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24 reviews/ratings
YES - The Yes Album Jazz Related Rock | review permalink
YES - Fragile Jazz Related Rock | review permalink
YES - Close To The Edge Jazz Related Rock | review permalink
YES - Yessongs Jazz Related Rock | review permalink
YES - Tales From Topographic Oceans Jazz Related Rock | review permalink
YES - Relayer Jazz Related Rock | review permalink
YES - And You And I / Roundabout Jazz Related Rock | review permalink
YES - Going For The One Jazz Related Rock | review permalink
YES - Drama Jazz Related Rock | review permalink
YES - Time And A Word Jazz Related Rock | review permalink
YES - Yesterdays Jazz Related Rock | review permalink
YES - Yes Jazz Related Rock | review permalink
YES - Tormato Jazz Related Rock | review permalink
YES - Classic Yes Jazz Related Rock | review permalink
YES - We Can Fly Jazz Related Rock | review permalink
YES - Release, Release / Don't Kill The Whale Jazz Related Rock | review permalink
YES - Run Through the Light Jazz Related Rock | review permalink
YES - 90125 Jazz Related Rock | review permalink
YES - Rhino Hi-Hive: Yes Jazz Related Rock | review permalink
YES - Looking Around / Every Little Thing Jazz Related Rock | review permalink
YES - Looking Around / Everydays Jazz Related Rock | review permalink
YES - Sweetness / Something's Coming Jazz Related Rock | review permalink
YES - Big Generator Jazz Related Rock | review permalink
YES - Sweetness / Every Little Thing Jazz Related Rock | review permalink

Jazz Genre Nb. Rated Avg. rating
1 Jazz Related Rock 24 3.92

Latest Albums Reviews

YES Big Generator

Album · 1987 · Jazz Related Rock
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Review - #24 (Yes - Big Generator)

Big Generator is the twelfth studio album by Yes which was released in September of 1987 by Atco Records. After completing a worldwide tour in support of their previous album, 90125, the band began working on their upcoming album, Big Generator. The band's previous album saw them change directions towards a more pop-oriented and commercially accessible sound when compared to their previous progressive works. That change in sound only continues on this album. Big Generator has been said to not have been an easy album to make; recording began at Carimate, Italy, but internal and creative differences resulted in production to resume in London. Trevor Rabin has said this remains to be one of the most difficult albums he has ever made due to the creative differences he had with vocalist Jon Anderson about the direction the band was moving in. Eventually, the album was completed in Los Angeles in 1987 by Trevor Rabin and producer Paul DeVilliers after Trevor Horn left as the role of producer. Big Generator received several mixed reviews from music critics when it was released, and the album reached number 15 on the Billboard 200 and number 17 on the UK Albums Chart. In April of 1988, the album was certified platinum by the Recording Industry Association of America for selling one million copies in the US. Similar to 90125, the album was nominated for a Grammy Award for Best Rock Performance by a Group with Vocal. The line-up on the album is exactly the same as 90125, it contains Jon Anderson on vocals, Alan White on drums, Trevor Rabin on guitar, Tony Kaye on keyboards, and Chris Squire on bass. This album featured more contributions from the entire band when compared to 90125 such as keyboardist Tony Kaye having an influential role in writing numerous tracks. However, releasing three years after 90125 this album does not reach the same heights as its predecessor. Nevertheless, there are some truly brilliant moments found here which are mainly discovered on repeat listens.

