CHRIS SQUIRE — Fish Out of Water (1975-2014) RM | SHM-CD | Serie Yes Solos Collection | Two Version | FLAC (image+.tracks+.cue), lossless

Yes-like in every possible aspect, Chris Squire's Fish out of Water is an album that's typical of his band's progressive formula: softened keyboard extensions à la Patrick Moraz, steady yet atmospheric percussion work from Bill Bruford, and a smattering of flute and saxophone that accompanies a small orchestra, which includes effective horn and harp work. Squire's guitar playing is standard, coming to life the most on "Silently Falling" and "Lucky Seven," with the former boosted by a rather dazzling synthesizer solo from Moraz. Even though there are few surprises laid out on the album's five tracks, the elemental composition of pure '70s progressive rock is strewn across each song from start to finish. Squire even sounds like Jon Anderson, especially on "Hold out Your Hand," and each of the song's melodies cater to Squire's vocal ascent. Fish out of Water harbors some firm instrumental and vocal cross-breeding while remaining well within the prog rock norm. Mike DeGagne 
Tracklist :
1.     Hold Out Your Hand 4:14 
2.     You By My Side 5:03
3.     Silently Falling 11:21
4.     Lucky Seven 6:57
5.     Safe (Canon Song) 14:53
Credits :
Bass, Guitar, Vocals, Arranged By, Producer, Written-By – Chris Squire
Drums, Percussion – Bill Bruford
Flute – Jimmy Hastings
Harp – David Snell
Leader [Brass Sections] – John Wilbraham
Leader [Horn Sections] – Jim Buck
Leader [String Sections] – Julian Gaillard
Leader [Woodwind Sections] – Adrian Brett
Organ [Pipe] – Barry Rose
Organ, Synthesizer [Bass] – Patrick Moraz
Piano, Electric Piano, Conductor – Andrew Pryce Jackman
Saxophone – Mel Collins

RICK WAKEMAN — The Six Wives of Henry VIII (1973-2009) RM | SHM-CD | FLAC (image+.cue), lossless

Not only did this album help pave the way for progressive rock, but it also introduced the unbridled energy and overall effectiveness of the synthesizer as a bona fide instrument. Six Wives gave Wakeman his chance to break away from the other instrumental complexities that made up Yes and allowed him to prove what a driving force the keyboard could truly be, especially in full album form. More than just synthesized wandering, Wakeman astoundingly conjures up a separate musical persona by way of an instrumental ode to each of Henry VIII's wives through his dazzling use of the Mellotron, Moog, and Hammond C-3 organ. For example, Wakeman's fiery runs and fortissimo thwarting of the synthesizer throughout "Anne Boleyn" is a tribute to her feisty temper and valiant courage that she maintained while standing up to her husband. With "Jane Seymour," on the other hand, Wakeman's playing is somewhat subdued and gentle, which coincides with her legendary meekness and frailty, as well as her willingness to cater to Henry VIII. Wakeman's masterful use of his synthesizers is instrumentally stunning, as is his talent of magically shaping the notes to represent behavioral idiosyncrasies of his characters. Yes bassist Chris Squire lends a hand on "Catherine of Aragon," while guitarist Steve Howe and drummer Bill Bruford appear on a few tracks as well, as does former Strawbs member Dave Cousins, playing the electric banjo. The Six Wives of Henry VIII unleashes the unyielding power of the keyboard as a dominant instrument, but also displays Wakeman at the beginning of an extremely resplendent career as a solo musician. Mike DeGagne  
Tracklist :
1.    Catherine Of Aragon 3:41
Bass – Chris Squire, Les Hurdle
Drums – Bill Bruford
Engineer, Mixed By – Ken Scott
Guitar – Mike Egan, Steve Howe
Percussion – Ray Cooper
Vocals – Barry St. John, Judy Powell, Liza Strike
2.    Anne Of Cleves  7:50
Bass – Dave Winter
Drums – Alan White
Guitar – Mike Egan
Percussion – Frank Riccotti
3.    Catherine Howard  6:35
Banjo [Electric] – Dave Cousins
Bass – Chas Cronk
Drums – Barry De Souza
Guitar – Dave Lambert (4)
Percussion – Frank Riccotti
4.     Jane Seymour 4:44
Drums – Alan White
5.     Anne Boleyn 'The Day Thou Gavest Lord Hath Ended' 6:30
Arranged By [End Hymn] – Rick Wakeman
Bass – Les Hurdle
Drums – Bill Bruford
Engineer – Ken Scott
Guitar – Mike Egan
Mixed By – Dave Henshall
Percussion – Ray Cooper
Vocals – Laura Lee, Liza Strike, Sylvia McNeill
Written-By [End Hymn] – E.J. Hopkins
6.     Catherine Parr 7:03
Bass – Dave Winter
Drums – Alan White
Guitar – Mike Egan
Percussion – Frank Riccotti

YES — Yes (1969-2009) RM | SHM-CD | FLAC (image+.cue), lossless

Yes' debut album is surprisingly strong, given the inexperience of all those involved at the time. In an era when psychedelic meanderings were the order of the day, Yes delivered a surprisingly focused and exciting record that covered lots of bases (perhaps too many) in presenting their sound. The album opens boldly, with the fervor of a metal band of the era playing full tilt on "Beyond and Before," but it is with the second number, a cover of the Byrds' "I See You," that they show some of their real range. The song is highlighted by an extraordinary jazz workout from lead guitarist Peter Banks and drummer Bill Bruford that runs circles around the original by Roger McGuinn and company. "Harold Land" was the first song on which Chris Squire's bass playing could be heard in anything resembling the prominence it would eventually assume in their sound and anticipates in its structure the multi-part suites the group would later record, with its extended introduction and its myriad shifts in texture, timbre, and volume. And then there is "Every Little Thing," the most daring Beatles cover ever to appear on an English record, with an apocalyptic introduction and extraordinary shifts in tempo and dynamics, Banks' guitar and Bruford's drums so animated that they seem to be playing several songs at once. This song also hosts an astonishingly charismatic performance by Jon Anderson. There were numerous problems in recording this album, owing to the inexperience of the group, the producer, and the engineer, in addition to the unusual nature of their sound. Many of the numbers give unusual prominence to the guitar and drums, thus making it the most uncharacteristic of all the group's albums. Bruce Eder  

