YES

At the end of November of 1983, I found myself in my car at the nexus of the old Jefferson Davis Parkway and Washington Avenue in New Orleans. Turning on my radio, I was greeted by an unexpected, but very welcome voice of Jon Anderson. I wondered, "Could this be a re-birth of sorts?"

Yes, it was.

Soon, thereafter, I learned from my friend Eldon Wood that Yes, with Jon Anderson returning, had just released an album, "90125." Besides Anderson, Chris Squire, Alan White, Tony Kaye, and a "newcomer," Trevor Rabin, comprised the new lineup of the band.

As we know, the most successful, commercial period in Yes' history was at hand. Through collective "wisdom," "90125" somehow does not measure up to "Close to the Edge," "Relayer," or "The Yes Album." And, yet, this album, utilizing its Atco catalogue number for a title, would not just usher in a "resurrection" of the band, but also expose it to an even more extended, global following.

Of course, for the lion's share of us, quality and commercial success are not synonymous. Nevertheless, the innate, realized energy of "90125" places it in the echelon of all Yes albums. Through the prism of forty-one years, "90125" takes on the character of one of its proposed, alternate titles: "The New Yes Album . . . . " Facetiously, one might also assert the title could have been, "Yes Makes Known the Music of Trevor Rabin . . . ?"

In 1982, following the cessation of the Yes that brought about and toured "Drama," Chris Squire and Alan White persevered, seeking new musical endeavors. One "evolutionary shoot" that ended in its early stages then was the XYZ Band with Jimmy Page. Through the Atlantic Records executive, Phil Carson, Squire and White met the South African guitarist, vocalist, and composer, Trevor Rabin. This "ascension" would prove to be abiding.

Seeking a keyboardist, Squire re-established contact with Tony Kaye, Yes' original Hammond organist and pianist. To Squire, Kaye's performances on the first three Yes albums typified his conception of what would complete the "quaternity" of players soon to be known as "Cinema."

As "90125" made its notable entrance in November of 1983, little was known upfront of the events, which led up to its release. The only indication of the lineage of the entity responsible for the album is the instrumental, "Cinema."

One direct element of continuity within the membership of Yes is Trevor Horn's production of "90125." By November of 1983, fans of the band were well familiar with Horn from his contributions to "Drama" as lead vocalist and bassist on "Run Though the Light." The success of "Owner of the Lonely Heart" reflects not only the songwriting skills of Rabin, but also the production "chops" of Horn. And, later, I believe it was Rick Wakeman, who stated that Rabin had given Yes a "Roundabout" for the Eighties.

This success came at a "cost:" on the final release of "90125," the direct contributions of Tony Kaye were limited to "Cinema" and "Hearts." The historical "knock" against Tony Kaye has been his supposed reticence to utilize current, keyboard technology. I would like to point out that, soon after his first stint with Yes, Kaye appeared on the album, "One Live Badger." Here, he employed a full 1972 "arsenal" of keyboards.

Through subsequent interviews,Trevor Rabin has described the events of the genesis and recording of "90125."

At a juncture following the final instrumental takes of "Cinema" and "Hearts," Kaye left the studio. Somehow, producer Horn and keyboardist Kaye simply couldn't "work it out." Because Trevor Rabin is a multi-instrumentalist, he supplied the keyboards for the remainder of "90125." If one listens to the performances of "Hold On" and "Changes" on "9012Live," Kaye's initial studio work in 1982 with Squire, White, and Rabin is apparent.

Also apparent is the economy of the execution of the songs. Throughout "90125," complexities characteristic of the Yes of the Seventies appear in microcosm: In "Hold On," 3:26-3:40;in "It Can Happen," 3:11-3:37; in "Changes," the entire first minute, which exemplifies a succession of syncopated tuned percussion, piano, bass, guitar, and synthesized pipe organ . . . .

And, in this connection, the all too brief "Cinema" stands out. In October of 1999, while touring "The Ladder," Yes performed at the House of Blues in New Orleans. With Billy Sherwood and Igor Khoroshev, Chris Squire and Alan White convincingly performed "Cinema." Finally, in its entirety, "Hearts" is a microcosm of the earlier Yes . . . .

Thus, for this "Yes-Freak," "90125" also holds an enduring place in my musical memory. I would like to submit that this 1983 offering is a watershed from which the Yes of the latter stages of the 20th and first decades of the 21st centuries flows.