The album opens with Rhythm of Love which commences some interesting vocal harmonies. Not too long after, the song shifts into a more straightforward pop-inspired track. While still nice, it doesn't go too far beyond that. Rhythm of Love contains some solid vocals and a driving rhythm section in addition to some pleasant keyboards from Tony Kaye. The next track, Big Generator, is surely one of the weakest moments found on the album. I wonder why they chose to name the album after one of the weakest tracks. I guess titles like Holy Lamb or Love Will Find A Way don't roll off the tongue as well. This is one of the album's three tracks credited to the whole group. It developed from a riff by Squire and Rabin, originating from a specific tuning Squire had on his 5-string bass which helped to create the song, which involved contributions from Alan White on drums. Besides the dreadful chorus, there are actually a few nice moments uncovered on this track. The transition found at the three minute and eighteen second mark is something I always happened to appreciate. In addition, the enchanting vocal harmony at the three minute and fifty five second mark is quite well composed. However, it doesn't go on for nearly as long as I would have hoped. Shoot High, Aim Low is up next and practically clocks in at seven minutes. It is the second group composed track and was one of the songs recorded in Carimate. It features reverb that was captured naturally around a castle's acoustics, rather than reverb added electronically in the studio. Both Trevor Rabin and Jon Anderson complement each other incredibly with is exceptionally tranquil track. Alan White's drumming is sparse yet impactful. The track contains a few progressive rock tendencies and is an overall solid moment on the album. Definitely the best found on side one of the album. Almost Like Love begins with a solid enough instrumental section but deteriorates considerably when Jon Anderson's vocals are introduced that are almost like rap. This track feels as if the band needs to take a breather and consider what they are actually doing. Trevor Rabin once said that the track did not quite work as well as he wanted and in the end, he wished it was not included on the album.

Love Will Find A Way begins side two and is solely credited to Trevor Rabin. He had initially worked on the music and lyrics with singer-songwriter Stevie Nicks and was close to recording it with her. However, Alan White heard the song and suggested Yes record it for Big Generator. This is a terrific pop-influenced track that takes the listener on a journey back to the 80s. I truly feel like this could have been an even bigger hit then it already was. It begins with strings and eventually transfers to Trevor Rabin playing a riff on his guitar. The melodies are exceptionally catchy and contain wonderful vocals from Trevor Rabin. Not to mention, Trevor Rabin's guitar throughout is somewhat straightforward at times but fits effortlessly. Final Eyes is yet another lengthier track that nearly reaches the six and a half minute mark. Trevor Rabin has stated that he enjoyed working on the production and arrangement for this track, but deemed it a remarkably challenging song to make due to the numerous changes found throughout. The vocal harmonies are actually fairly beautiful while Tony Kaye's keyboard work is simple yet brilliant which adds a bright atmosphere to the track. Final Eyes is without a doubt one of the highlights of the album in addition to the upcoming track, I'm Running. I'm Running begins with a Caribbean style arrangement that is full of energy. It is the last of three group-written pieces and contains numerous transitions into very diverse arrangements. In addition, the track goes past the seven and a half minute mark which makes it the longest piece on the album. After the five minute and twenty second mark the music presented is truly up the par with anything Yes made in the seventies. The arrangements are complex and without a doubt progressive with a breathtaking vocal buildup near the end. Unquestionably the highlight of the album! The last track, Holy Lamb, is a terrific closer. Jon Anderson's vocals are beautiful as ever and still give me the same stunning impression as when I first heard it years ago. In addition, Trevor Rabin provides some wonderful guitar playing which builds up especially near the end. I sincerely wish they would have extended this song which fades out right when it's getting good. However, it does seem to be a bit out of place on an album which feels so eighties throughout. Nevertheless, it is a solid track which ends the album wonderfully.

Big Generator is an overall solid Yes album that seems to be overly criticized due to its undeniably eighties sound. However, the somewhat weak side one brings down the album from receiving anything higher than good, but non- essential. There are several superb moments found all through the album, but they are interspersed with moments of questionable quality. A mixed bag, but still recommended for any Yes fan who enjoyed their previous album. There... in the heart of millions!

