 | Yes (1969)Genres: pop, progressive pop, symphonic rock |
review by thomas
Yes’ first album, coloured by sixties groups like The Byrds, Beatles and sometimes a touch of Beach Boys (mainly the harmony vocals). In fact they even do covers of the first two bands mentioned. Here and there something of the future Yes shines through like the Jon Anderson written lovely and calm “Yesterday and Today”. “Survival” also makes a good impression but otherwise the album doesn’t really impress at all. The covers mentioned above are both quite dull and other songs lack something vital that you never manage to put your finger on. Maybe it’s because one are used to the “real” Yes (that is the Yes of ’71-’74)and you just can’t get into this simple West Coast sounding album.
Still the elements of classic Yes were there although not yet fully developed; Anderson’s singing, Bill Bruford’s drumming and Chris Squire’s bass sound all needed some work. Of course some people will say Yes only sounded right when Rick Wakeman was in the band but I actually like Tony Kaye’s organ and piano work, but as the others it was not fully blossomed until “The Yes Album” from 1971.
I imagine this album is of interest if you like Yes but don’t expect a grand symphonic album comparable to the albums made in the seventies.
 | The Yes Album (1971)Genres: progressive rock, symphonic rock |
review by thomas
This is the first truly symphonic/progressive album from Yes and the first with new recruit Stewe Howe on guitars. It begins in a majestic and impressive form with “Yours Is No Disgrace” including excellent work from all band members. I must mention Tony Kaye’s amazing organ sound and Chris Squire’s bass that sound like something Ray Shulman were doing in Gentle Giant. “Starship Trooper” is also a goodie with terrific drumming from Bruford. It starts with a section written by Anderson then goes into a more acoustic section written by Squire, and then ends with a section composed by Howe with plenty of electric guitar.
The strange “I’ve Seen All Good People” features Gnidrolog’s Colin Goldring on recorders. The first section of the piece, called “Your Move”, seems to be about a game of chess and it’s very acoustic and in the instrumentation deliberately restrained; instead it showcases the vocal harmonies of Yes that always were a big part of their albums. The second section – “All Good People” – turns electric and rocks out but personally I find this far too repetitious (in both music and lyrics) and dull. “The Clap” and “A Venture” are both short pieces and rather good. The former an acoustic instrumental (recorded live) and the latter features good piano work from Kaye. The album closes with “Perpetual Change”: a motto perhaps? I have always seen this song as the weak one on the album. And that haven’t changed – it includes some silly sounding harmony-vocals and some lame guitar and keyboard work in the main parts; but it also has its good moments.
A good first try by Yes at the symphonic rock – sometimes referred to as “techno-rock” – that where in evolution around the early seventies.
 | Close to the Edge (1972)Genres: symphonic rock |
review by thomas
Yes were at their best when ”Close to the Edge” was recorded and it really shows, especially in the sidelong title track. All the best elements of each member and as a band came together for this song to form one of the best Yes compositions. The song is divided into four parts but flowing as one without any flaws. All members play with passion and power, with new and old sounds, experimentation within limits (such as Howe’s wonderful mandolin) and with high technical dexterity. I have absolutely no complains regarding this one.
Side B consists of two 10-minutes songs: ‘”And You, And I” and “Siberian Khatru”. Both showing very high standard, the former more acoustic in nature and the latter more electric with a guitar melody that you don’t forget so easily; you will probably go around and sing it for a long time afterwards. With the high standard sound of the album it’s a pleasure to listen to it over and over again. This is Yes in their prime and essential symphonic rock; too bad that “Tales From the Topographic Oceans”, their next album, was such a flop. The only thing one can hold against Yes is that you can sometimes miss the outbreaks of insanity, that is wild, energetic, dissonant playing; nothing common in Yes’ music. This “problem” is however easily solved; just put on Van der Graaf Generator, Giro Strano or something similar if you at times find Yes too light. In conclusion: “Close to the Edge” is Yes at their best. Get it.
 | Fragile (1972)Genres: progressive rock, symphonic rock |
review by thomas
”Fragile” was built around three epics – ”Roundabout”, ”South Side of the Sky”, ”Heart of the Sunrise” – and on short solo pieces from each member. Tony Kaye had now left the band, leaving place for the so-called keyboard wizard Rick Wakeman. And I must admit that I have often looked down on Wakeman’s work with Yes, not because he’s bad (he’s, I’m sure, a keyboard wizard, but he’s in good company) but because I considered his work to be mostly with soulless keyboards that had no sound (and it couldn’t even be determined what he was playing). My favourites: organs in all their forms, the harpsichord and Moog were – in my opinion – never used. I have, from out of newly studies of Yes’ works, been forced to do some rethinking on this matter regarding the “Fragile” and “Close to the Edge” albums. Wakeman did use organs, Moog and even harpsichord and he did it good. It’s still true regarding “Tales From the Topographic Oceans” though, but this is to jump ahead a little too much. First things first.
Considering the fact that the epics are near to flawless and the solo pieces work surprisingly good this is a classic album. We could have lived without “Long Distance Runaround” though, it’s not that good, otherwise a classic album.
