Yes - Jumping the shark

Yes has indeed gone down a road of decline after Bruford left, but as stated above, they had been making reasonably good music until Drama was released. I've listened to Tormato in a store, and it has some really good Tales like tracks, only shorter. Though on this cd, the amount of crap was pretty high already... I don't like GftO either though, but it must have been a minor setback since they did release Tormato which was pretty ok. Also, my sig should speak for itself...

I agree that Close was their last essential work, but I believed they could have done something even better if they'd followed a different path...I hung on through the ups and downs of Tales, Relayer, Going, and Tormato, just wishing and hoping, until Drama killed the last of my optimism. Relative merits aside, nothing from then until ABWH rejoined should have been called Yes.

Patrick Moraz is to prog what Ted McGinley is to sitcoms

ivan_2068 wrote: I voted for the moment when Trevor Rabin but now I'm not so sure, I believe Yes jumped more than one shark and resurrected a couple of times.

I voted for the Rabin era, but just because I think that that group was just another group, not Yes. They should have changed the name. That "90whatever" (I won't ever be able to memorize this number. In fact, I can only remember the PIN number for my mobile phone a my mother's phone number ) is a good record. It's just isn't Yes.

Regards

Marcelo wrote: 90125 is to Yes what ATTW3 is to Genesis.

Have to disagree. Both great albums IMO..

I cant say when Yes jumped the shark. I think they stopped being the 'real' Yes after Tormato, but there were tracks on Drama that I did like (Does it really happen, Tempus Fugit, Machine Messiah) Trevor Horns voice was however..!!

You cant have true Yes without John Anderson and I guess without Steve Howe, although I dont actually have a problem with Trevor Rabins guitar playing like some people do, and I like I said I liked 90125. It was refreshing, and should perhaps be viwed as just a rock album, by a 'Super group' and not specifically as a Yes album.

I voted on the time Rabin joined the band, though I enjoy '90125' almost in its entirity. It's just that Rabin's writing, while stron, was not really essentially linked to the artistic heart of YES. He should have never assumed the "leader"/producer possition... well, Squire and Snderson allowed him to do so, therefore, YES started to become a mix of old prog with Rabin project. Howe's return gave way to some good stuff (most of KTA with Wakeman back, too; 60 % of Magnification; good symphonic shows), but the damage was already done.

Regards.

soundchaser wrote: When I first heard on Tommy Vance's Friday Rock Show that The Buggles had joined Yes, I recall feeling almost physically sick. My stomach actually lurched and I had to sit down. I was in my bedroom at the time in my pyjamas but not yet in bed. Well, on hearing that news I actually sat down on the bed. I was stunned, disappointed, upset. I kept wondering whether I had imagined the news, as if my mind was playing tricks on me. At school the next week, a couple of the older guys who were really into prog were inconsolable. There was also a lot of piss taking from other kids at school that weren't into prog. On a cross-country run, I was close to tears when one kid who always picked on me because of my tatste in music kept singing Video Killed The Radio Star in a very high-pitched voice. Despite all this, when Drama came out I was taken aback by how much it still sounded in keeping with the spirit of Yes and, more importantly, how good it was. I'd say that it's a better album than Tormato and while I couldn't have imagined this line-up working well live, I'd sday that no way did Yes jump the shark with Dramam!

This is my own story EXACTLY! (except for the pyjamas)