- π˜›π˜©π˜ͺ𝘴 𝘳𝘦𝘷π˜ͺ𝘦𝘸 𝘸𝘒𝘴 𝘰𝘳π˜ͺ𝘨π˜ͺ𝘯𝘒𝘭𝘭𝘺 𝘸𝘳π˜ͺ𝘡𝘡𝘦𝘯 𝘧𝘰𝘳 π˜—π˜³π˜°π˜¨ 𝘈𝘳𝘀𝘩π˜ͺ𝘷𝘦𝘴 (

YES 90125

Album · 1983 · Jazz Related Rock
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Review - #23 (Yes - 90125)

90125 is the eleventh studio album by Yes, released in November of 1983. After splitting up in 1981, following the Drama tour, bassist Chris Squire and drummer Alan White formed the band Cinema with guitarist/singer Trevor Rabin and original Yes keyboardist Tony Kaye. During the mixing stage of the album, former Yes singer Jon Anderson, who had left the band in 1980, had heard the music the new band was creating. After providing some vocal renditions and his opinion on a few of the tracks he was eventually invited to sing on the full album. At that point, the band that was once called Cinema became the new lineup of Yes. 90125 was a huge success for the band. It reached No. 5 on the US Billboard 200 and No. 16 on the UK Albums Chart; it also remains their bestselling album to date. 90125 holds a special place in my heart since it was the first Yes album I ever heard. After reading about the band for quite some time, I visited my local record store and saw a Yes album for sale on the discount rack. The album was called 90125, not knowing that this wasn't considered to be their "best" I decided to buy it since I was interested to hear how the band sounded. When I got home, I took the record out of its sleeve and gave it a spin, and I was blown away by the bands ability to blend traditional 80s pop rock with progressive rock elements. To this day, I believe it is one of the best pop rock albums released in the 80s. Not to mention, it contains some of the greatest musicians of all time. This album seems to be rated somewhat low on this website due to the fact it isn't necessarily their most progressive album to date, but when looking at the music found on the album, it's exceptional!

The album opens with the bands hit single entitled Owner of a Lonely Heart. This was the track that launched them into the 80s and made them as successful as they were. It contains some wonderful guitar from Trevor Rabin but definitely feels of its time. However, that can be said for the entire album. All the tracks found here contain a similar quality to them that can most likely be attributed to the production. Overall, the instrumental performances found throughout are solid but not as elaborate as the instrumentals found earlier in their career. The next track, Hold on, is an amalgamation of two songs Trevor Rabin had written and combined as they both had the same tempo. It contains some wonderful guitar playing from Trevor Rabin in addition to some time changes that keeps things interesting. It Can Happen is probably the weakest track on the album but isn't awful by any means. The track was written on piano by Chris Squire, with its introduction put together by Trevor Rabin to go with his piano chords. It contains an interesting Eastern-feel initially, but the chorus is where the crux of the problem is. At points, it seems to go on for undoubtedly too long with no real reason for it. Nevertheless, the instrumentation from Trevor Rabin on guitar and Chris Squire on bass are particularly pleasant here. One fascinating part of the album is the intro/outro of Changes, it includes an odd rhythm section that carries it through to the point where Trevor Rabin's guitar comes in. He also provides some solid vocals that at point overlays with Jon Anderson's vocals with great effect. Generally, a solid song and surely the highlight of the first side of the album!

