TALK

Talk is the fourteenth studio album by Yes which was released in March of 1994. Recording for the album started in late 1992 with the line-up of Jon Anderson on vocals, Trevor Rabin on guitar, Chris Squire on bass, Alan White on drums and Tony Kaye on keyboards. Interestingly, keyboardist Rick Wakeman was supposed to be involved in the project before contractual problems led to his withdrawal. The album was recorded onto a hard disk at Trevor Rabin's home studio using an early version of the digital audio workstation software Digital Performer. The album was then supported by a tour in 1994 that ended in Trevor Rabin and Tony Kaye leaving the band in 1995. Retrospectively, the album has gotten a lot of praise as one of Trevor Rabin's best albums he created with Yes. I believe this is mainly due to the close collaboration Trevor Rabin decided to have with Jon Anderson when creating the album, mixing both of their styles into one. In addition, it is truly shocking to see Talk receive such low ratings on this website; I imagine people expect to receive another Close to the Edge when listening to this album and have some immediate distain whenever an ounce of pop enters the music without considering its quality. I consider this to be a strong highlight within the band's career while containing masterful songs throughout.

The album begins with The Calling, which receives an extended version on a few releases. The track was developed and soon evolved around the song's introductory guitar riff. The Calling immediately introduces itself as straying away from being yet another generic pop-orientated rock song, there are multiple strong melodies and instrumentations all over which lets the song clock in at just under seven minutes. Furthermore, Yes is at the most progressive they've been in years while still containing fantastic hooks throughout. Tony Kaye's Hammond organ also makes a triumphant return on top of the vocals being as powerful as ever. The Calling is a notable opener that displays the overall sound of the album! I Am Waiting is up next and it is absolutely breathtaking. The track was actually developed quite spontaneously which Jon Anderson has said made it "real pure music". As the track begins, a soft guitar riff is introduced that shifts into a powerful and emotionally driven guitar riff performed by Trevor Rabin. The section is then reprised with Jon Anderson adding vocals where he performs one of the most magnificent vocal deliveries he has done in years. If I had to say what the highlight of this album was, it would certainly be the remarkable vocals. The interplay between both Trevor Rabin and Jon Anderson on this track is done brilliantly in addition to the sound dynamic between both the loud and quiet parts. The next track is titled Real Love and displays the heaviest Yes has been since Machine Messiah on Drama. It was predominantly written by bassist Chris Squire with the lyrics being partly inspired by Rabin's reading of A Brief History of Time by British physicist Stephen Hawking. Trevor Rabin also does a fantastic job on guitar all through this track while incorporating powerful vocals that work in combination with Jon Anderson's. Furthermore, the rhythm section is well-produced and heavy hitting without being overly complicated. It is a quite dark piece at times but remains to be yet another surprisingly strong song on the album.

State of Play is the next track an unfortunately doesn't live up to the songs that came before it. Nevertheless, this is still a wonderful piece of music. There are various impressive moments found throughout such as the numerous superb instrumental sections (though somewhat short). In addition, there is a great transition found at the two minute and thirty six second mark which displays Trevor Rabin's wonderful performance on guitar. Walls was the last track produced for the album and was co-written with Supertramp vocalist Roger Hodgson, who declined an offer to be the band's lead singer following Jon Anderson's parting in 1988 following the Big Generator tour. Despite the track being particularly pop-orientated, I happen to really enjoy it. Rabin's vocals during the course of the song are well done with Jon Anderson's vocals popping in at just the right moments. In addition, Trevor Rabin also provides wonderful guitar interplay and licks whilst Chris Squire adds his superb bass work. The next track, Where Will You Be is absolutely beautiful. It is an atmospheric piece that can be compared to Angkor Wat from Union released in 1991. The guitar from Trevor Rabin is performed tastefully whilst being incredibly gorgeous at times. The combination of Jon Anderson's eloquent vocals and meaningful lyrics on this track are able to transfer the listener to a state of peace. This can almost be considered to be a poem first and a song second. Where Will You Be also works well as an introductory piece for the last track on the album, Endless Dream. This remains to be one of the best songs the band has ever recorded. Clocking in at over fifteen minutes, it is an epic through and through. The epic is divided into three parts, and begins with an instrumental section titled Silent Spring. It starts with a repeating piano riff that Rabin initially intended to use as part of a film score but chose to use it for the song instead. The piano focused intro then moves into a guitar section that exhibits the band performing at blazing speeds. Trevor Rabin's guitar playing is some of the finest of his career in addition to Alan White delivering his greatest drum work on the album. Not to mention, it is nice to see the band performing in an odd time signature once again! The epic then moves into its second part which is simply called Talk. This part contains the bulk of the track, clocking in at just under twelve minutes. The music found within is nothing less then incredible, it is some of the best music the band has ever recorded. A special mention also goes to the dubstep inspired section that feels particularly unique for the band. The track ultimately ends with its third and last part titled Endless Dream which takes a more atmospheric approach and reprises a vocal melody found earlier in the track. Even at the end, you can here a faint reprise of the dubstep inspired section echoing as the track fades. Jon Anderson has said the piece is "as good as anything" the band has done while rating it on par with "Close to the Edge" and "Awaken". Alan White has also praised this track highly since the time of its release. I happen to agree with both Jon Anderson and Alan White, this is truly one of the best tracks the band has ever recorded and a highlight of the progressive rock scene in the 90s. Endless Dream also remains to be the highlight of Trevor Rabin's long career in my view and is a beautiful send-off letter for his time in Yes.

When initially writing this review, I planned on giving this album a five-star rating. However, upon numerous relistens as of late I believe a four-star rating would be more appropriate. Despite the strength of Endless Dream and numerous moments found on the quote-on-quote side one of the album, there are also a few moments that ultimately make this a near-masterpiece for the band. Nevertheless, this is an album that remains to be criminally underrated within the band's discography. Talk is an excellent addition to any progressive rock collection! "So take your time, look round and see the most in time is where you're meant to be."

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