ANDERSON · BRUFORD · WAKEMAN · HOWE — Anderson Bruford Wakeman Howe (1989-2010) 2CD | FLAC (tracks+.cue), lossless

File under "Yes." When this version of the band couldn't obtain rights to the name, they put their album out under their combined names, but it's still Yes by any other name. Jon Anderson's tenor wails through spacy lyrics, Rick Wakeman constructs cathedrals of synthesized sound, Steve Howe rips high-pitched guitar leads, and Bill Bruford makes his drums sound like timpani. For all that, it's a pedestrian effort for these veterans, not as bombastic as some of their stuff, not as inspired as others, but it definitely has the "Yes" sound. "She Gives Me Love" even refers to "Long Distance Runaround." by William Ruhlmann

ANDERSON · BRUFORD · WAKEMAN · HOWE — Brother of Mine (1989) Single | FLAC (image+.cue), lossless

ANDERSON · BRUFORD · WAKEMAN · HOWE — An Evening of Yes Music Plus (1993) 2CD | APE (image+.cue), lossless

Recorded live on the final night of the 1989 Anderson/Bruford/Wakeman/Howe tour, this two-CD set offers both oldies and improvements upon their new material. You'll probably find yourself listening only to the second CD, as the first CD largely consists of shaky solo medleys. Howe fares the best with delicate renditions of "Mood for a Day" and "The Clap." Anderson's guitar and vocal turn comes off like a coffeehouse gig -- not bad, especially when he samples "Teakbois," but not riveting. Wakeman's "Merlin" and "Catherine Parr" solo trades speed for precision, and the crowd is unaccountably thrilled when he wrenches unimpressive blow-bottle sounds out of a keyboard. Bruford blows his solo yet again, just as in Yessongs; infatuated with electronic percussion, he produces a grating assortment of clanks and conks. Once past the solos, though, this set picks up steam. The ABWH album was a soulless-sounding production; songs like "Soul Warrior" and "Brother of Mine" are both warmer in sound and more lively in rhythm when performed on-stage. Fans may also appreciate Bruford's unprecedented live appearance on "Close to the Edge"; though he played on the 1972 studio album, he had left the band before ever getting to play it live. Paul Collins 

ANDERSON / WAKEMAN — The Living Tree (2010) FLAC (image+.cue), lossless

It's remarkable how progressive rock pillars Yes managed to consistently create top-quality music through the decades (with exceptions here and there) despite near-constant ego clashes, management problems, and other inner turmoil that resulted in frequent personnel changes. Vocalist Jon Anderson and keyboardist Rick Wakeman had left the Yes fold once again before the old friends joined forces in 2010 as Anderson/Wakeman to record a new studio album, The Living Tree. Serious health problems have plagued both men; Anderson's life-threatening respiratory ailments in particular led to his 2008 Yes departure. Anderson and Wakeman were in their sixties during the recording of The Living Tree, therefore spirituality, mortality, faith, and the afterlife are important themes on the album, especially in the songs "Morning Star," "House of Freedom," "Anyway and Always," and "Just One Man." Anderson's angelic voice, which was previously as clear as a bell, is startlingly rougher and raspier on this album, especially on the opening track, "Living Tree, Pt. 1." This song, along with "Living Tree, Pt. 2" and "Garden," reflect Anderson's joyful respect for the power of nature. "23/24/11" is a biting critique of war inspired by the fighting in Afghanistan; the title refers to a soldier counting down the time left in his tour of duty. Musically, The Living Tree is spare and stripped down to just Anderson's vocals and Wakeman's piano and tasteful layers of other keyboard textures and fills. Considering the complexity of Yes' music, at times the songs on The Living Tree seem like elaborate demos, and it's worth noting that Anderson and Wakeman e-mailed audio files back and forth to make this album. Listeners used to the grandly cosmic, new age flavor of many Yes songs may be surprised to find that the songs on The Living Tree are more intimate and grounded in reality. Bret Adams  

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

RICK WAKEMAN — Journey to the Centre of the Earth (1974-1988) FLAC (image+.cue), lossless