Of all of the Yes albums, with the possible exception of "Tales from Topographic Oceans," "Union" has sown the most discord since its release. As Bill Bruford has famously noted, in effect, "Union" is the worst album upon which he has ever performed. The legendary percussionist has astutely pointed out that it is also inappropriately titled. The final product is more of an uneasy "truce" between the Anderson, Bruford, Wakeman, Howe and Squire, White, Rabin, and Kaye incarnations of Yes.

The record company, Arista, served as the enforcer of this "truce." When Bill Bruford and Tony Levin laid down the rhythm section to the tracks scheduled to be the next ABWH album, an entity, "Union," had not yet entered the picture. Steve Howe and Rick Wakeman were only able to record initial contributions to this incipient ABWH second album.

Somewhere along the line, typically, in accordance with past communications, Chris Squire, Trevor Rabin, and Jon Anderson established contact, and the concept of a "union" of the two different versions of Yes was born. This notion piqued the interest of the record company, which, of course, perceived more monetary potential from a Yes rather than a second Anderson, Bruford, Wakeman, Howe album . . . .

Consequently, a timetable was set into motion for release. Now, Jon Anderson and co-producer, Jonathan Elias, were between the proverbial "rock and a hard place." Howe and Wakeman had only recorded early versions of their parts, and, through previous commitments, they were not able to return to the studio to complete their contributions within the schedule of Arista.

What emerged was an "original sin" of Anderson and Elias: studio musicians were hired to flesh out and augment Howe and Wakeman's initial work. Upon first hearing the finished "Union," Wakeman renamed it "Onion," because it made him cry: he could not identify his work in the final product. Howe's solo piece, "Masquerade" is his one, unequivocal contribution to the album.

In the judgment of subsequent criticism, the four offerings from Squire and company have fared better. The vocals of Squire and Anderson are the only, true unifying aspect of "Union."Anderson added his co-lead vocals (with Trevor Rabin, Billy Sherwood, and Chris Squire)to "Lift Me Up," "Saving My Heart," "The Miracle of Life," and ""The More We Live, Let Go;" Squire contributed backing vocals to "I Would Have Waited Forever," "Without Hope, You Cannot Start the Day," and "Dangerous."

What emerged in the Spring of 1991 was a somewhat contrived album, which I welcomed as a new Yes album, but felt was artificial. Yet, the tour launched by this album was a successful amalgamation of the eight members involved, serving as the basis of the selection of these gentlemen as inductees into the 2017 the Rock and Roll Hall of Fame.

The documentary interviewing the eight members readying themselves for the upcoming tour is also memorable. Chris Squire reveals that the dismissal of Tony Kaye in the Summer of 1971 was not the "most justified." In his inimitable and supercilious manner, Bill Bruford relates the origins of "Yours is No Disgrace," and his assertion that the members of Yes have been known to react to the "whims of Maestro Anderson . . . ."

Perhaps the most enduring criticism of "Union" must be that of Steve Howe. Unlike Wakeman who has ostensibly taken the "unnatural" path that led to "Onion" in stride, Howe has nursed a bruise since 1991. This discomfort fully emerged following the 2008 removal of Jon Anderson from the band by Squire, Howe, and White. Since this regrettable period in the history of Yes, the team responsible for the concept and lyrics of "Tales From Topographic Oceans" has, in a de facto sense, been divorced.

However, we now have two albums that, in a sense, provide a re-union of Howe and Anderson: "Mirror to the Sky" and "True." Both Howe and Anderson have presided over the production of two pieces worthy of inclusion on an up to date version of "Tales from Topographic Oceans:" "Mirror to the Sky" and "Once Upon a Dream . . . . "

Based on the strength of "Lift Me Up," "Miracle of Life," "Angkor Wat," "Dangerous," "Without Hope You Canno Start the Day," "Evensong," and "Masquerade,"I give "Union" four stars. I do believe lovers of the music of Yes are right in feeling negatively about this album based on its irregular conception, execution, and clumsy interference by Arista. However, making allowances for the "Frankenstein-like" production of this album, one can find merit in it. If even on parallel paths, let's welcome this century's music of Yes.

A retrospective release of mostly previously recorded music from the band's first incarnation (the two studio albums before Steve Howe and Rick Wakeman filled in for original members Peter Banks [departed after Time and a Word] and Tony Kaye [departed after The Yes Album]) plus two previously unreleased songs, "Dear Father" a scrap from the old days) and the new lineup's cover of Simon and Garfunkle's classic "America." Yesterdays was released by Atlantic on February 28, 1975.

