All YES Appreciation Thread

Dellinger wrote: So, anyone would add anything about Close to the Edge? It's been very much discussed, so there may not be much more to say. One of my faovurite albums, I guess the song I like least is Siberian Khatru, but it's still a very good song. However, compered with the title track and with And You And I... I just love both of them.

I've been listening to Close to the Edge since I was a little boy-o, in proverbial short-pants.  I'm 41 now and not tired of this album.  I think it's one of the best pieces by any person or group of people anywhere, any time.  I make no apologies or polite adjustments for this statement.  I should however point out my belief that when you have, as I do, a close affiliation with a good record from a young age it just grows impervious to critical adjustment.  In other words, if there's anything wrong with it I'm not the one to tell you.  Is that unfortunate?  Perhaps.  But not to any degree that could appreciably touch my continued love affair with this record.  In fact I'm listening to Sunhillow now as I type (that reminds me, haven't seen Progkidjoel around here much lately) - but when I'm done, I'm pulling out my vinyl of Close and listening to it... again!

A lot has been said, yes, but at the risk of repeating praise, and accepting that I am hardly detached...  The title "track" is a great work indeed.  It has of course that length that us proggers so love, but it's handled so exceedingly well, with everything in it's place and nothing overdone, so that the whole's construction seems unimpeachable.  Basically, after the introduction we have first a musical theme (following "dat, dat") then a first sung theme, then a middle (of wonder, sadness and caves!), then a recapitulation of the first material with some very worthy variants.  But this only to point out the ultimate elegance of the presentation, and not to minimize the stellar and timeless playing and production that come across in this great number.  I think I read somewhere that much was one take (or maybe that was just Howe's parts? - can't remember).

And You and I.  I want to say that I have always been deeply drawn into the instrumental section that follows the word "call..."  The chordal construction and melody of it is breathtaking.  And it has to be said, and can never be said enough, that almost any other drummer may likely have blown it; but Bruford plays his dramatic, spacial-orchestral contribution with such... I don't even know what to say... it leaves me speechless, sends me into tumbling into ecstasies. 

Of Siberian Khatru I'll start by saying, well one might possibly (though I can't condone it) have had a complaint heretofore that there isn't enough flat out rock guitar playing.  Enter Steve Howe.  I don't know if you play guitar, but this one is a sort of clinic to play, a rock opening followed by a riff of excellence.  And let's not forget the great way in which, during the main instrumental section, the simplified guitar riff, mobius bass line and staggered keyboard chords intertwine to form such a signature-Yes ritornello, and also play-out at the end of the album.  When the vocals come in you couldn't be blamed for getting the sense that this is a sort of follow up to the tune Roundabout.  And that ain't bad. 

I've never really thought of Yes as a positive energy band except for when they give Jon too much leeway.  Yes has done a lot of amazing things live though.  It's a shame that they last toured with the wrong Wakeman. 

I had a disaster on the train today travelling to a meeting, only for the wretched thing to be diverted on route to a staton 20 minutes away from my destination - late for meeting, and feeling very very frustrated.

Solution?

Something on the MP3 player that absolutely HAD to calm me down in preparation for defending a member dismissed from his employment (I am a trade union rep).

So...on went Keys To Ascension, and I played the entire live set start to finish.

Result? Successful meeting and one very happy chap on the way home.

I think sometimes we forget just how good this band were. Today reminded me never to take that for granted.

Thanks boys

OMG.  Another Yes fan who likes Harold Land!  You realize we are in the minority here, right?

ghost_of_morphy wrote: Dellinger wrote: So, what about Fragile... well, I guess that's already been discussed a bit, but, anything else to add? Once again, a member was kicked out of the band (Tony Kaye this time) so they could get in a better keyboard player. Still a little bit of a nasty attitude, but I'm not sure I really disaprove... for this way they created one of the very best rock and prog lineups ever to create music. So, what do you think about it? By the way, Fragile is one of my favourite albums, all the Group tracks are really incredible, and even some of the solo tracks are really good, or at least rather short so that they don't really demerit the album (at least that's my point of view). The great tragedy of Fragile is that Yes was forced to substitute "Cans and Brahms" for Rick's original contribution, which was later worked up into "Catherine of Aragorn."  In one fell swoop that changed one of the best tracks into the worst track. That, and a bit more from Bruford, would have made this the best Yes album ever.

     I had never heard this before, and it is a shame really. If Catherine of Aragon had been part of Fragile, it might even be my favourite album over Close to the edge. However, Catherine made it to another of my favourite albums (6 wives, ofcourse).

I've always been into a number of their albums, but for whatever reason, there are some that I've just never given a good listen to.