Journey to the Centre of the Earth is one of progressive rock's crowning achievements. With the help of the London Symphony Orchestra and the English Chamber Choir, Rick Wakeman turns this classic Jules Verne tale into an exciting and suspenseful instrumental narrative. The story is told by David Hemmings in between the use of Wakeman's keyboards, especially the powerful Hammond organ and the innovative Moog synthesizer, and when coupled with the prestigious sound of the orchestra, creates the album's fairy tale-like climate. Recorded at London's Royal Festival Hall, the tale of a group of explorers who wander into the fantastic living world that exists in the Earth's core is told musically through Wakeman's synthesized theatrics and enriched by the haunting vocals of a chamber choir. Broken into four parts, the album's most riveting segment, entitled "The Battle," involves Wakeman's most furious synthesized attack, churning and swirling the keyboards into a mass instrumental hysteria. With both "The Journey" and "The Forest," it's the effective use of the strings and percussion section of the London Symphony Orchestra that causes the elements of fantasy and myth to emerge from the album's depths. The gorgeous voice of Ashley Holt is effectively prominent, and some interesting guitar work via Mike Egan arises occasionally but meritoriously amidst the keyboard fervor. The whole of Journey to the Centre of the Earth still stands as one of the most interesting conglomerations of orchestral and synthesized music, and it is truly one of Wakeman's most flamboyant projects. Mike DeGagne  
Tracklist :
1.     The Journey / Recollection 21:12
2.     The Battle / The Forest 18:59
Credits :
Arranged By [Music Arranged For The London Symphony Orchestra And The English Chamber Choir By] – Danny Beckerman, Wil Malone
Bass – Roger Newell
Choir – The English Chamber Choir
Conductor – David Measham
Drums – Barney James
Guitar – Mike Egan
Narrator – David Hemmings
Orchestra – The London Symphony Orchestra
Producer, Written-By – Rick Wakeman
Vocals – Ashley Holt, Garry Pickford-Hopkins

RICK WAKEMAN — The Myths and Legends of King Arthur and the Knights of the Round Table (1975-1988) FLAC (image+.cue), lossless

Rick Wakeman's third solo album is among his best, as he employs his vast array of keyboards to their full extent, musically describing the characters pertaining to the days of King Arthur's reign. With orchestra and choir included, although a little less prevalent than on Journey, he musically addresses the importance and distinguishing characteristics of each figure through the use of multiple synthesizers and accompanying instruments. "Lady of the Lake" is given a mystical, enchanted feel, perpetrated by a more subtle use of piano and synthesizer, while the battle of "Sir Lancelot and the Black Knight" is made up of a barrage of feuding keyboard runs and staccato riffs, musically recounting the intensity of the duel. But it's on "Merlin the Magician" where Wakeman truly shines, as the whimsy and peculiarity of this fabled figure is wonderfully conjured up through the frenzy of the synthesizer. As one of Wakeman's most famous pieces, it is here that his astounding musicianship is laid out for all to hear, a marvelous bisque of keyboard artistry. The album's entirety is a sensational execution of Wakeman's adroitness, and with vocals from Ashley Holt and Gary Pickford Hopkins, it still stands along with Journey to the Center of the Earth and The Six Wives of Henry VIII as one of his most astute pieces. Mike DeGagne  
Tracklist :
1.     Arthur 7:26
2.     Lady Of The Lake 0:45
3.     Guinevere 6:45
4.     Sir Lancelot And The Black Knight 5:20
5.     Merlin The Magician 8:51
6.     Sir Galahad 5:51
7.     The Last Battle 9:41
Credits :
Acoustic Guitar, Lead Guitar – Jeffrey Crampton
Arranged By [Orchestral Arrangements] – Wil Malone
Bass – Roger Newell
Chorus Master [The English Chamber Choir, Choirmaster] – Guy Protheroe
Conductor [Orchestra And Choir] – David Measham
Coordinator [Orchestral Co-ordination] – David Katz
Drums – Barney James
Illustration – Bob Fowke, Dave Bowyer
Narrator – Terry Taplin
Percussion – John Hodson
Vocals – Ashley Hold, Gary Pickford Hopkins
Written-By, Producer – Rick Wakeman

RICK WAKEMAN — No Earthly Connection (1976-2003) RM | K2 24bit | Rock Legend Series | FLAC (image+.cue), lossless

Released in 1976, just as prog rock's hold in the popular imagine was starting to slip, No Earthly Connection is, comparatively, a streamlined album by Rick Wakeman. It is not as elaborate and ambitious as its immediate predecessors -- which tackled Henry VII, Journey to the Centre of the Earth, and King Arthur & the Knights of the Round Table, respectively -- and only the length of a single vinyl album, with the first side devoted to the half-hour suite "Music Reincarnate" (it spills over to the second side in the original vinyl pressing) and the second splitting the difference between two songs, "The Prisoner" and "The Lost Cycle." Wakeman shows some slight hints of funk infatuation here -- "The Warning" works out its clavinet songs, with its second part buttressed by brass -- and the entirety of the "Music Reincarnate" side is a bit more forceful than expected in both its rhythms and attack. The other two songs have an element of breathing room -- even "The Lost Cycle," which begins with farting analog synths that never quite disappear over the course of the track -- but they're more distinguished by the flourishes Wakeman lays over the basic track, indications of how the keyboardist is so taken with his technique he thinks of it as nothing special, just something that deserves to be on ample display. Stephen Thomas Erlewine 
Music Reincarnate 20:24
1.     Part I: The Warning
2.     Part II: The Maker
3.     Part III: The Spaceman
4.     Part IV: The Realisation
5.     Part V: The Reaper 7:34
6.     The Prisoner 7:00
7.     The Lost Cycle 7:00
Credits :