Line-up / Musicians: - Jon Anderson / vocals - Chris Squire / bass and vocals - Bill Bruford / drums With: - Tony Kaye / keyboards (2-8) - Peter Banks / guitars (2-8) - Steve Howe / guitars (1) - Rick Wakeman / keyboards (1)

1. "America" (10:31) a great version of a song that I'd never even noticed before among my Simon and Garfunkle album collection (one of the earliest bands I started collecting). It starts out full Yes rondo-classical with each instrument riffing in a circular turn-taking before switching motifs a couple of times. I love the third motif in which Bill Bruford shows his predilection for syncopation, Chris' bass gets real funky, and Rick bathes us with Mellotron--then, surprise, the weave in of some riffs from Leonard Bernstein's version from West Side Story! Awesome! By the time the vocals start up we're all chummed up like were about to experience a Broadway musical! I've never been a fan of Steve Howe's countrified guitar play--which dominates the sixth and seventh minutes--but I cannot deny his magnificent mastery of his instrument. (18.5/20)

2. "Looking Around" (3:59) as reviewed on Yes. (8.875/10)

3. "Time and a Word" (4:31) as reviewed on Time and a Word. (8.75/10)

4. "Sweet Dreams" (3:47) as reviewed on Time and a Word. (8.75/10)

5. "Then" (5:46) as reviewed on Time and a Word. (9.5/10)

6. "Survival" (6:20) as reviewed on Yes. (9.5/10)

7. "Astral Traveller" (5:53) as reviewed on Time and a Word. (9/10)

8. "Dear Father" (4:18) an outtake from Yes; not a great or very memorable song but definitely of the usual Yes high calibur. (8.75/10)

Total Time: 45:41

"Survival" and "Looking Around" are fine selections from the band's debut Yes album but I wish they would have chosen "Yesterday and Today" or "Beyond and Before" instead. Likewise, "Astral Travellor" and "Then" are great selections from Time and a Word though I would have loved to have seen "Everydays" and/or "Clear Days" as well.

A-/five stars; an album collection of songs that makes for a minor masterpiece of progressive rock music.

The band's first release--it's debut--first released in the UK on Atlantic Records on July 25, 1969.

Yes the cover band. (Only two songs.)

1. "Beyond and Before" (4:50) a long-time opener to Yes concerts (even in their previous incarnation as Mabel Greer's Toyshop) the song is notable for Chris Squire's already loud, chunky bass play and the band's three part harmony vocals (start to finish). Really this is a pretty decent--and surprisingly proggy--song. Definitely a top three song. (9/10)

2. "I See You" (6:33) a blues-rocker cover of a Byrds song whose rendering could've come from CREAM is notable for the jazzy Robert Fripp-like muted guitar tone used by the ambling play of Peter Banks as well as the first (sparing) display of Jon Anderson as a lead vocalist (the majority of the song's vocals are delivered in three part harmony). The instrumental fourth and fifth minutes shows more of Chris Squire's chunky bass as well as some of Bill Bruford's jazzy drum chops. Peter Banks is impressive as a jazz/electric-classical guitarist! And those serious rock guitar chops in the sixth minute definitely preview the shoes that Steve Howe eventually steps into. (8.875/10)

3. "Yesterday and Today" (2:37) a more pastoral jazz-folk sound that bears more resemblance to the delicate songs proffered by The Moody Blues and The Beatles only these are far more acoustic-anchored than anything I know from these other bands mentioned. Quite delicate and lovely--with great melodies and wonderful layers of jazz- and folky-nuances. Definitely my favorite song on the album. (9.75/10)

4. "Looking Around" (3:49) full-on Yes with some of the raw heaviness and Hammond organ-dominance of URIAH HEEP. Great chord progressions, bridges, and nuanced transitions as well as harmony vocals in between Jon's lead lines--not too far from the Hollies and Crosby, Stills, and Nash stylings of the same period. (8.875/10)

5. "Harold Land" (5:26) opens with more Hammond organ-featuring music with a bit of a Country&Western twang to it--especially in the bass and simplistic guitar strumming pattern, but then things shift at the 1:20 mark into something that sounds more Gospel liturgical as Jon enters singing the lead (backed with Peter and Chris in true backing fashion). Jon's vocal sounds a lot like the folk vocals of some of the 1960s great female singers like Jacqui McShee, Judy Dyble, Maddi Prior, or Linda Thompson. (8.75/10)

