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Embarking on a quest through the symphonic landscapes of Yes’s discography is like diving into a sea of progressive rock majesty. I’ve been spinning these records for years, and each one tells a unique story, woven with intricate melodies and ambitious compositions.
Today, I’m ranking Yes albums from the awe-inspiring epics to the lesser-known gems. Whether you’re a seasoned fan or new to the Yes universe, you’ll find this rundown an essential guide to one of rock’s most celebrated bands. Let’s explore the sonic brilliance that has captivated listeners for over five decades.
The Yes Album
Recognized as the turning point in the band’s career, The Yes Album not only cemented Yes’s place in the progressive rock pantheon but also marked their first foray into commercial success. Released in 1971, this masterpiece showcases the band’s technical prowess and creative ambition that were to define the genre.
Steve Howe’s debut as the group’s guitarist redefined the sound of Yes, infusing it with his unique blend of precision and flair. His iconic guitar work on tracks like “Starship Trooper” and “Yours is No Disgrace” remains some of the most heralded in rock history. With Howe’s arrival, Yes’s music transcended into something transcendentally intricate and mesmerizing — akin to the work of similar artists like Genesis, King Crimson, and Emerson, Lake & Palmer.
The album’s third track, “I’ve Seen All Good People,” quickly became a crowd favorite and still stands out as an emblem of progressive rock’s golden age. The band’s complex song structures and use of harmonies laid the groundwork for what was to come, both in their future projects and in the progression of the genre itself.
As I delve deeper into the album’s textures and layers, the synergy between the members ignites a sense of awe. Bill Bruford’s percussion, Chris Squire’s melodic basslines, and Jon Anderson’s distinct vocal timbre merge into a harmonious blend that’s as fresh today as it was five decades ago. “The Yes Album” is less a collection of songs and more a showcase of breathtaking musical interplay.
The production quality might not have the sheen of modern day records, but the raw energy captured in these sessions speaks volumes of the band’s raw talent and potential. Listening to these tracks, there’s an undeniable charm in the slight imperfections and the warmth of analogue recording that enhances the listening experience.
This album isn’t just a step in Yes’s evolution; it’s a giant leap for progressive rock. It set a standard, broke down barriers, and offered a fresh sound that even today’s listeners find captivating and ground-breaking. As I explore the rest of their discography, this record stands as a stark reminder of Yes’s monumental contribution to music and the indelible mark they left on the soundscape of the seventies.
Close to the Edge
Following the success of “The Yes Album,” the band elevated their game with “Close to the Edge”, which pushed the boundaries of progressive rock even further. Released in 1972, this album not only solidified Yes’s place in music history but also redefined the genre with its complex compositions and intricate soundscapes. The title track, spanning nearly 19 minutes, is a symphonic suite divided into four movements, each blending seamlessly into the next.
Crafting an ambitious blend of rock, jazz, classical, and Eastern influences, Yes created a sound that was both innovative and reflective of the era’s desire for experimentation. Jon Anderson’s distinctive vocals and Rick Wakeman’s keyboard artistry are in full display, with the latter’s use of the Mellotron adding a lush, orchestral feel to the music.
The album’s impact on both fans and peers was undeniable – it influenced a generation of progressive rock bands and artists, including Genesis, King Crimson, and Emerson, Lake & Palmer. These acts, much like Yes, were known for their complex compositions and musical proficiency, sharing the same zeal for pushing the envelope in rock music.
“Close to the Edge” is often celebrated for its sonic cohesiveness, despite the individual tracks being so distinct. “And You and I” and “Siberian Khatru” round out the album with their own merits. The former is a 10-minute piece featuring acoustic elements and layers of harmonies, building to a crescendo that captures the listener’s full attention. The latter offers a more straightforward rock sound but is textured with time signature changes and Howe’s unmistakable guitar riffs.
The production quality of “Close to the Edge” also deserves mention. Each instrument is clear and defined in the mix, allowing listeners to appreciate the interplay between members. This clarity is a testament to the audio engineering of Eddy Offord, who worked closely with the band to deliver a polished, yet dynamic sound that would become a hallmark of Yes’s music.
Undoubtedly, the lasting legacy of “Close to the Edge” lives on in the annals of progressive rock, not just as a peak in Yes’s own oeuvre but as an influential cornerstone for the genre.
