![]() While they played well together on past albums, this album has Squire playing with more feeling and White pounding out some incredible rhythms ("Hold On" and "Changes" are perfect examples). What stands out on this album is the Squire/White rhythm section. The songs are much more mainstream than Yes' music of the past, but it is quite good and still quite complex. The production by Trevor Horn is fresh and bright and holds up even today, and he doesn't sing (unlike Drama). Rabin's sound is much more modern than Yes' previous style. This can be directly linked to one new member, Trevor Rabin. On its own, 90125 represents a new sound and attitude for Yes. A suggestion that Yes continue with two keyboard players was rejected by Jobson, who left the band and he was edited out of the "Owner of a Lonely Heart" video, although brief glimpses of him can still be seen. However, after a few months, Kaye returned. Jobson jammed with the band a few times, although nothing was ever recorded, and appears in the video for "Owner of a Lonely Heart". Jobson had refused then, but, approached again, now agreed to replace Kaye. Before Kaye had first joined Cinema, Squire had tried to recruit Eddie Jobson. Lack of inspiration?īefore 90125 was released though, after most of the album had been completed, Kaye had left the band after falling out with Horn and Rabin. The title is nothing more or less than the catalogue-number the album would get. ![]() Anderson then joined the band, leading to a name change (back) to Yes, under pressure of the money-makers of the record company as one can assume. Trevor Horn was originally to have been Cinema's vocalist, but he retreated to producing.Ĭinema recorded some demos, re-using material Rabin had recorded as solo demos. (One piece was recycled by Page in The Firm and another formed the basis to "Mind Drive" on Keys to Ascension 2.) Squires and White were later joined by Trevor Rabin to form Cinema, with Tony Kaye later joining as well. Squire and White joined Jimmy Page of Led Zeppelin to form XYZ ('e x- Yes and Zeppelin'). Howe and Downes formed a new super-group called Asia with John Wetton (former King Crimson and UK) and Carl Palmer (of ELP). After that, Yes effectively was dissolved. Trevor Horne was not to sure of himself on vocals during the subsequent tour, and retired to producing. In stead, they ended up being the new members of Yes! This new line-up released Drama (1980). Meanwhile, Trevor Horn and Geoff Downes of The Buggles (of the hit-single "Video Killed the Radio Star") wanted Yes to sell them a song. Squire, Howe and White continued as a trio. This only to be followed by a deep fall with Tormato (1978) in the same line-up, an album to be quickly forgotten.Īnderson and Wakeman then decided to leave Yes. Going For The One (1977) saw the return of Wakeman, in my personal opinion the highlight of Yes' work in the 70's, with the song Awaken as the Olympus of emotion in their music. But on these albums, members of Yes appear constantly. After Relayer, the band disassembled to produce solo-albums. ![]() With Patrick Moraz as a replacement on keyboards, Anderson, Howe, Squire and White made Relayer (1974). Indeed, Rick Wakeman openly admitted he didn't like the album and left after the tour. Pushing the direction from the previous albums in terms of even more experiments and long, in some opinions boring, pieces of music to extremes, this was bound to lead to internal problems. I will only give a brief account of the Yes-history, because, as is well know, it is probably one of the most complicated in the whole of prog.Īfter Close to the Edge, the double album Tales from Topographic Oceans (1974) followed, with Alan White replacing Bill Bruford on drums. So what happened with the band since then. We have talked about the history of Yes up until Close To The Edge in a previous issue of Counting Out Time.
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