6. "Every Little Thing" (5:24) heavier music with some Hendrix and Winwood-like jamming up front and frenetic rock drumming behind. Impressive musicianship over a Beatles song (making it almost unrecognizable as originally coming from the Fab Four)! (8.75/10)

7. "Sweetness" (4:19) a song that opens with gentle organ, acoustic guitar, and upper register electric bass weaving with delicate drum play beneath over which Jon sings a bluesy vocal with some very nicely arranged (and performed) harmony vocals supporting him. The collective sound of the instruments begins to thicken and harden in the third minute but then, rather suddenly, things revert to the delicate thinness of the opening. Interesting song. (8.75/10)

8. "Survival" (6:01) one of my all-time favorite Yes songs--even from first hearing it back in 1975 or 76 when I purchased the Yesterdays album. I love all parts of the suite (shades of things to come!) I especially love the fact that there are two rather distinct motifs introduced and explored before a vocal ever enters--and then the amazingly surprising vocal that Jon enters with! And then the way it builds--with the vocals doing the work!--to the two parts of the angelic chorus! Sublime! And so unique! (9.5/10)

Total Time 38:59

Overall, this album offers a very impressive introduction of a set of very skillful musicians who, together, have a very unique, creative, and surprisingly mature style of composition and song rendering. The skills and ranges of Peter Banks, Jon Anderson, and Tony Kaye all come shining through while those of Chris Squire and Bill Bruford still seem to be shaping and developing (though there are plenty of glimmers of brilliance from both throughout the album).

A-/five stars; a surprisingly mature and skillful display of song-crafting: it's not the full brilliance of future Yes, but, when compared to all of the other music produced in 1969, this is amazing! Especially for the definite expression of creativity offered to the world. This is definitely an album of what I would call full-on "progressive rock" music! In my opinion, had they never done another album after this, they would still hold a prominent place in the history of progressive rock music for this album alone.

After listening to SO MANY albums from the 1960s over the past three years (mostly for the sake of research into the histories of Prog Folk, Jazz-Rock Fusion, the prog epic, the "first prog album," and proto-prog), I can say with clear confidence that this is one of the best and most complete prog albums of the 1960s!

The run of stellar albums by Yes in the seventies is virtually unmatched, and 1974's 'Relayer' is among the most precious gems the band has released during the decade. Famously composed of just three tracks, following the successful formula of 'Close to the Edge', 'Relayer' might as well be seen as the most experimental, most technically complex and epic album, packed with some of the band's most intense and challenging music, definitely a massively exploratory, influential, and creative album that is up there with masterpieces like 'Larks' Tongues In Aspic' or 'Brain Salad Surgery'. With the eventual quitting of Rick Wakeman after the finished recordings of 'Tales', in comes another extravagant hero and keyboard virtuoso - Swiss-born musician Patrick Moraz, a tremendously skilled player who completes the band with his fast-paced leads and fusion influences.

As for the album itself, what more could you want from a Yes LP than having 'The Gates of Delirium', a perfect side-long epic, as the opening track. The entire composition is massive, wildly technical, and completely astonishing. The instrumental passages are impeccable and contain some of the best refrains to be heard in the entire Yes catalogue, the sound is definitely more unruly than preceding albums, just to be finished off with the melodic and warm piece-turned-single, 'Soon'. This is followed by the breathtaking 'Sound Chaser', an avant-garde and electrical piece of prog extravaganza that could easily scare off any glam rock fan, and a tremendous way to follow the album's opening epic piece. A full-blown masterpiece, this is Yes going even further into their instrumental frenzy. And finally, there is 'To Be Over', a more typically soothing Yes number, once again highly imaginative and enthralling, it is a beautiful way to finish off a breathtaking, surreal album, full of tremendous and inventive music, some of the best by Yes. I don't think there is any pretention here, just straight to the point masterful playing and songwriting, and a band that displays its utmost capacity of composing epic rock music with eclectic influences.

An abundant and "fragmented" masterwork, an album that embodies all the excess of progressive rock, conceived and composed as a gargantuan spiritual journey in four movements, and perhaps even the logical step forward from 'Close to the Edge'? You may describe Yes' 'Tales from Topographic Oceans' in many ways but one thing is certain - this is an impeccable piece of music that defies classification, it elevates the concept album idea, it manifests itself as the ultimate celebration of a musical genre that was supposed to be taken to its extreme at some point, and this is the album that dares to stand at the point of no return. A laborious, epic, grandiose and sophisticated listen, 'Tales' is also one of the most rewarding, experimental and unhinged albums in the history of rock music, and its mere existence is a sign of how truly special the musicians in Yes are, and how majestic progressive rock can be.