Fragile
Hot on the heels of their milestone creation “Close to the Edge,” Yes released their fifth studio album, “Fragile,” in November 1971. This album not only maintained their progressive rock prowess but also introduced the band’s new keyboardist, Rick Wakeman. His classical training and penchant for Mellotron textures added a new layer of sophistication that was immediately embraced by fans.
The album’s opening track, “Roundabout,” became a resounding hit, featuring an unforgettable intro and complex interweavings of guitar and keyboards. Steve Howe’s exquisite guitar work, along with Wakeman’s keyboard finesse, proved that Yes were masters at fusing rock with classical influences, setting them apart from contemporaries like Genesis and King Crimson. “Fragile” quickly became a beacon for ambitious rock musicians, inspiring the likes of Rush and Dream Theater who would emerge years later.
“Fragile” was also groundbreaking in its structure; aside from the group performances, each band member contributed a solo piece, offering a glimpse into their individual talents. Bill Bruford’s percussion in “Five Percent for Nothing” showcased his rhythmic genius, while Chris Squire’s “The Fish (Schindleria Praematurus)” highlighted the harmonic potential of the bass guitar. These individual showcases cemented Yes’s reputation as a collective of virtuosos, not just a rock ensemble.
The production of “Fragile” leveraged Eddy Offord’s audio engineering skills to balance the raw energy of live performance with the intricate polish of studio work. His ability to capture the essence of each instrument made the listening experience almost tactile. With “Fragile,” Yes not only charted new territory within the prog-rock genre but also set the stage for future experiments in structure and sound.
While “Fragile” didn’t have the same conceptual continuity as “Close to the Edge,” the sheer quality and variety of its tracks offered something for every Yes fan and solidified the group’s growing legacy within the bounds of progressive music. They didn’t just play notes; Yes crafted musical landscapes that challenged and enchanted, much like their genre co-architects Emerson, Lake & Palmer. Each album in their discography, “Fragile” included, became stepping stones for the genre’s evolution, leaving a trail of influence that is felt across multiple spectrums of rock music even to this day.
Relayer
In the pantheon of Yes albums, Relayer often stands as a beacon of avant-garde craftsmanship within the progressive rock sphere. Released in 1974, it was a daring departure that saw the band venturing into more complex and dissonant territory than their previous works. Accolades for the album often center around its ambition and the masterful interplay between the band members.
The fabric of Relayer is woven with the intricate textures of Patrick Moraz’s keyboard virtuosity, who replaced Rick Wakeman for this album. His prowess on the keys added a fresh and exotic flair to the band’s soundscape, evident in the opening epic, “The Gates of Delirium.” This 22-minute saga, inspired by War and Peace, plunges listeners into a tapestry of battle, disillusionment, and hope. The song’s final movement, famously known as “Soon,” has since been hailed as a poignant, peace-bearing anthem, featuring Steve Howe’s emotive guitar work.
Yes’s ability to balance intense, sprawling compositions with softer, more reflective moments is a trait that aligns them closely with contemporaries such as King Crimson, Emerson, Lake & Palmer, and Genesis. These bands collectively sculpted the bedrock of what progressive rock would become, embracing similar themes of musical complexity and theatricality.
Relayer, for all its experimentation, remains anchored in Yes’s commitment to pushing musical boundaries. Whereas albums like “Close to the Edge” sought a seamless thematic journey, Relayer revels in its dynamic contrasting segments. “Sound Chaser,” a track that fuses jazz fusion with their traditional symphonic style, is a prime example of the band’s relentless pursuit of innovation. This relentlessness is further reflected in “To Be Over,” a serene yet intricate piece that provides a lush soundscape filled with Howe’s distinctive pedal steel guitar and the band’s meticulous harmonies.
As insightful as “Fragile” was into the individual members’ talents, Relayer underscores Yes’s collective synchronicity amidst extensive compositional challenges. Each song acts as a showcase for their musical acrobatics, an attribute shared with other greats of the time. The album, though not their most commercially successful, cemented their place as pioneers in the realm of progressive rock, ever willing to explore and evolve.
Going for the One
After diving into the innovative dimensions of “Relayer,” Yes continued their groundbreaking journey with the release of “Going for the One” in 1977. The album marked the return of keyboardist Rick Wakeman, whose presence revitalized the band’s dynamic interplay that fans had come to love. I find “Going for the One” to hold a special place among Yes’s discography because it blends the band’s early symphonic style with renewed vigor and a hint of commercial accessibility.