Tracklist :

1.     Beyond And Before (Squire / Bailey) (4:56)

2.     I See You (McGuinn / Crosby) (6:53)

3.     Yesterday And Today (Anderson) (2:52)

4.     Looking Around (Anderson / Squire) (4:20)

5.     Harold Land (Anderson / Squire / Bruford) (5:47)

6.     Every Little Thing (Lennon / McCartney) (5:47)

7.     Sweetness (Anderson / Squire / Bailey) (4:35)

8.     Survival (Anderson) (6:23)
– BONUS TRACKS –

9.     Everydays (Single Version) (Stills) (6:24)

10.     Dear Father (Early Version #2) (Anderson / Squire) (5:52)

11.     Something's Coming (Bernstein / Sondheim) (7:10)

12.     Everydays (Early Version) (Stills) (5:19)

13.     Dear Father (Early Version #1) (Anderson / Squire) (5:32)

14.     Something's Coming (Early Version) (Bernstein / Sondheim) (8:03)

Musicians :

Jon Anderson - Vocals, Percussion

Chris Squire - Bass, Vocals

Bill Bruford - Drums, Vibraphone

Peter Banks - Guitar, Vocals

Tony Kaye - Organ, Piano 

YES — Time And A Word (1970-2009) RM | SHM-CD | FLAC (image+.cue), lossless

Yes' second (and least successful) album was a transitional effort; the group trying for a more produced and sophisticated sound through the use of an orchestra. Even so, the results weren't conventional, because the group didn't tone down or turn down its sound. Much of Time and a Word relies on bold, highly animated performances by Bill Bruford, Chris Squire, and Tony Kaye. Additionally, by this time the group was developing a much tauter ensemble than was evident on their first LP, so there's no lack of visceral excitement. "No Opportunity Necessary, No Experience Needed" was a bold opening, a highly amplified, frenzied adaptation of the Richie Havens song, melded with Jerome Moross's title music from the movie The Big Country. Somewhat more successful musically is "Then," which keeps the orchestral accompaniment to a minimum and allows Kaye and Banks to stretch out on organ and guitar. "Everydays" is highlighted by Anderson's ethereal vocals and Kaye's dueting with the orchestra. A surprising amount of the material here seems rather tuneless, but the group was solidifying its sound and, in the process, forcing Banks out of the lineup, despite some beautiful moments for him (and Tony Kaye) on the prettiest parts of "The Prophet," a piece that also contains fragments of music that anticipate Yes' work right up through Tales from Topographic Oceans. "Astral Traveller," as a title, anticipates the themes of future group work, though they still don't have the dexterity to pull off the tempo changes they're trying for. By the time the record was completed, Banks was out of the band, which is why Steve Howe, his successor, ended up pictured on the cover of most editions. Bruce Eder  

Tracklist :

1.     No Opportunity Necessary, No Experience Needed (Havens) (4:53)

2.     Then (Anderson) (5:50)

3.     Everydays (Stills) (6:12)

4.     Sweet Dreams (Anderson / Foster) (3:52)

5.     The Prophet (Anderson / Squire) (6:39)

6.     Clear Days (Anderson) (2:09)

7.     Astral Traveller (Anderson) (5:57)

8.     Time And A Word (Anderson / Foster) (4:40)
– BONUS TRACKS –

9.     Dear Father (Anderson / Squire) (4:15)

10.     No Opportunity Necessary, No Experience Needed (Original Mix) (Havens) (4:46)

11.     Sweet Dreams (Original Mix) (Anderson / Foster) (4:21)

12.     The Prophet (Single Version) (Anderson / Squire) (6:36)

Musicians :

Jon Anderson - Vocals, Percussion

Chris Squire - Bass, Vocals

Peter Banks - Electric and Acoustic Guitars, Vocal

Tony Kaye - Piano, Organ

Bill Bruford - Drums, Percussion

YES — The Yes Album (1971-2009) RM | SHM-CD | FLAC (image+.cue), lossless

On Yes' first two albums, Yes (1969) and Time and a Word (1970), the quintet was mostly searching for a sound on which they could build, losing one of their original members – guitarist Peter Banks – in the process. Their third time out proved the charm – The Yes Album constituted a de facto second debut, introducing the sound that would carry them forward across the next decade or more. Gone are any covers of outside material, the group now working off of its own music from the ground up. A lot of the new material was actually simpler – in linear structure, at least – than some of what had appeared on their previous albums, but the internal dynamics of their playing had also altered radically, and much of the empty space that had been present in their earlier recordings was also filled up here – suddenly, between new member Steve Howe's odd mix of country- and folk-based progressive guitar and the suddenly liberated bass work and drumming of Chris Squire and Bill Bruford, respectively, the group's music became extremely busy. And lead singer Jon Anderson, supported by Squire and Howe, filled whatever was left almost to overflowing. Anderson's soaring falsetto and the accompanying harmonies, attached to haunting melodies drawn from folk tunes as often as rock, applied to words seemingly derived from science fiction, and all delivered with the bravura of an operatic performance – by the band as well as the singer – proved a compelling mix. What's more, despite the busy-ness of their new sound, the group wasn't afraid to prove that less could sometimes be more: three of the high points were the acoustic-driven "Your Move" and "The Clap" (a superb showcase for Howe on solo acoustic guitar), and the relatively low-key "A Venture" (oddly enough, the latter was the one cut here that didn't last in the group's repertory; most of the rest, despite the competition from their subsequent work, remained in their concert set for years to come). The Yes Album did what it had to do, outselling the group's first two long-players and making the group an established presence in America where, for the first time, they began getting regular exposure on FM radio. Sad to say, the only aspect of The Yes Album that didn't last much longer was Tony Kaye on keyboards: his Hammond organ holds its own in the group's newly energized sound, and is augmented by piano and other instruments when needed, but he resisted the idea of adding the Moog synthesizer, that hot instrument of the moment, to his repertory. The band was looking for a bolder sound than the Hammond could generate, and after some initial rehearsals of material that ended up on their next album, he was dropped from the lineup, to be replaced by Rick Wakeman. Bruce Eder  

