clap,' a solo acoustic piece recorded live, showcase not only his technique but also his humor and inventiveness.

His use of the 12-string acoustic on 'I've Seen All Good People' gives the song a baroque, folk-like texture that contrasts beautifully with the heavier rock sections. And in 'Starship Trooper,' his layered guitars' including slide, electric, and acoustic'create an atmosphere that's lush and otherworldly. The mandolin and other unconventional string instruments became part of the Yes vocabulary from this point forward, thanks to Howe.

Another major step forward on this album is the vocal work. The combination of Jon Anderson's clear, high tenor with Chris Squire's strong harmonies and Steve Howe's supporting vocals created a vocal blend that was fuller and more dynamic than ever before. You can especially hear it in tracks like 'Yours Is No Disgrace' and 'I've Seen All Good People.' This vocal teamwork became a defining feature of the Yes sound 'rich, layered harmonies that gave the music emotional weight and melodic complexity.

Bill Bruford also became more noticeable on this album. While he had always been technically proficient, here his drumming takes on a more assertive and creative role. His playing isn't just about keeping time' it's about adding texture, unpredictability, and even a sense of narrative to the music. Listen to the off-kilter accents in 'Perpetual Change' or the tight rhythmic interplay in 'Starship Trooper''this is where Bruford begins to truly show his personality behind the kit. His jazz background, combined with a precise and cerebral approach, gave the band a rhythmic complexity that elevated the entire sound.

However, while The Yes Album shows incredible growth, it also reveals one important limitation: the need for a truly virtuosic keyboard player. Tony Kaye does a solid job, and his Hammond organ adds warmth and punch, but he lacked the range and daring of someone like Keith Emerson or Tony Banks. The band was ready to go farther, to explore more complex and symphonic textures, but Kaye wasn't the man to take them there. That tension'between ambition and limitation'would soon lead to his departure and the arrival of Rick Wakeman, who would unlock the full potential of the band's progressive vision.

The Yes Album is more than just a strong collection of songs'it's the foundation of the Yes sound. Every member shines, but it's Steve Howe's arrival that lights the spark. With his arsenal of stringed instruments, bold musical vision, and synergy with Anderson, Squire, and Bruford, Howe brought color, depth, and sophistication to Yes, helping them find their true identity.

The record also consolidated Yes as a band with real commercial potential. It was their first real success, reaching a wider audience and finally convincing Atlantic Records that the band was worth backing long- term. Without this album's success, the classic era of Yes might never have happened.

Contemporary reception was very positive. The album climbed to No. 4 on the UK Albums Chart and even cracked the US Billboard Top 40'a first for the band. Critics praised the album's ambition and musicianship, especially the bold arrangements and Howe's standout guitar work. For fans and press alike, it was clear that Yes had finally arrived, no longer just a band with potential, but one ready to lead the progressive rock movement.

More importantly, The Yes Album marked the moment Yes fully became a progressive rock band'no longer a pop act trying to sound serious, but a serious group with a bold artistic identity. This wasn't just a stylistic shift; it was a declaration of intent. From this point on, Yes would be at the forefront of the genre, shaping it rather than chasing it.

At the end, The Yes Album was the first major step for Yes'where everything finally began to make sense.

Incredibly, Close to the Edge was a success for Yes: a commercial and artistic milestone. By then, the band had already released three critically acclaimed albums and had established themselves as pioneers of progressive rock. With Close to the Edge, they became masters of the genre, and thanks to that success, they were granted complete creative freedom.

After the release of the ambitious triple live album Yessongs, and with Alan White replacing Bill Bruford on drums, the band was at its peak. It was during Bruford's wedding that percussionist Jamie Muir recommended that Jon Anderson read Paramahansa Yogananda's Autobiography of a Yogi. That book became the spiritual basis for Tales from Topographical Oceans.

During a tour of Asia and Australia, Anderson and Steve Howe quietly began working on new material, without informing the rest of the band. Their vision: a large-scale work inspired by the shastras mentioned in Yogananda's book: four pieces that represent the search for spiritual knowledge and happiness.

When Yes returned to the studio after the tour, they arrived empty-handed but with open minds. In a room filled with incense, candles, and ambient lighting, Anderson and Howe presented their first sketches. Producer Eddie Offord, manager Brian Lane, a record label executive, and even Roger Dean were present. After a 30-minute performance, no one said a word. Anderson stood up and drew a diagram showing how the vocals would develop. From there, the band agreed: four sides, four movements, one huge concept.

The sessions at Morgan Studios were intense. The studio was transformed into a meditation space. Anderson and Howe drove the vision, while Squire and White grounded the music. Wakeman, though brilliant as ever on the keyboard, grew frustrated with the structure and length. The process was demanding; Sometimes he would spend an entire day perfecting seconds of music.

Despite the internal tensions, the result was one of the most ambitious works in rock

1. The Revealing Science of God A majestic opening that begins with a chant and develops into a 20-minute meditation on creation and spiritual awakening. Howe and Squire are at their best, and Anderson's voice soars with conviction.

2. The Remembering More atmospheric and introspective, this song focuses on memory as a path to understanding. Wakeman's mellotron textures dominate, and while some listeners find it slower, its beauty lies in its patience.

3. The Ancient The most experimental piece, with primitive percussion and dissonant guitar textures. But in its final minutes, Howe delivers one of the album's most beautiful acoustic passages with "Leaves of Green."

4. Ritual (Nous sommes du soleil) The most complete and dynamic song. From Squire's thunderous bass solo to Wakeman's brilliant final notes, this is Yes in full swing. The ending?"We love it when we play"?is simple, honest, and strangely profound.

Tales from Topographic Oceans isn't easy listening. It's not for casual fans or those looking for hooks. But it's a bold and visionary work, created by a band that expanded the boundaries of what rock music could be. It marked the end of an era?Wakeman would leave after the tour?but it left a unique legacy.

It's imperfect, beautiful, excessive, brilliant, as the best prog tends to be. For me is still a misunderstood masterpiece

After the grueling 90125 tour, Yes was about to take a break. However, the album's sales surpassed one million copies in the United States alone, encouraging the band to search for another hit. A few months later, they began rehearsing what would become Big Generator.

Trevor Rabin was under pressure when his label, Atco Records, insisted on producing another hit like "Owner of a Lonely Heart." But Rabin wanted to leave the band's past behind and create something different, regardless of commercial success. Produced once again by Trevor Horn, Big Generator marked Yes' first album since Tormato to feature the same lineup.

Big Generator isn't as bad as one might expect, nor as bland as 90125, which only had three or four good songs. This album is much more consistent and leans toward a kind of heavy progressive rock. In fact, it sounds more like a futuristic version of Yes compared to its predecessor, which seemed more like a laboratory experiment designed to turn Yes into a hit-making machine.

The album produced two hits, "Love Will Find a Way" and "Rhythm of Love," and its sales were quite similar to those of 90125. It was also nominated for a Grammy, like its predecessor. That said, it includes one of the worst songs ever written and produced by Yes: "Almost Like Love."

Big Generator was a flop for Atlantic Records, but a small victory for hardcore Yes fans. On songs like "Final Eyes," "Holy Lamb," and "I'm Running," the band came surprisingly close to recapturing the spirit of classic Yes. It's still a completely forgettable album, but it leaves a different taste when you listen to it.