“Going for the One” is notable for its striking contrast between lengthy, complex tracks and more concise, radio-friendly tunes. The title track kicks off the album with an immediate lure, showcasing Steve Howe’s steel guitar skillfully weaving through the energetic rhythm section. The majestic “Awaken” stands out as a pinnacle of Yes’s mastery in composing epic pieces, with its intricate harmonies, Jon Anderson’s ethereal vocals, and a grandiose church organ finale.
The influence of similar artists, such as Genesis, King Crimson, and Emerson, Lake & Palmer, is subtly apparent in the album’s textured orchestration and adventurous arrangements. Yet, Yes manages to carve a unique sound that sets them apart from their contemporaries. “Going for the One” seems to encapsulate the essence of progressive rock during a time when many of their peers were simplifying their sound in response to the rise of punk and disco.
The remarkable artwork that adorns “Going for the One” hints at the spiritual and esoteric themes found within. The vibrant energy conveyed in both the visual and auditory elements of the album is a testament to Yes’s ability to harmonize their music with thought-provoking concepts. Even after several listens, I’m always discovering new layers within the album’s five tracks—each one crafted with meticulous detail, ensuring fans remain engaged from start to finish.
Drama
Following the significant impact of “Going for the One,” Yes faced yet another transformation leading to their 1980 album, “Drama.” Known for its more aggressive sound and new wave influence, “Drama” represents a notable departure from the band’s other symphonic and complex albums. This shift was largely due to the drastic lineup change: Jon Anderson and Rick Wakeman had left, replaced by Trevor Horn and Geoff Downes, known collectively as The Buggles.
“Drama” stands out within the Yes discography for substituting traditional Yes philosophy with a refreshing, albeit polarizing, straight-to-the-point production befitting the emerging music landscape. Unlike their peers, such as Genesis, King Crimson, and Emerson, Lake & Palmer, Yes seemed eager to embrace change, reflecting the dynamic nature of progressive rock.
Despite initial mixed reactions from die-hard fans, songs from “Drama” like Tempus Fugit and Machine Messiah have gained cult following over time. These tracks feature a distinctive blend of heavy bass lines, complex rhythms, and cutting-edge synth work.
- Noteworthy tracks from “Drama” include:
- Machine Messiah
- Tempus Fugit
- Into the Lens
The production on “Drama” is sharp and meticulous, a testament to the band’s adaptability and enduring relevance in a rapidly evolving music industry. The punchier guitar riffs and futuristic keyboard motifs create an undeniable energy that makes “Drama” an exhilarating listen, despite its polarizing stand.
Fans and critics often debate the merits of “Drama” in comparison to classic Yes albums, but few can deny its historical importance not just in Yes’s timeline but also in the broader context of progressive rock. It captures a moment when the genre at large—facing the rise of punk and new wave—was forced to redefine its identity.
Tormato
After the creative pivot observed in “Drama,” the trajectory of Yes took another intriguing turn with the release of “Tormato” in 1978. Despite its somewhat mixed reception, this album is an essential chapter in Yes’s eclectic discography. “Tormato” continues to challenge the boundaries of what progressive rock can be, incorporating rich keyboard melodies and complex rhythmic structures that are characteristic of the band’s sound.
The album’s production was notably different, veering towards a brighter and more polished sonic palette. This shift mirrored the changing landscape of rock music during the late 1970s as the genre became increasingly infused with technological advancements and studio experimentation. “Onward” and “Don’t Kill the Whale” stand out as tracks that blend Yes’s penchant for musical complexity with hooks that catered to a broader audience.
Engaging more directly with contemporary issues, “Tormato” touched on environmentalism and spirituality, themes that were becoming more prominent in the public consciousness. By this time, bands such as Genesis, King Crimson, and Emerson, Lake & Palmer were also exploring similar territories, although each with their own unique approaches to the evolving progressive rock scene.
The album’s artwork, featuring a splattered tomato, was as unconventional as the music within, hinting at the band’s willingness to explore and sometimes confound expectations. The presence of Jon Anderson’s ethereal vocal style and Chris Squire’s dynamic bass lines helped ground the album’s exploratory nature, ensuring that Yes’s signature sound was still unmistakable amidst the shifting musical backdrop.