Tracklist :

1.     Yours Is No Disgrace (Anderson-Squire-Howe-Kaye-Bruford) 9:41

2.     Clap (Howe) 3:17

3.     Starship Trooper (Music: Anderson-Squire-Howe; Lyrics: Anderson-Squire) 9:29

    a) Life Seeker (Anderson)

    b) Disillusion (Squire)

    c) Wurm (Howe)

4.     I've Seen All Good People 6:57

    a) Your Move (Anderson)

    b) All Good People (Squire)

5.     A Venture (Anderson) 3:19

6.     Perpetual Change (Anderson-Squire) 8:58
– BONUS TRACKS –

7.     Your Move (single version) (Anderson) 2:59

8.     Starship Trooper: Life Seeker (single version) (Anderson) 3:28

9.     Clap (studio version) (Howe) 4:02

Musicians :

Jon Anderson - Vocals, Percussion

Chris Squire - Bass Guitars, Vocals

Steve Howe - Electric & Acoustic Guitars, Vachalia, Vocals

Tony Kaye - Piano, Organ, Moog

Bill Bruford - Drums, Percussion

YES — Fragile (1971-2019) UHQCD | FLAC (image+.cue), lossless

Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon; not coincidentally, it also marked the point where all of the elements of the music (and more) that would define their success for more than a decade fell into place fully formed. The science-fiction and fantasy elements that had driven the more successful songs on their preceding record, The Yes Album, were pushed much harder here, and not just in the music but in the packaging of the album: the Roger Dean-designed cover was itself a fascinating creation that seemed to relate to the music and drew the purchaser's attention in a manner that few records since the heyday of the psychedelic era could match. Having thrown original keyboard player Tony Kaye overboard early in the sessions -- principally over his refusal to accept the need for the Moog synthesizer in lieu of his preferred Hammond organ -- the band welcomed Rick Wakeman into its ranks. His use of the Moog, among other instruments, coupled with an overall bolder and more aggressive style of playing, opened the way for a harder, hotter sound by the group as a whole; bassist Chris Squire sounds like he's got his amp turned up to "12," and Steve Howe's electric guitars are not far behind, although the group also displayed subtlety where it was needed. The opening minute of "Roundabout," the album opener -- and the basis for the edited single that would reach number 13 on the Billboard charts and get the group onto AM radio in a way that most other prog rock outfits could only look upon with envy -- was dominated by Howe's acoustic guitar and Bill Bruford's drums, and only in the middle section did the band show some of what they could do with serious amperage. Elsewhere on the record, as on "South Side of the Sky," they would sound as though they were ready to leave the ground (and the planet), between the volume and intensity of their playing. "Long Distance Runaround," which also served as the B-side of the single, was probably the most accessible track here apart from "Roundabout," but they were both ambitious enough to carry most listeners on to the heavier sides at the core of this long-player. The solo tracks by the members were actually a necessity: they needed to get Fragile out in a hurry to cover the cost of the keyboards that Wakeman had added to the group's sonic arsenal. But they ended up being more than filler. Each member, in effect, took a "bow" in mostly fairly serious settings, and Squire's "The Fish" and Howe's "Mood for a Day" pointed directly to future, more substantial projects as well as taking on a life of their own on-stage. If not exactly their peak, Fragile was as perfect a rQ2ecord as the group would ever make, and just as flawless in its timing as its content. Bruce Eder  

Tracklist :

1.     Roundabout (Anderson-Howe) 8:36

2.   Cans And Brahms (Extracts From Brahms' 4th Symphony in E minor Third Movement) (Brahms, arr. Wakeman) 1:43

3.     We Have Heaven (Anderson) 1:40

4.     South Side of the Sky (Anderson-Squire) (7:58

5.     Five Per Cent for Nothing (Bruford) 0:38

6.     Long Distance Runaround (Anderson) 3:30

7.     The fish (Schindleria Praematurus) (Squire) 2:42

8.     Mood For A Day (Howe) 3:03

9.     Heart Of The Sunrise (Anderson-Squire-Bruford) 11:27

Musicians :

Jon Anderson - Vocals

Bill Bruford - Drums, Percussion

Steve Howe - Electric and Acoustic Guitars, Vocals

Chris Squire - Bass Guitars, Vocals

Rick Wakeman - Organ, Grand Piano (Electric Piano and Harpsichord), Mellotron, Synthesizer

YES — Close To The Edge (1972-2019) UHQCD | FLAC (image+.cue), lossless

With 1971's Fragile having left Yes poised quivering on the brink of what friend and foe acknowledged was the peak of the band's achievement, Close to the Edge was never going to be an easy album to make. Drummer Bill Bruford was already shifting restlessly against Jon Anderson's increasingly mystic/mystifying lyricism, while contemporary reports of the recording sessions depicted bandmate Rick Wakeman, too, as little more than an observer to the vast tapestry that Anderson, Steve Howe, and Chris Squire were creating. For it was vast. Close to the Edge comprised just three tracks, the epic "And You and I" and "Siberian Khatru," plus a side-long title track that represented the musical, lyrical, and sonic culmination of all that Yes had worked toward over the past five years. Close to the Edge would make the Top Five on both sides of the Atlantic, dispatch Yes on the longest tour of its career so far and, if hindsight be the guide, launch the band on a downward swing that only disintegration, rebuilding, and a savage change of direction would cure. The latter, however, was still to come. In 1972, Close to the Edge was a flawless masterpiece. Dave Thompson 

Tracklist :

1.     Close To The Edge (Anderson / Howe) (18:43)
     1.I The Solid Time Of Change
     1.II Total Mass Retain
     1.III I Get Up I Get Down
     1.IV Seasons Of Man
2.    And You And I (10:12)
    2.I Cord Of Life
    2.II Eclipse
    2.III The Preacher The Teacher
    2.IV Apocalypse
3.     Siberian Khatru 8:56

