Is 90125 the most underrated Yes album?

CPicard wrote: I rented 90125 in my local library last year. I tried more than a couple to deal with this record. Come on, guys, let's admit it: it's not that everything is awful on this album, but it can't compete with the 70's Yes material in strict terms of writing! 90125 sounds like a ton of other 80's rock music made to conquer the FM waves: "Owner of a Lonely Heart" is rather poor from a musical point of view, "Changes" offers no surprise... And I can't even remember the music of the other songs, all of them being as forgettable as a Foreigner anthology! To re-estimate Drama is something to be done (even if I don't enjoy a lot, but it's not bad), but 90125 is so generic that it can't even be seen as an alternative to, let's say, Boston or Journey! And for something completely different, Heaven and Earth sounds a Mike Oldfield album. Er, I meant: a modern Mike Oldfield album (those having listened to Man on the Rocks know what I mean).

Well, that "Man on the Rocks" song, as well as "Nuclear" are much better than anything on "Heaven and Earth" for me (even if completley not prog and unlike what I'm used from Oldfield).

Not discussed has been the economic impact of the recording "90125" upon the bank accounts of the members of Yes! 

I believe that the commercial influence was on the Trevor Rabin agenda, songwriting and control over the Yes situation in the 80's. He was a polished songwriter and crafty enough to obtain success internationally from 3 or 4 songs that were melodically appealing to the 80's housewife who didn't like Progressive Rock. The style of songwriting was based around the structure of catchy melodies fused with Progressive Rock ,unlike the previous situation with Jon Anderson writing Folk melody that was commercially viable, but was also Avant Garde and developed easily by Anderson during the in the madtimes. I believe Rabin was a skilled writer with the same background of interest that evolved from 10CC or Supertramp.