American Khatru wrote: ghost_of_morphy wrote: OK, best album BEFORE they made it big with The Yes Album?   Simple enough.   Do you vote for Yes or Time and a Word?  In my opinion, Time and a Word is more progressive and original, but Yes is a better production over all.   Yes gets my vote....   (There is no emoticon for shame and contrition.)  Really?  I can only say that I think there is (or was) a general slump around the forums anyway, perhaps a summer lull (though that should be done, but things are still kind of slow).  For my part, I've been busy with life off the net, haven't been doing nearly as much surfing and posting and what not as I used to and like to.  But that's not much excuse when it comes to a thread I started myself.  Actually, I suppose my most legitimate excuse would be that I've been making music.  Yes, proggy music! Back to your question.  I think I like Time and a Word just a little better, for the reason (which you point out) that it's just more progressive.  I love these middle-ground records, where a band is on their way to something.  If I had a wish it might be that somehow there were one more record, a third one, with the original lineup - then let Howe join and the great Yes Album come out.  (Fallacy of the predetermined outcome and all, but I can fantasize.) But I don't want to slight their debut album in any way; Yes is a fantastic album with stellar production, powerhouse playing and excellent arrangements.  The opening track alone is worth the price of admission in every way.  That entrance of bass-then-drums is completely killer, the grooves and vocals are moving, and that ending, what can I say?  To be followed by I See You? - man, as I write this, now I don't know which record is my favorite! I think the most special performance of any member on these two records would be Bruford (you can't understand him without knowing these discs), with Squire a close second.  Thoughts?

ghost_of_morphy wrote: OK, best album BEFORE they made it big with The Yes Album?   Simple enough.   Do you vote for Yes or Time and a Word?  In my opinion, Time and a Word is more progressive and original, but Yes is a better production over all.   Yes gets my vote....   And how dare you guys let this thread slip off the front page!  Yes is the best progressive band ever!  They deserve our support!

(There is no emoticon for shame and contrition.) 

I can only say that I think there is (or was) a general slump around the forums anyway, perhaps a summer lull (though that should be done, but things are still kind of slow).  For my part, I've been busy with life off the net, haven't been doing nearly as much surfing and posting and what not as I used to and like to.  But that's not much excuse when it comes to a thread I started myself.  Actually, I suppose my most legitimate excuse would be that I've been making music.  Yes, proggy music!

Back to your question.  I think I like Time and a Word just a little better, for the reason (which you point out) that it's just more progressive.  I love these middle-ground records, where a band is on their way to something.  If I had a wish it might be that somehow there were one more record, a third one, with the original lineup - then let Howe join and the great Yes Album come out.  (Fallacy of the predetermined outcome and all, but I can fantasize.)

But I don't want to slight their debut album in any way; Yes is a fantastic album with stellar production, powerhouse playing and excellent arrangements.  The opening track alone is worth the price of admission in every way.  That entrance of bass-then-drums is completely killer, the grooves and vocals are moving, and that ending, what can I say?  To be followed by I See You? - man, as I write this, now I don't know which record is my favorite!

I think the most special performance of any member on these two records would be Bruford (you can't understand him without knowing these discs), with Squire a close second.  Thoughts?

rogerthat wrote: American Khatru wrote: I think The Yes Album through Relayer are some of the best prog ever made by humankind.  Analyzing that statement, it's as if I'm saying, from a certain point of view, I needed Howe to be there in place of Banks, but didn't necessarily need Wakeman at all times.  And I really love Wakeman's playing, so don't get me wrong there.  I'm just saying I was never of the opinion that Relayer is lacking because of Moraz, or even that The Yes Album could have been better with Wakeman (though that is of course possible).  I love both these albums as they are.  And let me add that I like Peter Banks' playing an awful lot (you may have seen my review of his "Two Sides").  His chops cannot be questioned. I broadly agree with what you are putting across but the thing is Moraz is a very proficient player anyway and, I think, much more suitable for their style on Relayer than Wakeman or Kaye. No wonder he didn't 'pull down' Relayer! GFTO on the other hand definitely needed Wakeman.

I have to agree with you here.  Moraz covered Wakeman's stuff competently on tour, but on Relayer he played things that would never have occurred to Wakey.  Not that he's better than Wakey, by a long shot, but Relayer definitely shows Moraz's musical bent at the moment (and that musical focus would change soon afterwords.)

Dellinger wrote: rogerthat wrote: ghost_of_morphy wrote: rogerthat wrote: I haven't gone beyond 90125...from these, I dislike Tormato, actually the only one I flat out dislike by Yes.  Drama is great, maybe more flash than substance but it's always fun to listen to.   Do yourself a favor and pick up either Keystudio or Keys to Ascension II (whichever one appeals to you more will do.) Thanks for the recommendation, will do. . The only plus on Keystudio, as far as I know, is that one or two of the songs have gotten some extended intros which I've not heard and don't know how interesting they are, yet I have no intention of buying it.

Rick's intro to Children of Light is not worth the purchase price.  I made my recommendation based upon whether the purchaser would be interested in the live tracks and upon the fact that I find the KTA II studio stuff clearly superior to the two studio songs from KTA I.