    I. The Solid Time Of Change

    II. Total Mass Retain

    III. I Get Up I Get Down

    IV. Seasons Of Man

Musicians :

Jon Anderson - Vocals

Bill Bruford - Drums, Percussion

Steve Howe - Guitars, Vocals

Chris Squire - Bass, Vocals

Rick Wakeman - Keyboards
+ Série: – The Steven Wilson Remixes

YES — Yessongs (1973-2009) RM | 2CD | SHM-CD | FLAC (image+.cue), lossless

In many ways, the extravagance of this package equates the profligacy of the prog rock combo themselves. After all, how else but on a triple-LP collection could one hope to re-create (and/or contain) an adequate sampling of Yes' live presentation? Especially since their tunes typically clocked in in excess of ten minutes. Although they had turned in five studio long-players, the vast majority of Yessongs (1973) is drawn from their three most recent endeavors The Yes Album (1970), Fragile (1971), and Close to the Edge (1972). There are two exceptions, the first being the "Opening (Excerpt from "Firebird Suite")" – which comes from the 1969 Boston Symphony Orchestra's recording, conducted by Seiji Ozawa. The other is Rick Wakeman's keyboard solo "Excerpts from 'The Six Wives Of Henry VIII'." Yes had just undergone a personnel change shortly after concluding work on Close to the Edge as Bill Bruford (percussion) left to join King Crimson in July of 1972. Bruford can be heard on "Perpetual Change," as well as the medley of "Long Distance Runaround" and "The Fish (Schindleria Praematurus)." Enthusiasts keen on various and arguably irrelevant minutia should note the spelling of "praimaturus" as credited on Yessongs. It is slightly different from Fragile, which is denoted as "praematurus." That bit of trivia aside, the new lineup finds Alan White (drums), quite ably filling Bruford's shoes, alongside Jon Anderson (vocals), Steve Howe (guitars), Chris Squire (bass/vocals), and Rick Wakeman (keyboards).

One of their trademarks has always been an ability to re-create their often densely layered sound in concert. They effortlessly pull off the tricky chord progressions and changes in time signatures of "Siberian Khatru" and a sublime "Heart of the Sunrise," which unquestionably bests the dexterity of its carefully crafted studio counterpart. Both Howe and Squire's respective solos during "The Fish (Schindleria Praematurus)" are highlights as they give the entire unit an opportunity to show off their capacity for dramatic dynamics. The remainder of Yessongs is similarly strong, particularly the note-perfect "Close to the Edge," and the inspired concluding instrumental jam during "Starship Trooper." However, one criticism that can be leveled at the entire Yessongs release is the less than optimal audio quality throughout. The sound is generally muddy with no real fidelity to speak of and an even less precise stereoscape. But until someone goes back to the multi-tracks and remixes them for 21st century ears, this is as good as it gets when documenting Yes during this seminal transition period. Lindsay Planer

Tracklist 1:

1.     Opening (excerpt from 'Firebird Suite') (3:46)

2.     Siberian Khatru (8:53)

3.     Heart Of The Sunrise (11:20)

4.     Perpetual Change (14:14)

5.   And You And I: 5.1. Cord Of Life; 5.2. Eclipse; 5.3. The Preacher The Teacher; 5.4. Apocalypse (9:39)

6.     Mood For A Day (2:52)

7.     Excerpts from 'The Six Wives of Henry VIII' (6:34)

8.     Roundabout (8:39)

Tracklist 2 :

1.     I've Seen All Good People: 1.1. Your Move; 1.2. All Good People (7:06)

2.     Long Distance Runaround / The Fish (Shindleria Praematurus) (13:32)

3.     Close To The Edge: 3.1. The Solid Time Of Change; 3.2. Total Mass Retain; 3.3. I Get Up I Get Down; 3.4. Seasons Of Man (18:10)

4.     Yours Is No Disgrace (14:16)

5.     Starship Trooper (5.1. Life Seeker; 5.2. Disillusion; 5.3. Wurm) (10:13)

Musicians :

Jon Anderson - Vocals

Chris Squire - Bass and Vocals

Steve Howe - Guitars and Vocals

Rick Wakeman - Keyboards

Bill Bruford - Drums (CD 1 track 4, CD 2 track 2)

Alan White - Drums (everything else) 

YES — Tales from Topographic Oceans (1973-2019) 2CD | UHQCD | FLAC (image+.cue), lossless

Four decades after its release, this is still the most controversial record in Yes' output. Tales from Topographic Oceans was the place where Yes either fulfilled all of the promise shown on their previous five albums or slid off the rails in a fit of artistic hubris, especially on the part of lead singer Jon Anderson and guitarist Steve Howe, who dominated the composition credits here. Actually, the group probably did a bit of both here across 80 minutes of music on a fully packed double-LP set; the group's musical ambitions were obvious on its face, as it consisted of four long songs (really suites) each taking up a side of an album, and each longer than the previous album's side-long "Close to the Edge." And Tales had a jumping-off point that was as far advanced in complexity and density as Close to the Edge had been out in front of its predecessor, Fragile, – and all of it made The Yes Album seem like basic rock & roll. Anderson, by virtue of his voice and lyrics, is the dominant personality on Tales, and his fascination with Eastern religion is fully manifest, as never before (or since). Confronted by song titles such as "The Revealing Science of God," and a concept derived from the Buddhist Shastric scriptures, the casual listener might have felt in need of both a running start and a sheet of footnotes: Yes keyboard player Rick Wakeman clearly felt something along those lines, as it was while making this record that he decided to exit the group. And, yet, Tales contains some of the most sublimely beautiful musical passages ever to come from the group, and develops a major chunk of that music in depth and degrees in ways that one can only marvel at, though there's a big leap from marvel to enjoy. If one can grab onto it, Tales is a long, sometimes glorious musical ride across landscapes strange and wonderful, thick with enticing musical textures; it offers the Yes fan the chance to be a true "astral traveler." Apart from one percussion break by Alan White that doesn't come off (if there had to be a Yes album with a percussion solo, why couldn't it have come along when Bill Bruford was in the band?), the music never falls flat, and it's a pity that Wakeman couldn't appreciate the richness and vitality he brought to the album. And Anderson and Howe get to work in an extraordinarily wide range of musical voices. In another reality, perhaps the gorgeous, folk-like passages on Tales would have spawned songs of four or five minutes, but here they are, woven into these long-form pieces, and if one can take the plunge into these particular sonic oceans, and comfortably stay under long enough, it's a journey that will reward. But it's not a trip for everyone – or even every Yes fan – to take, especially not too soon after discovering the album. Bruce Eder

