All YES Appreciation Thread

For me, YESSONGS, and the live version of Perpetual Change takes it for me.

The Symphonic Live version of Starship Trooper is also brilliant!

^ The songs are merely nice; not offensive at all, just nice.  Btw, I like Run Through The Light too, weird as it is for a Yes song.  Certainly a good B-side tune.

I really like Machine Messiah, just because of this song was this line-up worth existing for me. It may be only me, but I also liked Run Through the Light a lot, and even White Car, I find both nice to listen to (even though White Care is far too short, but I guess it acomplishes whatever it needs in so short a time). Tempus Fugit and Into the Lens have never been very interesting for me. By the way, anyone heard the live songs played by this lineup on the live compilation The Word is Live? Go Through This, and We Can Fly From Here. I found both songs quiet nice, however the sound quality on this two particular songs is rather dreadful.

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ghost_of_morphy wrote: Bitterblogger wrote: For both Anderson and Wakeman to quit, and Yes to decide to carry on, took courage.  For it to involve two practically unknown musicians more attuned to New Wave than progressive rock, was risky. The resulting Drama was not only a clever title, but actually delivered two great numbers to the Yes repertoire: Tempus Fugit and Machine Messiah (Into The Lens isn't bad either).  Can you think of other groups who've parted ways with two of their most popular members, including the main songwriter, that did as well? I can only think of disasters, like the J Geils Band, or "pushes", like with 10 cc.   Ahh, another one who agrees with me on Machine Messiah and the Buggles' songs being the high points.

Wait a minute, I know Into The Lens was a "Buggles" song (real good song imo). But Machine Messiah was supposedly based at first on another Buggles song.

I like what Bitterblogger had to say about the daring of Drama.  I agree, and can't think of another passable switchout of major members.  I always respected how Led Zep didn't even try - tough in fact to think of any bands that stopped completely when their drummer died, or even just left.

Anyway, Drama is an accomplishment.  And let's not leave out how fresh Howe's playing is on it, how fitting White and Squires playing is, and how excellent the vocal compliment works - mainly I'm saying how great the Horn/Squire, and even Horn/Squire/Howe, vocal combination is on the record.  (Btw, apparently White does "vocals" on the album, but I don't know what song(s) that could be as I don't know what he sounds like.)

American Khatru wrote: ^ I see what you meant.  But really?  I don't agree.  Well, different strokes... How do you like Drama?

^ I see what you meant. 

But really?  I don't agree.  Well, different strokes...

How do you like Drama?

Not that there aren't other moments to recommend him, but I think White's best drumming is on Relayer, with Gates and Sound Chaser.  Frankly, That, That Is is okay but it pretty much may just as well be anybody there; I don't see it as special. edit : I'll add that I think his best drumming accross one entire album is on Drama.  Very smart and appropriate parts, wonderfully played.

Edited by American Khatru - October 28 2009 at 08:48

American Khatru wrote: I love Broof on Heart of the Sunrise too.  I continue to be fascinated by that whole section early on, the one that is mainly bass and drums, with mellotron chords then coming in and eventually the guitar fading in on the riff.  One of the coolest things ever done in prog.  And Bruford's thoughtful drumming across it is just the tops.   Here's another one: who else would have thought of - how would someone else have thought of - that wicked part on the verses of Long Distance Runaround?

BTW, once I started a thread asking people for their favorite drum fill in a prog song, not a solo, just a fill.  Someone replied that the three tom hits by Bruford on Close to the Edge - after the lengthy introduction is done and the section starts that contains the first words of the song - gets them every time.  I gushed concurrence!  It is just the thing, isn't it?!  His playing across that whole album is just wonderful.  The 'Eclipse' section of And You And I is sublime, as I know I've said elsewhere.  I notice it's credited to Bruford and Squire, incidentally.