Bass – Roger Newell

Drums – Tony Fernandez 

Vocals – Ashley Holt

Acoustic Guitar, Electric Guitar – John Dunsterville

Organ [Pipe Organ], Electric Organ [Hammond C.3],Grand Piano [Steinway 9' Grand Piano], Electric Piano [R.M.I. Electric Piano], Clavinet [Hohner Clavinet], Synthesizer [Moogs], Harpsichord, Electric Harpsichord [Baldwin Electric Harpsichord], Upright Piano [Upright Honkey Tonk Piano],  Electric Piano [Fender Rhodes 88 Electric Piano], Mellotron, Electric Organ [Godwin Organ With Sisme Rotary Cabinet], Effects [Systech Effects Pedals] – Rick Wakeman

Trombone, Bass Trombone, Vocal Percussion – Reg Brooks

Trumpet, Flugelhorn [Flugel Horn], French Horn, Vocals – Martyn Shields

RICK WAKEMAN — White Rock (Original Motion Picture Soundtrack) (1977-2003) RM | Rock Legend Series | FLAC (image+.cue), lossless

This was the soundtrack to a motion picture documentary of the same name of the 1976 Innsbruck Winter Olympic Games. It features only Wakeman's huge assortment of keyboards and drummer Tony Fernandez, with a choir on two tracks. It's a fine album with many moods, from the rocking title track to the stately "After the Ball" to the sprightly "Montezuma's Revenge," Wakeman's arrangement of some Hungarian Gypsy music. His piano throughout is exquisite. Stephen Raiteri
Tracklist :
1.     White Rock 3:10
2.     Searching For Gold 4:20
3.     The Loser 5:30
4.     The Shoot 4:00
5.     Lax'x 4:53
6.     After The Ball 3:05
7.     Montezuma's Revenge 3:55
  – Traditional 
8.     Ice Run 6:09
Credits :
Arranged By, Composed By, Performer, Producer – Rick Wakeman

RICK WAKEMAN — Rhapsodies (1979-2009) RM | SHM-CD | FLAC (image+.cue), lossless

Most of Wakeman's albums revolve around a concept; this double album's only concept is of a collection of "rhapsodies," which here seems to mean "enthusiastic and improvisational pieces." The album is instrumental except for the opener, "Pedra de Gavea," where the electronically treated vocals are presumably by Wakeman himself. Most of the pieces are concise for Wakeman, and very lively and bright, with engaging lead parts and well-chosen keyboard sounds (something Wakeman has not always managed). "Swan Lager" sets music by Tchaikovsky and Grieg to a reggae beat. Wakeman's version of George Gershwin's "Rhapsody in Blue" is actually a low point, but his version of Gershwin's "Summertime" is nicely done. This was Wakeman's last album for A&M Records. Stephen Raiteri
Tracklist :
1.     Pedra De Gavea 4:11
2.     Front Line 3:42
3.     Bombay Duck 3:14
4.     Animal Showdown 2:40
5.     Big Ben 3:58
6.     Rhapsody In Blue 5:26
Arranged By – Tony Visconti
Written-By – George Gershwin
7.     Wooly Willy Tango 3:24
8.     The Pulse 5:21
9.     Swan Lager 2:50
Adapted By, Arranged By – Rick Wakeman
Written-By – Tchaikovsky
10.     March Of The Gladiators 4:53
11.     Flacons De Neige 5:01
12.     The Flasher 5:32
13.     The Palais 2:23
14.     Stand By 3:30
15.     Sea Horses 3:52
16.     Half Holiday 3:00
17.     Summertime 4:27
Arranged By – Rick Wakeman
Written-By – Dubose Heyward, George Gershwin
Credits :
Acoustic Guitar, Engineer, Producer – Tony Visconti
Bass – Bruce Lynch
Drums, Percussion – Frank Gibson 
Electric Guitar – Nico Ramsden
Keyboards [Uncredited] – Rick Wakeman

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 — 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 – 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 — 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