Tracklist 1:

1.     The Revealing Science Of God / Dance Of The Dawn (20:19)

2.     The Remembering / High The Memory (20:31)

Tracklist 2:

1.     The Ancient Giants Under The Sun (18:42)

2.     Ritual (Nous Sommes Du Soleil) (21:42)

Musicians :

Jon Anderson - Vocals

Chris Squire - Bass and Vocals

Rick Wakeman - Keyboards

Alan White - Drums

Steve Howe - Guitars and Vocals
+ Série: – The Steven Wilson Remixes

YES — Relayer (1974-2019) UHQCD | FLAC (image+.cue), lossless

Yes had fallen out of critical favor with Tales from Topographic Oceans, a two-record set of four songs that reviewers found indulgent. But they had not fallen out of the Top Ten, and so they had little incentive to curb their musical ambitiousness. Relayer, released 11 months after Tales, was a single-disc, three-song album, its music organized into suites that alternated abrasive, rhythmically dense instrumental sections featuring solos for the various instruments with delicate vocal and choral sections featuring poetic lyrics devoted to spiritual imagery. Such compositions seemed intended to provide an interesting musical landscape over which the listener might travel, and enough Yes fans did that to make Relayer a Top Ten, gold-selling hit, though critics continued to complain about the lack of concise, coherent song structures. William Ruhlmann

Tracklist :

1.     The Gates Of Delirium (Anderson-Howe-Squire-White-Moraz) 21:57

2.     Sound Chaser (Anderson-Howe-Squire-White-Moraz) 9:27

3.     To Be Over (Anderson-Howe-Squire-White-Moraz) 9:20

Musicians :

Jon Anderson - Vocals

Steve Howe - Guitars, Vocals

Patrick Moraz - Keyboards

Chris Squire - Bass, Vocals

Alan White - Drums, Percussion
+ Série: – The Steven Wilson Remixes

YES — Going for the One (1977-2009) RM | SHM-CD | FLAC (image+.cue), lossless

Going for the One is perhaps the most overlooked item in the Yes catalog. It marked Rick Wakeman's return to the band after a three-year absence, and also a return to shorter song forms after the experimentalism of Close to the Edge, Tales from Topographic Oceans, and Relayer. In many ways, this disc could be seen as the follow-up to Fragile. Its five tracks still retain mystical, abstract lyrical images, and the music is grand and melodic, the vocal harmonies perfectly balanced by the stinging guitar work of Steve Howe, Wakeman's keyboards, and the solid rhythms of Alan White and Chris Squire. The title track features Howe on steel guitar (he's the only prog rocker who bothers with the instrument). "Turn of the Century" and the album's single, "Wonderous Stories," are lovely ballads the way only Yes can do them. "Parallels" is the album's big, pompous song, so well done that in later years the band opened concerts with it. Wakeman's stately church organ, recorded at St. Martin's Church, Vevey, Switzerland, sets the tone for this "Roundabout"-ish track. The concluding "Awaken" is the album's nod to the extended suite. Again, the lyrics are spacy in the extreme, but Jon Anderson and Squire are dead-on vocally, and the addition of Anderson's harp and White's tuned percussion round out this evocative track. Ross Boissoneau  

Tracklist :

1.     Going For The One (Anderson) 5:33

2.     Turn Of The Century (Anderson-Howe-White) 7:56

3.     Parallels (Squire) 5:58

4.     Wonderous Stories (Anderson) 3:50

5.     Awaken (Anderson-Howe) 15:38
– BONUS TRACK –

6.     Montreux's Theme (Howe-Squire-Anderson-White) 2:38

7.     Vevey (Revisted) (Anderson- Wakeman) 4:47

8.     Amazing Grace (Traditional, Arranged by Chris Squire) 2:36

9.     Going For The One (Rehearsal) (Anderson) 5:11

10.     Parallels (Rehearsal) (Squire) 6:21

11.     Turn Of The Century (Rehearsal) (Anderson-Howe-White) 6:59

12.     Eastern Numbers (Early Version of 'Awaken') (Anderson-Howe) 12:17

Musicians :

Jon Anderson - Vocals, Percussion, Harp

Chris Squire - Bass guitar, Vocals

Steve Howe - Electric and Acoustic Guitars, Portuguese 12 String (incorrectly listed as a vachalia at the time), Lap Steel Guitar, Vocal

Rick Wakeman - Piano, Organ, Polymoog and Minimoog Synthesizers, Pipe Organ

Alan White - Drums, Percussion

YES — Tormato (1978-2009) RM | SHM-CD | FLAC (image+.cue), lossless

The '70s model of Yes runs out of gas. Recorded in a morale slump and an impending haze of drink, Tormato's decent tunes are sabotaged by Rick Wakeman's increasing penchant for cheesy textures and the band's thin overall sound. "Don't Kill the Whale" was their last successful single for years; the soaring "Onward" almost but not quite redeems the twee silliness of "Arriving UFO" and "Circus of Heaven." Of special interest is the pounding "On the Silent Wings of Freedom," which pushes Chris Squire and Alan White to the front of the mix, establishing the kind of aggressive and straightforward rhythms that would propel the band through the '80s. Bass freaks, take note: this tune also marks one of the few appearances of the Dipthong pedal, accounting for Squire's distinctive "bow bow bow" sound. Paul Collins

Tracklist :

