When I mentioned Yes in my post on Progressive Rock I got this tweet. I asked why weird and got no reply so here are some more weird opinions.
Yes, like Elbow and Camel, are so much better live than on record. Rick Wakeman describes their albums as “sterile” and he is often right. The Union album is quite dreadful, but the tour that went with it, eight musicians playing for the music rather than themselves, the convenient doubling of everything except Bass & singer allowed songs like ‘Awaken’ to expand and evolve. The current state of play is that there are two bands called Yes, with 2 or 3 “proper” members each, and some extras. The whole mess is explained in detail at Henry Potts’ site. Personally I could care less.
So why write about them? I joined in with the Drama album in 1980, and only dabbled with their music until the Internet came along. Drama was and is a great album, top drawer songwriting, crisp production, and the best ever examples of Chris Squire’s bass as lead instrument style in ‘Does It Really Happen’ and ‘Tempus Fugit’. The new boys brought new vigour to the music. Geoff Downes simpler sound pallette feels more integrated with the rest of the band, particularly Steve Howe’s guitar, than Wakeman did on either of the previous two albums. They were unafraid to innovate, Trevor Horn playing bass on Run Through The Light for instance.
So with the advent of the interwebs (in my world) about 1999, I started looking backward, and catching up with what bands were doing. This was the heyday of the email newsletter and information and opinion about new releases and band activities was filtering through as never before. Yes had one and I subscribed, just in time for “The Ladder”, another album with a fair bit of innovation, while remaining undeniably Yes. It’s the best songs ‘Homeworld (The Ladder)’, and ‘The Messenger’ that work best and Bruce Fairbairn’s production doesn’t pander to their more noodly tendancies. The Ladder songs come properly alive on “House of Yes: Live from House of Blues” the album resulting from the following year’s worth of touring. Some of the old stuff is given a makeover and Steve Howe manages to play on Trevor Rabin era songs, although he is far from happy about it.
After the orchestral “Magnification” album which failed mainly due to lack of good material and being released on 10th September 2001, innovation and progress stopped in Yes-World. They retreated to the formula pioneered at the Keys To Ascension shows in 1996, largely ignoring anything after 1979 (ok they did play the title song of Magnification in 2002 and a couple more newer songs in 2004). Innovation having died, and unwilling to wait on Jon Anderson’s health the band fractured recruited a couple of Jon-alike singers and set off on tour in 2008. None of the resulting music or numerous live albums sound like anything other than going through the motions. With Chris Squire gone and Alan White using a sub/back up drummer in recent years they increasingly sound like their own tribute band. The “other” band Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman spreads its net wider, talking in material from all eras (except Drama which none of them played on)
This being true I would suggest listening to
Yes (1969) A good bridge between the sixties and seventies, with a few cracking songs
Going For The One (1977) The return to songs after the noodling years
Drama (1980) Something new and different
Talk (1994) The best Rabin years album, with a good balance between his & Jon Anderson’s influence
Keys To Ascension (1996) The best look back at the seventies, technology had caught up and the material was fresh after being set aside for a while.
House of Yes (2000) A contrasting look at old material and some new songs
