All YES Appreciation Thread

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).

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

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

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. 

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. 

Tormato I picked up on store-bought cassette back in the day, and I too have a soft spot for it.  That was about the time I got my first decent electric guitar, and playing that whole lead in Future Times/Rejoice was a huge preoccupation of mine.  So, despite its legion flaws, I have to say I love that record.

Yes has long been my favorite band and Jon Anderson my favorite vocalist.  Steve Howe was my favorite guitarist (but I'm afraid that Steve Hackett now holds that title).  Chris Squire is my favorite bass player. 

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.

ghost_of_morphy wrote: OK, here's an educational and instructive snippet about CTTE.   "Although released pretty soon after Fragile, Close to the Edge was a slow album to make in terms of studio time. Photographer Martin (or Martyn) Adelman described in a 2003 interview how "There's a Bruford cymbal crash on that album that took two nights to record." That pace took its toll on Bruford, who was tempted away to join King Crimson. He offered to do the tour in support of the album, but the band rejected the idea and he left, having to pay the band in the process! The others had already come to know a friend of Eddie Offord's, a certain Alan White, during the recording of the album—White even sat in on some of the rehearsal sessions. White joined shortly before accompanying the band on tour, a tour documented on Yessongs. "

Cool.  Btw, what's the source?  A shame to hear about Bruford being treated like that though.  And astounding that he should leave Yes, probably hearing things from friends and colleagues like, "are you crazy, King Crimson is over and Yes is on top of the world!", only to help realize one of the best prog records ever in Larks' Tongues - in fact to record three great albums, ending with the seminal Red.  I can't tell you sales figures, and I suppose they matter, but I don't need sales to tell me that that phase of KC was tops.

Also, maybe you'd know this?:  I wrote above, in a response to Dellinger, that I thought I read somewhere that Howe's takes, either in one song or more, were one-take, or maybe others were one-take.  I feel like I remember reading that in an issue of Cream or something, and that CttE was Howe's favorite Yes recording session. (?)

Once again this thread is slipping away. So what would you people think about Yessongs, the first Yes Live album. Out is Bill Bruford and in comes Alan White (as most of you must already know), however, unlike the previous departures, this time it was Bruford who wanted out. So, do you think about the songs here, anyone you like particularly better than the studio versions? Or some particular mistakes? And what do you think about the job of Alan White, and his capability as a drummer compared to Bruford? And who fitted the group better? And who created a better rhythm section with Squire?