1.     Future Times / Rejoice (6:47)

 a) Future Times (Anderson-Howe-Squire-Wakeman-White)

 b) Rejoice (Anderson)

2.     Don't Kill The Whale (Anderson-Squire) 3:58

3.     Madrigal (Anderson-Wakeman) 2:27

4.     Release, Release (Anderson-White-Squire) 5:49

5.     Arriving Ufo (Anderson-Howe-Wakeman) 6:09

6.     Circus Of Heaven (Anderson) 4:32

7.     Onward (Squire) 4:05

8.     On The Silent Wings Of Freedom (Anderson-Squire) 7:52
– BONUS TRACK –

9.     Abilene (Howe) (4:03)

10.     Money (Squire-Anderson-White-Wakeman) 3:15

11.     Picasso (Anderson) 2:12

12.     Some Are Born (Anderson) 5:43

13.     You Can Be Saved (Squire) 4:20

14.     High (Howe) 4:30

15.     Days (demo) (Anderson) 1:00

16.     Countryside (Anderson-Howe-Squire-White) 3:12

17.     Everybody's Song (early demo of "Does It Really Happen?") (Anderson-Howe-Squire-White) 6:48

18.     Onward (orchestral backing track) (3:06)

Musicians :

Jon Anderson - Lead Vocals (all), Alvarez 10-String Guitar (1a, 5, 8)

Steve Howe - Guitars (1-5, 7, 8), Electric & Acoustic Mandolin (6), Vocals (1, 3-6)

Chris Squire - Bass (1, 2, 4-8), Bass Pedals (1a, 3, 5), Piano (2), Vocals (all)

Rick Wakeman - Birotron (1, 2, 4-6, 8), Hammond Organ (1, 4), Polymoog (1, 2, 4-8), RMI (8), Harpsichord (3), Piano (5)

Alan -White - Drums (1, 2, 4-6, 8), Glockenspiel (1a), Crotales (1a, 3, 6, 7), Cymbals (3), Bell tree (3), Gongs (5), Vibraphone (7), Percussion (4), Drum Synthesizer (5), Vocals (4)

Damion Anderson - Vocals (6)

YES — Drama (1980-2009) RM | SHM-CD | FLAC (image+.cue), lossless

For this one album, ex-Buggles Geoffrey Downes and Trevor Horn were drafted in to replace Jon Anderson and Rick Wakeman. It rocks harder than other Yes albums, and for classically inclined fans, it was a jarring departure; but it was a harbinger of Yes and Asia albums to come. A newly emboldened Chris Squire lays down aggressive rhythms with Alan White, and Steve Howe eschews his usual acoustic rags and flamenco licks for a more metallic approach, opting for sheets of electric sound. Prime cuts include the doom-laden "Machine Messiah" and the manic ska inflections of "Tempus Fugit." Despite the promise of this new material, the band soon fell apart; Horn went into production, Howe and Downes joined Asia, and Squire and White toyed and then gave up on a pair-up with Robert Plant and Jimmy Page, which was to be titled XYZ (i.e., Ex-Yes and Zeppelin). Paul Collins

Tracklist :

1.     Machine Messiah (Downes-Horn-Howe-Squire-White) 10:28

     Part I

     Part II

     Part III

2.     White Car (Downes-Horn-Howe-Squire-White) 1:21

3.     Does It Really Happen? (Downes-Horn-Howe-Squire-White) 6:36

4.     Into The Lens (Downes-Horn-Howe-Squire-White) 8:32

5.     Run Through The Light (Downes-Horn-Howe-Squire-White) 4:43

6.     Tempus Fugit (Downes-Horn-Howe-Squire-White) 5:22
– BONUS TRACKS –

7.     Into The Lens (I Am a Camera) Single Version (Downes-Horn-Howe-Squire-White) 3:48

8.     Run Through The Light (Single Version) (Downes-Horn-Howe-Squire-White) 4:31

9.     Have We Really Got To Go Through This (Howe-Squire-White) 3:43

10.     Song No. 4 (Satellite) (Howe-Squire-White) 7:32

11.     Tempus Fugit (Tracking Session) (Downes-Horn-Howe-Squire/White) 5:40

12.     White Car (Tracking Session) (Downes-Horn-Howe-Squire-White) 1:11

13.     Dancing Through The Light (Anderson-Howe-Squire-Wakeman-White) 3:17

14.     Golden Age (Anderson-Howe-Squire-Wakeman-White) 5:58

15.     In The Tower (Anderson-Howe-Squire-Wakeman-White) 2:55

16.     Friend Of A Friend (Anderson-Howe-Squire-Wakeman-White) 3:38

Musicians :

Geoff Downes - Keyboards, Vocoder

Trevor Horn - Vocals, Fretless Bass

Steve Howe - Guitars, Vocals

Chris Squire - Bass, Vocals, Piano

Alan White - Percussion, Vocals 

YES – Yesshows (1979-2009) 2CD | RM | Mini LP | SHM-CD | FLAC (image+.cue), lossless

The second official concert package from Yes contains tunes recorded over a span of two years (1976-1978) and two different incarnations of the band. Like its live predecessor Yessongs (1973), Yesshows finds the combo during one of their states of perpetual change. Jon Anderson (vocals), Steve Howe (guitar), Chris Squire (bass/vocals), and Alan White (drums) are joined by Rick Wakeman (keyboards) on a majority of the selections. The exceptions being "Gates of Delirium" from Relayer (1974) and the Tales from Topographic Oceans' (1973) epic "Ritual" – which is presented in two parts – and has Patrick Moraz (keyboards) in Wakeman's stead. The original concept contained a few features that would have been akin to Yessongs. They debated as to whether they should make it another triple-LP and feature Tales from Topographic Oceans in its entirety, like Close to the Edge had been done on Yessongs. Undecided, they made a rough mix of a two-album incarnation, but then shelved it in order to focus their attentions on creating new music. Purportedly, that unapproved (by Yes, anyway) version was cleaned up by the record company and released for the holiday shopping frenzy of 1980. As issued, the seven tracks hang well together and provide enthusiasts an opportunity to hear a mixture of older and newer material. Best of all, Yes retain their enviable ability to ably re-create the complex and challenging passages with a soul that is occasionally lacking from the studio counterparts. Reaching back nearly a decade is an excellent update of the optimistic "Aquarian Age" anthem and the title composition of their second platter, "Time and a Word." It is enveloped by a pair of equally well-executed sides from Going for the One (1977). Here, both the opener "Parallels" and the song "Going for the One" exceed the comparatively sterile non-live readings. Particularly endearing and inspired is Anderson's off-key voice crack during the high-octane chorus of the latter. The more involved works – especially the Moraz performances on "The Gates of Delirium" and the nearly half-hour "Ritual" – are fuelled by a continuous energy. They build on the structure established from the respective long-players, yet even the most intricate elements and dynamics are amplified in their decisiveness and command. Anderson's intimacy and passion fuse on the closer "Wondrous Stories," almost as if releasing the audience from one last embrace. Lindsay Planer 