“Tormato” is often a subject of debate among fans and critics alike, making it a complex addition to Yes’s ranks. Its divergent qualities reflect a band that’s unafraid to evolve and have a dialogue with the ever-changing tides of music, without surrendering their core identity. This ability to adapt while maintaining a distinct sound is what often sees them compared to their similarly skilled contemporaries, setting a precedent for artistic evolution in the progressive genre.
90125
When I delve into the groundbreaking album “90125,” released in 1983, I’m always struck by how drastically Yes managed to redefine their sound. With the integration of technology and a pivot towards a more mainstream rock orientation, this album stands out as a turning point for the band. Notably, “Owner of a Lonely Heart” was a massive hit, its cutting-edge production and catchy hooks propelling it to the top of the charts.
Transitioning from their earlier, more experimental works, Yes didn’t just tweak their style – they overhauled it. The introduction of Trevor Rabin brought a fresh dynamic to the group. His guitar work and songwriting skills infused a contemporary vibe into the album, while Tony Kaye’s return on keys added a nostalgic touch. The production quality, led by Trevor Horn, elevated “90125” to an impressive sonic experience, balancing the essence of Yes with the urgency of the 80s sound.
Track Highlights From “90125”:
- “Owner of a Lonely Heart”
- “Leave It”
- “Cinema” (won a Grammy Award for Best Rock Instrumental Performance)
Several factors contributed to the success of “90125”. The album’s embrace of shorter, more radio-friendly tracks appealed to a wider audience, and the band’s innovative use of music videos during the early days of MTV captured visual interest. It’s this adaptability that allowed Yes to maintain relevance alongside similar artists who also pivoted during this era, such as Genesis, The Moody Blues, and King Crimson, though Yes’s transformation was, arguably, the most striking.
What stands out with “90125” is its legacy in Yes’s discography. The album not only marked a commercial high point for the band but served as a template for progressive rock bands seeking to evolve with the times without completely abandoning their roots. The energetic riffs, masterful use of synthesizers, and polished vocals illustrate how Yes wasn’t afraid to venture into new territories, yet they managed to retain the intricate musicianship that defined their early years.
Union
In 1991, Yes released “Union,” an album that stands as a testament to the band’s ability to blend diverse musical talents. This record was unique because it brought together members from two different iterations of Yes—those from the “official” Yes line-up and the members of Anderson Bruford Wakeman Howe (ABWH), an offshoot that had developed a parallel body of work. This collaboration resulted in an album rich in textures and styles, albeit not without its controversies.
“Union” is perhaps best known for its lead single, “Lift Me Up,” which displayed an impressive blend of prog-rock elements with a radio-friendly touch. Throughout “Union,” there’s an eclectic mix of tracks that highlight the virtuosity of each member. Despite differences that had existed prior, “Union” ultimately presented Yes as a cohesive unit capable of delivering intricate compositions, such as “Silent Talking” and “The More We Live – Let Go.” However, it’s essential to note that “Union” received mixed reviews, with some fans embracing the experimental alliance, while others were left yearning for the more uniform sound of previous albums.
The production of “Union” demonstrates Yes’s knack for sonic evolution, much like their contemporaries in the genre, including Genesis, King Crimson, and Rush. Each of these bands journeyed through different musical phases, and “Union” was Yes’s foray into harmonizing their past with the present.
Let’s delve into some key aspects:
- ABWH and Yes members contributed to “Union,” creating a fusion of talents.
- “Lift Me Up” emerged as a memorable track, balancing complexity with mass appeal.
- Despite its diversity, the cohesion on “Union” was met with split opinions among listeners.
Examining the tracklist, we see that “Union” wasn’t afraid to push boundaries, both in the melodies and in the collaborative process. While it may not typically top a list of Yes albums ranked, it warrants recognition for its bold approach and the mere fact that it symbolizes a union not just of band members, but of divergent artistic visions, a rare occurrence in the music industry.
Conclusion
Diving into Yes’s storied discography has been a thrilling journey through progressive rock history. Albums like “Union” stand as testaments to the band’s enduring legacy and their commitment to innovation. They’ve not only captured the essence of their era but have also laid the groundwork for countless acts that followed. As we’ve explored the highs and lows of their musical endeavors, it’s clear that Yes’s albums are more than just a collection of songs; they’re a mosaic of groundbreaking creativity. Whether you’re a lifelong fan or a newcomer to their sound, there’s no denying the impact Yes has had on the world of music.