A presentation and execution closer to classical music and a sound in four movements just as grandiose, this is the album that seemingly did not follow any rules. From the opening chants of 'The Revealing Science of God', a masterful epic inspired by the complexity of 'Close to the Edge', to the pastoral and spacey passages of 'The Remembering' or the diligent chaos of 'The Ancient', the album is eclectic and passionate, full of memorable and mind-blowing moments, definitely including some of the most challenging, complex and majestically lush Yes music. Undoubtedly 'TFTO' is a difficult listen, and its majesty lies in its imperfection, especially when considering how ambitious the concept and the musical presentation are, together with the fact that it took the band five months to finish. Just for the stories around the making of the album and the fact that its complexity was among the reasons for Wakeman's leaving after finishing recording 'Tales', this is one of the very significant releases of progressive rock, an album that embodies the utter extravagance of a genre that was said to be among the more virtuosic, pretentious and lavishly abundant ones.

'Fragile' is a quintessential Yes album that basically sees the band in their full glory - epic, complex, lush, melodic and memorable, the album is quite deservedly seen as one of the progressive rock classics. But 'Fragile' is also a very unique prog album in many ways, while it takes as a basic template the complexity of the extended compositions on 'The Yes Album' and further challenges the conventional notion of how a pop song could be structured, as it allows the longer pieces to unfold in a very organic and controlled manner, it is in no way short on surprises and unpredictable twists and turns, incredibly versatile and eclectic, 'Fragile' can be both frantic and magical, both uplifting and introspective. The addition of shorter pieces written by each band member, however, is the ingenious magical flavor that really elevates the album and displays the various influences brought in by each band member. Not to mention how the addition of Rick Wakeman had really rendered Yes one of the most versatile and innovative quintets to have ever graced the history of rock music.

Majestically conceived and tremendously well-executed, there is some truly vibrant music on this album in the face of the four centerpieces - 'Roundabout', 'South Side of the Sky', 'Long Distance Runaround/The Fish' and 'Heart of the Sunrise'. Stretching out an idea into a piece that incorporates the virtuosity of jazz and the pomp of a classical piece, the blend of these influences with the rock instrumentation births an amalgamation of triumphant sounds that work together in a brilliant manner. A fantastic album, quite intelligently structured and highlighting not only the solo talents of the members of Yes, but also the collective force of the band Yes. Very difficult to pick a better side on an album that is virtually flawless. In brief, epic, gorgeous, and essential.

The first Yes album of all-original material was 'The Yes Album' from 1971, a record that despite its confusing cover photograph, depicts one of progressive rock's legendary bands at the genesis of their creative uprising, with an extremely adventurous release packed with classic Yes tracks, and one that allowed them to begin to craft a unique musical identity and to experiment with sounds and techniques, all while preserving the essential (and quite enjoyable) key ingredients of early Yes - the majestic vocal harmonies, the textured, warm bass playing and the charmingly exploratory spirit of early progressive rock, always very uplifting and hypnotic.

An important album in the Yes catalogue, being the first one with Steve Howe and last one (until the 1980s) with Tony Kaye - both of whom do add their unique flavors to the very joyous yet complex music on 'TYA', perhaps not as lush as the albums that would come later but incredibly mature and occasionally quite challenging, certainly Yes had crafted a tremendous blend of symphonic rock with pop and psychedelic influences, topped by the otherworldly vocals of Jon Anderson and his imaginative lyrics. The music is complex yet enjoyable and splendid, uniquely combining a sense of freedom and an aspect of virtuosity that would be developed even further on later releases. There is only a hint of the musical pomp that Yes is now recognized for - just hear the splendid sounds of 'Yours Is No Disgrace' or 'I've Seen All Good People', classic tracks on a classic album.

After 2011's very acceptable "Fly From Here", which gave Yes' career back some steam, three years later a new release was on the horizon, "Heaven & Earth", the band's nineteenth album and first with Jon Davison on lead vocals replacing Benoit David for health reasons. And the overall feeling the album leaves is that of a wasted opportunity considering the level of its members, with no memorable elements or major attempts to go beyond commonplaces and self- indulgent at times.