Tracklist 1 :

1.     Parallels (7:08)

2.     Time And A Word (4:07)

3.     Going For The One (5:24)

4.     The Gates Of Delirium (22:43)

Tracklist 2:

1.     Don't Kill The Whale (6:51)

2.     Ritual / Nous Sommes Du Soleil - 1 & 2 (28:55)

3.     Wonderous Stories (3:59)

4.     I've Seen All Good People (7:32)

5.     Roundabout (7:54)

Musicians :

Jon Anderson - Vocals

Chris Squire - Bass Guitar, Vocals, Mixing

Steve Howe - Guitars, Vocals

Patrick Moraz - keyboards

Rick Wakeman - keyboards

Alan White - Drums, Vocals

YES — 90125 (1983-2009) RM | SHM-CD | FLAC (image+.cue), lossless

A stunning self-reinvention by a band that many had given up for dead, 90125 is the album that introduced a whole new generation of listeners to Yes. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots. "Owner of a Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points, but there's nary a duff track on the album. Paul Collins
Tracklist :
1.     Owner Of A Lonely Heart (Rabin-Anderson-Squire-Horn) 4:30
2.     Hold On (Rabin-Anderson-Squire) 5:18
3.     It Can Happen (Squire-Anderson-Rabin) 5:29
4.     Changes (Rabin-Anderson-White) 6:21
5.     Cinema (Squire-Rabin-White-Kaye) 2:08
6.     Leave It (Squire-Rabin-Horn) 4:14
7.     Our Song (Anderson-Squire-Rabin-White) 4:18
8.     City Of Love (Rabin-Anderson) 4:52
9.     Hearts (Anderson-Squire-Rabin-White-Kaye) 7:43
– BONUS TRACK –
10.     Leave It (Single Remix) (Squire-Rabin-Horn) 3:57
11.     Make It Easy (Bonus Track) (Rabin) 6:12
12.     It Can Happen (Squire / Anderson / Rabin) (Cinema Version) (6:05)
13.     It's Over (Previously Unissued) (Rabin) (5:42)
14.     Owner Of A Lonely Heart (Previously Unissued Extended Remix) (Rabin / Anderson / Squire / Horn) (7:05)
15.     Leave It (A Capella Version) (Squire / Rabin / Horn) (3:19)
Musicians :
Jon Anderson - Vocals
Tony Kaye - Keyboards
Trevor Rabin - Guitar, Keyboards, Vocals
Chris Squire - Bass, Guitar (Bass), Vocals
Alan White - Drums, Percussion, Vocals

YES — Big Generator (1987-2009) RM | SHM-CD | FLAC (image+.cue), lossless

The four-years-in-the-making follow-up to Yes' comeback album, 90125, Big Generator was also a million-selling hit, although not as successful as its predecessor, probably because the singles "Love Will Find a Way" (number 30) and "Rhythm of Love" (number 40) couldn't match "Owner of a Lonely Heart" from the previous LP, even if they were favorites on AOR radio at the time. Actually, it was the title track that was a carbon copy of "Owner," so maybe that was the problem. More likely, though, "Owner" was a one-shot (courtesy of producer Trevor Horn), and as Yes asserted itself more here, the band reverted more to its old style, making for some confusion. Nevertheless, this album was Yes' last major hit. William Ruhlmann

Tracklist :

1.     Rhythm Of Love (Kaye-Rabin-Anderson-Squire) 4:48

2.     Big Generator (Rabin-Kaye-Anderson-Squire-White) 4:34

3.     Shoot High Aim Low (White-Kaye-Rabin-Anderson-Squire) 7:03

4.     Almost Like Love (Kaye-Rabin-Anderson-Squire) 5:01

5.     Love Will Find A Way (Rabin) 4:51

6.     Final Eyes (Rabin-Kaye-Anderson /Squire) 6:26

7.     I'm Running (Rabin-Squire-Anderson-Kaye-White) 7:38

8.     Holy Lamb (Song For Harmonic Convergence) (Anderson) 3:24

– BONUS TRACK –
9.     Love Will Find A Way (Edited Version) (4:18)

10.     Love Will Find A Way (Extended Version) (7:12)

11.     Rhythm Of Love (Dance To The Rhythm Mix) (6:55)

12.     Rhythm Of Love (Move To The Rhythm Mix) (4:26)

13.     Rhythm Of Love (The Rhythm Of Dub) (7:51)

Musicians :