After flipping the album, the listener is introduced to an instrumental track recorded live at AIR Studios called Cinema. The title is a hint towards the groups original name before becoming Yes. It was initially developed as an unreleased 20-minute song entitled Time. However, they decided to include its two-minute opening on the final album. And it is a truly fantastic opening! I sometimes wish they would have decided to include the entire 20-minute track on the album, but one can only hope that it is preformed/released one day. Our Song seems to be the "forgotten" track on the album, however, I happen to really enjoy it. The lyrics to "Our Song" mentions the city of Toledo, Ohio, itself a reference to the band's show at the Toledo Sports Arena on their 1977 tour. Interestingly, this caused the song to receive a lot of airplay in that area. It has a fantastic introduction and happens to be one of my favorites on the album. It is up-tempo and contains plenty of synths. Not to mention, this is probably Chris Squire's best bass work throughout the entire album. The next song is City of Love and it is definitely the heaviest song found here. The heaviness helps break up the flow while containing some powerful melodies and guitar solos. It's an interesting song that comes in at a perfect time to diversify the album. The last song, Hearts, happens to be my favorite on 90125 and it is the closest this album comes to prog. Furthermore, it is the only track on the album to be credited to the entire band. Trevor Rabin came up with the chorus and bridge of the song a few months prior to meeting Chris Squire and Alan White for the first time. In addition, Tony Kaye wrote its keyboard introduction while Trevor Rabin developed a melody from it. Jon Anderson then developed its countermelody. A true group effort! Furthermore, Hearts has some of the greatest vocals from the entire album, especially Jon Anderson. It also features wonderful guitar from Trevor Rabin which is showcased in the surprisingly heavy section of the song found during the four and a half minute mark. In general, it's a great song that I probably revisit the most.

Is 90125 another Fragile? No. Is 90125 another Close to the Edge? No. Most prog bands had completely abandoned their prog sensibilities; however, Yes was able to still hold on to what made them Yes. You will continue to hear prog elements throughout the entire album. This intentional choice by the band is what makes this album truly great in my eyes. If you give it a chance, it's likely to grow on you.

- π˜›π˜©π˜ͺ𝘴 𝘳𝘦𝘷π˜ͺ𝘦𝘸 𝘸𝘒𝘴 𝘰𝘳π˜ͺ𝘨π˜ͺ𝘯𝘒𝘭𝘭𝘺 𝘸𝘳π˜ͺ𝘡𝘡𝘦𝘯 𝘧𝘰𝘳 π˜—π˜³π˜°π˜¨ 𝘈𝘳𝘀𝘩π˜ͺ𝘷𝘦𝘴 (

YES Run Through the Light

Single · 1980 · Jazz Related Rock
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Review - #22 (Yes - Run Through The Light)

This single came out the same year the Drama album was released, 1980. There is a "Official Version" and a "Promo Version" of this single. Firstly, we will address the official version. It contains both Run Through The Light and White Car. Run Through the Light has always been a wonderful song in my eyes and seems to be generally under appreciated by the majority of the Yes fanbase. I believe this is one of Trevor Horn's best vocal performances on the entire Drama album, not to mention featuring some truly great melodies throughout. It features Steve Howe playing a Les Paul guitar "in the background being very melancholy" with Chris Squire playing piano and Trevor Horn playing bass, something which Trevor Horn did not particularly want to do, but Chris Squire was able to convince him to do it. Overall, this is a terrific song with an excellent rhythm section all the way through. Next, we have White Car which is one of the shortest Yes songs to date clocking in at just over a minute. Geoff Downes played a Fairlight CMI synthesizer on the recording, to test its sampling capabilities. Geoff Downes once said that he "tried to simulate an orchestra using these samples, but it was very early days of digital sampling." This song fits somewhat well as a single when compared to the album, it is nothing incredible but a pleasant song that has some interesting keyboard arrangements/sounds throughout. The promo version is similar to the official version but instead of containing White Car it merely contains a mono and stereo version of Run Through The Light. Overall, I would rather obtain the official version of this release due to it containing an extra song. However, if you are someone who prefers mono versions of music this would surely be an interesting listen. In general, this is a pretty solid single that would be a good addition to any prog collection!

- π˜›π˜©π˜ͺ𝘴 𝘳𝘦𝘷π˜ͺ𝘦𝘸 𝘸𝘒𝘴 𝘰𝘳π˜ͺ𝘨π˜ͺ𝘯𝘒𝘭𝘭𝘺 𝘸𝘳π˜ͺ𝘡𝘡𝘦𝘯 𝘧𝘰𝘳 π˜—π˜³π˜°π˜¨ 𝘈𝘳𝘀𝘩π˜ͺ𝘷𝘦𝘴 (

YES Release, Release / Don't Kill The Whale

Single · 1978 · Jazz Related Rock
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Review - #21 (Yes - Release, Release)