The opening "Believe Again" and the resilient "Light of the Ages" are partly spared from the musical orphanage, songs that, although they don't deliver what they seem to promise, have some elaboration and count with the very interesting guitar contributions of Steve Howe, and the beautiful acoustic melody of the emotional "To Ascend" that Jon Davison (yes, it's not Jon Anderson...) sings in the best "Wonderous Stories" style, surely the best piece of the album.

Otherwise, with the very discreet participation of Chris Squire on bass and Alan White on percussion and despite the commendable efforts Howe makes from his place to give more technical richness to the structures, bland and depigmented melodies predominate, such as "The Game", "Step Beyond" and "It Was All We Knew" of accessible AOR- style sonorities, the discreet half-time between soul and blues of "In a World of Our Own", or the jazzy tinges of the concluding "Subway Walls" whose promising orchestrated keyboards by Geoff Downes and some instrumental efforts in between, are not enough to tip the scales positively.

"Heaven & Earth" must be one of the least fortunate albums in Yes' discography, and it is inevitable to wonder how far it makes sense to stretch a brilliant career whose golden years had already passed decades ago.

Expendable.

2/2.5 stars

Favorite Track: Close to the Edge

Favorite Moment: 16:48-17:38 in Close to the Edge. A feeling of plenitude, as one would feel when understanding the meaning of life in the final moments of the journey.

Close to the Edge is a monumental staple not only in Yes's history but also in the history of progressive rock. Frequently cataloged as one of the best albums in the genre, Yes condenses, in 37 minutes and through just three songs, the pinnacle of their virtuosity, imagination, and musical creativity. I will provide an in-depth review of my favorite track, along with shorter mentions of the others.

And You and I is a beautiful tune introduced by Howe's 12-string guitar. Packed with metaphorical lyrics, this is a much lighter piece compared to the title track. We see a great vocal contribution by Anderson in this musically rich and eclectic song that, in classic Yes style, merges various inspirations. The use of phasers and flangers gives the tune a definitive "galactic" feel. Not my favorite track in its simplicity, but definitely enjoyable and emotive.

Siberian Khatru is the bluesiest of all the tracks, opening with Howe's electric guitar. It is quick-paced, carried by Wakeman's and Squire's contributions, which lay the groundwork for Howe's higher-registered lines. Howe plays much with repetition, providing a constant element in his four-to-five-note riffs that embellish the song. In my opinion, the weakest contribution the album in creativity, but still admirable in composition.

The title track is composed of four sections, each fitting coherently while contributing its own distinct characterization to the overall piece. There is a clear classical inspiration in both structure and melody - Jon Anderson even mentions being inspired by works by Stravinsky and Sibelius. The first section, The Solid Time of Change, provides the foundation in nature and eclecticism. It begins with a compilation of running water, birds, and forest sounds, quickly overtaken by a slowly ascending keyboard chord that leads into Howe's guitar. Through the layering of all instruments in clearly independent melodic structures, the complexity of the piece is revealed. Lyrics are introduced four minutes in, shedding light on the recurring lyrical motif: "Close to the edge...," which will be repeated and varied until the grand finale. The second section, Total Mass Retain, is brief and feels more like a variation of the first section. Its lyrics - especially "All in all, the journey takes you all the way - as we cross from side to side, we hear the total mass retain" - reinforce the idea of a journey through nature, recognizing the sublime forces that govern it, such as the law of conservation of mass. It feels as though we are traversing Roger Dean's surreal landscape depicted on the LP cover. The third section, I Get Up, I Get Down, carries perhaps the heaviest weight in shaping the song's overall mood. Most of this section revolves around Wakeman's performance on the pipe organ at St. Giles-without-Cripplegate. This unique choice pairs the religiosity of the organ with the repeated lyrical motif of struggle and perseverance: "I get up, I get down. Finally, we reach Seasons of Man, which brings back the cacophony and multi-layered "mess" introduced in The Solid Time of Change. Here, Wakeman's virtuosity shines in an impressive solo that paves the way for a new wave of lyrics. Beginning with "The time between the notes," the section revisits the themes of the first part but with a greater sense of urgency and repetition, accentuated by Wakeman's reversed chord progression in the background. At 16:36, the journey comes to its conclusion. A powerful buildup, presented through all the instruments, climaxes with "Seasons will pass you by," followed by a beautiful final variation of "I get up, I get down." There is a sense of plenitude, a completion in the sought out existential journey constructed throughout the piece.The motif is repeated, accompanied by rich instrumentation, and the piece closes with the sounds of nature: a true cycle of life.