Jon Anderson - Vocals

Tony Kaye - Keyboard

Trevor Rabin - Guitar, Keyboards and Vocals

Chris Squire - Bass and Vocals

Alan White - Drums and Percussion

YES — Union (1991) FLAC (image+.cue), lossless

With the exception of Peter Banks and Trevor Horn, virtually all the major contributors to Yes in its various incarnations over the previous 23 years, including both of its drummers, threw their hands into the making of Union, which was supported by a massive tour that filled arenas with at least two generations of fans. So even if Union had been as good as one hoped, this was an album that couldn't possibly have met the expectations inherent in the array of talent involved. The material is reasonably solid, and under ordinary circumstances this album would have been considered just fine, if not exceptional. "I Would Have Waited Forever" shows off the group's vocalizing (by Chris Squire and Jon Anderson) at its most melodic and Steve Howe has one of the most beautiful classical guitar showcases of his Yes career on "Masquerade." But the Trevor Rabin/Chris Squire-composed "Lift Me Up" seems a forced exercise in heaviness, and "Without Hope You Cannot Start" seems more like a composed-by-numbers piece than a truly inspired song. None of the material here would rate alongside the better (forget the best) tracks from any of the group's 1971-1974 albums. Perhaps the defects revealed the real purpose of this album, which wasn't so much to make a definitive statement by any of the participants, but rather to show the flag of the reunited band, which it did. The single "Lift Me Up" topped Billboard's Album Rock Tracks chart for six weeks, with two other cuts also making the list. But the single also only limped to number 86 on the Hot 100, and although the album shot to number 15 and went gold, this was a serious falloff from previous sales. Bruce Eder  
Tracklist :
1.     I Would Have Waited Forever 6:33
Bass – Tony Levin
Engineer [Additional] – Buzz Burrowes, Chris Fosdick
Engineer, Mixed By – Brian Foraker
Vocals – Chris Squire
Vocals, Performer [Instruments] – Bill Bruford, Rick Wakeman
Written-By, Producer – Jonathan Elias
Written-By, Producer [Associate], Vocals, Performer [Instruments] – Jon Anderson
Written-By, Vocals, Performer [Instruments] – Steve Howe
2.     Shock To The System 5:09
Bass – Tony Levin
Engineer [Additional] – Buzz Burrowes, Chris Fosdick
Engineer, Mixed By – Brian Foraker
Vocals, Performer [Instruments] – Bill Bruford, Rick Wakeman
Written-By, Producer – Jonathan Elias
Written-By, Vocals, Performer [Instruments] – Steve Howe
Written-By, Vocals, Performer [Instruments], Producer [Associate] – Jon Anderson
3.     Masquerade 2:17
Producer, Performer, Engineer, Written-By – Steve Howe
Recorded By, Producer [Post Production] – Greg Jackman
4.     Lift Me Up 6:29
Engineer [Assistant] – Steve Harrison
Mixed By – Ed Thacker, Paul Fox
Producer, Engineer, Written-by, Vocals, Performer [Instruments] – Trevor Rabin
Programmed By – Mark Mancina
Vocals, Performer [Instruments] – Alan White, Jon Anderson, Tony Kaye
Written-By, Vocals, Performer [Instruments] – Chris Squire
5.     Without Hope You Cannot Start The Day 5:18
Bass – Tony Levin
Engineer [Additional] – Buzz Burrowes, Chris Fosdick
Engineer, Mixed By – Brian Foraker
Vocals – Chris Squire
Vocals, Performer [Instruments] – Bill Bruford, Rick Wakeman, Steve Howe
Written-By, Producer – Jonathan Elias
Written-By, Vocals, Performer [Instrumens], Producer [Associate] – Jon Anderson
6.     Saving My Heart 4:40
Mixed By – Mike Shipley
Producer, Engineer, Written-By – Trevor Rabin
7.     Miracle Of Life 7:30
Engineer – Stan Katayama
Engineer [Assistant] – Steve Harrison
Producer [With], Engineer – Eddy Offord
Producer [With], Written-by – Mark Mancina
Producer, Engineer, Written-By – Trevor Rabin
8.     Silent Talking 4:00
Bass – Tony Levin
Engineer [Additional] – Buzz Burrowes, Chris Fosdick
Engineer, Mixed By – Brian Foraker
Producer – Jonathan Elias
Vocals, Performer [Instruments] – Bill Bruford
Written-By, Vocals, Performer [Instruments] – Rick Wakeman, Steve Howe
Written-By, Vocals, Performer [Instruments], Producer [Associate] – Jon Anderson
9.     The More We Live - Let Go 4:52
Co-producer, Engineer, Written-By – Billy Sherwood
Producer, Engineer, Mixed By – Eddy Offord
Written-By – Chris Squire
10.     Angkor Wat 5:23
Written-By – Jon Anderson, Jonathan Elias, Rick Wakeman
11.     Dangerous (Look In The Light Of What You're Searching For) 3:37
Bass – Tony Levin
Engineer [Additional] – Buzz Burrowes, Chris Fosdick
Engineer, Mixed By – Brian Foraker
Vocals – Chris Squire
Vocals, Performer [Instruments] – Bill Bruford, Rick Wakeman, Steve Howe
Written-By, Producer – Jonathan Elias
Written-By, Vocals, Performer [Instruments], Producer [Associate] – Jon Anderson
12.     Holding On 5:25
Bass – Tony Levin
Engineer [Additional] – Buzz Burrowes, Chris Fosdick
Engineer, Mixed By – Brian Foraker
Vocals, Performer [Instruments] – Bill Bruford, Rick Wakeman
Written-By, Producer – Jonathan Elias
Written-By, Vocals, Performer [Instruments] – Steve Howe
Written-By, Vocals, Performer [Instruments], Producer [Associate] – Jon Anderson
13.     Evensong 0:52
Bass, Written-By – Tony Levin
Engineer [Additional] – Buzz Burrowes, Chris Fosdick
Engineer, Mixed By – Brian Foraker
Producer – Jonathan Elias
Vocals, Performer [Instruments] – Rick Wakeman, Steve Howe
Vocals, Performer [Instruments], Producer [Associate] – Jon Anderson
Written-By, Vocals, Performer [Instruments] – Bill Bruford
14.     Take The Water To The Mountain 3:09
Bass – Tony Levin
Engineer [Additional] – Buzz Burrowes, Chris Fosdick
Engineer, Mixed By – Brian Foraker
Producer – Jonathan Elias
Vocals, Performer [Instruments] – Bill Bruford, Rick Wakeman, Steve Howe
Written-By, Vocals, Performer [Instruments], Producer [Associate] – Jon Anderson
– BONUS TRACK –
15.     Give & Take 4:29
Written-By – Jon Anderson, Jonathan Elias, Steve Howe