In 1978 Yes put out this single in support of their most recent studio album, Tormato. It contains both Release, Release and Don't Kill the Whale. Release, Release was developed by Jon Anderson and Alan White, and showcases automatic double tracking applied onto Alan White's drum tracks to achieve a bigger sound. This song has a great energy to it that I always enjoyed. The instrumental section includes a crowd cheering with the guitar and drum solo, which Wakeman reasoned was added because it "sounded a bit dry" on its own. He recalled the crowd was taken from an English football match. In addition, Atlantic Records president Ahmet Ertegun visited Yes in the studio and heard "Release, Release", which he liked and suggested the whole album sound like it. However, the song was slightly difficult for Jon Anderson to sing on stage as the many high notes in the song strained his voice, and it was dropped early into the tour. Overall, a solid song with a truly uplifting chorus! Next up, is Don't Kill the Whale which contains the best keyboard work from Rick Wakeman found throughout the entire Tormato album. Rick Wakeman once said that the keyboard solo involved him adapting a sound that he had configured on his Polymoog which produced "weird sounds" that resembled a whale, interesting. Overall, this is a terrific single containing two of the better tracks found off of the Tormato album. A good, but non-essential addition to any prog collection!

- π˜›π˜©π˜ͺ𝘴 𝘳𝘦𝘷π˜ͺ𝘦𝘸 𝘸𝘒𝘴 𝘰𝘳π˜ͺ𝘨π˜ͺ𝘯𝘒𝘭𝘭𝘺 𝘸𝘳π˜ͺ𝘡𝘡𝘦𝘯 𝘧𝘰𝘳 π˜—π˜³π˜°π˜¨ 𝘈𝘳𝘀𝘩π˜ͺ𝘷𝘦𝘴 (

YES And You And I / Roundabout

Single · 1974 · Jazz Related Rock
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Review - #20 (Yes - And You And I)

What an incredible combination of songs released on a single! Strangely enough, this single was released in 1974 a few years after both of these songs were already put on their retrospective albums. It contains both And You And I which was on the album Close to the Edge, and Roundabout which was on the album Fragile. And You And I is a truly incredible track that remains to be one of the best songs throughout their entire career. It truly demonstrates Jon Anderson's incredible vocals in addition to showing his ability to perform in different styles and ranges. The song starts with a beautiful guitar section which continues to build into a majestic keyboard section found halfway through the song. The guitar from the beginning of the song has a reprise after this but played with a bit more urgency. After a couple more minutes of breathtaking music, the song transfers to a retrospective guitar and vocal duet which ends the song very nicely. Fantastic song! When flipping the single, the listener is introduced to the Yes classic, Roundabout. What can I say about this song that hasn't been said already? Even though the amount of play this song receives in comparison to the bands entire discography can sometimes be irritating, I believe this song is truly fantastic despite it's enormous popularity. If anything, it's popularity somewhat supports the song's strength. Not to mention, the first minute of the song played on acoustic guitar is one of the most iconic openings within all of music. The rest of the song is also great, containing extraordinary instrumentation from the entire band, especially Chris Squire. Interestingly enough, Steve Howe once recalled the track was originally "a guitar instrumental suite" that he wrote. These two tracks are absolutely classics and would constitute an excellent addition to any prog collection, especially if you don't already own the two studio albums these tracks are found on.

- π˜›π˜©π˜ͺ𝘴 𝘳𝘦𝘷π˜ͺ𝘦𝘸 𝘸𝘒𝘴 𝘰𝘳π˜ͺ𝘨π˜ͺ𝘯𝘒𝘭𝘭𝘺 𝘸𝘳π˜ͺ𝘡𝘡𝘦𝘯 𝘧𝘰𝘳 π˜—π˜³π˜°π˜¨ 𝘈𝘳𝘀𝘩π˜ͺ𝘷𝘦𝘴 (

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