Yes - The Studio Albums 1969-1987 (2013) [Official Digital Download 24bit/192kHz]

The most successful and influential progressive rock band in the world, Yes will celebrate its prolific tenure at Atlantic Records with a new boxed set that contains all of the albums they recorded with the label. Each one features the remastered sound and bonus tracks that originally appeared in 2003 and 2004, when Rhino's reissued the band's catalog. The collection spans nearly 20 years of music over the course and includes the albums that earned Yes an international following and helped the English group sell more than 30 million albums.



"Yes" is the British progressive rock band's eponymous debut album, released in 1969. Given the amount of psychedelic rock bands that were prevalent at the time, Yes created a surprisingly arresting and focused album that grabbed the listener's attention. In Rolling Stone magazine, Lester Bangs said about the album, "This is the kind of album that sometimes insinuates itself into your routine with a totally unexpected thrust of musical power".

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.

Tracklist:

01 - Beyond And Before
02 - I See You
03 - Yesterday And Today
04 - Looking Around
05 - Harold Land
06 - Every Little Thing
07 - Sweetness
08 - Survival




For this, their second album for Atlantic Records, Jon Anderson, Chris Squire, Tony Kaye, Bill Bruford and Peter Banks pulled together one of the most cohesive albums in their early seventies output. Featuring many of their fan and radio favorites as "Sweet Dreams", "Time And A Word" and the amazing prog rock classic "Astral Traveller", Time And A Word is another great instalment in this band's iconic legacy.

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.

Tracklist:

01 - No Opportunity Necessary, No Experience Needed
02 - Then
03 - Everydays
04 - Sweet Dreams
05 - The Prophet
06 - Clear Days
07 - Astral Traveller
08 - Time And A Word




The Yes Album is the prog-rock legends’ Platinum classic. This monumental release finds the band discovering their trademark sound. Widely acclaimed, it received rave reviews from Rolling Stone, Pitchfork, Q and many other publications. It reached #4 in the U.K. and the Top Forty in the United States. The Yes Album is included on Q’s list of the “100 Greatest British Albums of All Time”.

The album that first gave shape to the established Yes sound, build around science-fiction concepts, folk melodies, and soaring organ, guitar, and vocal showpieces. "Your Move" actually made the U.S. charts as a single, and "Starship Trooper," "Perpetual Change," and "Yours Is No Disgrace" became much-loved parts of the band's concert repertory for many tours to come.

Tracklist:

01 - Yours Is No Disgrace
02 - Clap
03 - Starship Trooper
04 - I've Seen All Good People
05 - A Venture
06 - Perpetual Change




The fourth studio album by British prog-rock legends Yes stands among the band’s greatest and most commercially successful work. Marrying the complexity of classical music (the album includes reworked excerpts of Brahms’ 4th Symphony) the melodicism of pop, and the instrumental prowess of progressive jazz, the record took the recording industry by storm, sitting on the Billboard 200 for 46 weeks and eventually going gold.

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 record as the group would ever make, and just as flawless in its timing as its content.

Tracklist:

01 - Roundabout
02 - Cans And Brahms (Extracts From Brahms' 4th Symphony In E Minor, Third Movement)
03 - We Have Heaven
04 - South Side Of The Sky
05 - Five Per Cent For Nothing
06 - Long Distance Runaround
07 - The Fish (Schindleria Praematurus)
08 - Mood For A Day
09 - Heart Of The Sunrise

This album presented in 96 kHz / 24-bit PCM & contains high-resolution digital transfers of material originating from an analogue master source.




Close To The Edge is widely regarded as one of the greatest progressive rock albums ever recorded. The Gold-certified work remains a crowning achievement in the band’s illustrious career. It reached the Top Ten in both the U.K. and in the U.S., where it spent thirty-two weeks on the charts. Close To The Edge includes the epic standout “And You And I.” Guitar World named it one of their “100 Greatest Guitar Albums of All Time.” This flawless classic is also included in the book, 1001 Albums You Must Hear Before You Die.

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.

Tracklist:

01 - Close To The Edge
02 - And You And I
03 - Siberian Khatru




Yessongs is the first live album from the English progressive rock band Yes, released on Atlantic Records. It reached number 7 on the UK Albums Chart and number 12 on the Billboard 200 in the United States. The album was certified gold in 1973 and platinum in 1998 by the Recording Industry Association of America. The album is formed of recordings from their supporting world tours for their studio albums, Fragile and Close to the Edge, between February and December 1972. A concert film of the same name was released in 1975 that documents the band’s performances at London’s Rainbow Theatre on 15 and 16 December 1972.

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.

Tracklist:

01 - Opening (Excerpt From "Firebird Suite")
02 - Siberian Khatru
03 - Heart Of The Sunrise
04 - Perpetual Change
05 - And You And I (Cord Of Life / Eclipse / The Preacher The Teacher / The Apocalypse)
06 - Mood For A Day
07 - Excerpts From "The Six Wives Of Henry VIII"
08 - Roundabout
09 - I've Seen All Good People (Your Move / All Good People)
10 - Long Distance Runaround/The Fish (Schindleria Praemeturus)
11 - Close To The Edge (The Solid Time Of Change / Total Mass Retain / I Get Up I Get Down / Seasons Of Man)
12 - Yours Is No Disgrace
13 - Starship Trooper (Life Seeker / Disillusion / Wurm)




After several whirlwind tours to celebrate their amazing successful run with albums like Fragile, Close To The Edge and Yessongs, the legendary Yes got back to the studio and worked on an amazing and huge piece of music for their prog-rock masterwork, Tales From Topographic Oceans.

With an ever interesting line-up of world class musicianship featuring Jon Anderson (vocals), Chris Squire (bass/vocals), Steve Howe (guitars/vocals), Rick Wakeman (keyboards) and Alan White on drums, Tales From Topographic Oceans truly stands as absolutely one of the most important albums of their mega successful career.

Often considered one of the finest recordings in their amazing career, Yes fans continue to praise Tales Of Topographic Oceans as a truly inspiring masterwork. This important piece of music consists of four amazing Yes workouts such as the definitive side one opener "The Revealing Science of God," the art-rock driven "The Remembering," the percussive and acoustic favorite "The Ancient - Giants Under The Sun," and of course, the definitive album closer "Ritual - Nous Sommes du Soleil".

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.

Tracklist:

01 - The Revealing Science Of God / Dance Of The Dawn
02 - The Remembering / High The Memory
03 - The Ancient / Giants Under The Sun
04 - Ritual / Nous Sommes Du Soleil




Relayer is the seventh studio classic by prog-rock greats, Yes. This conceptual work features sensational solos, compelling vocals, unbelievable choral sections and thrilling rock anthems. The album reached #4 in the U.K., where it spent eight weeks in the Top Forty and #5 in the United States, spending over sixteen weeks on the Billboard 200. It is the only Yes album to feature Patrick Moraz.

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.

Tracklist:

01 - The Gates of Delirium
02 - Sound Chaser
03 - To Be Over




Going For The One is Yes’ 1977 masterwork. It saw the return of Rick Wakeman and found the band incorporating shorter form songs. Similar to Fragile, Going For The One features stunning vocal harmonies balanced by thrilling guitar playing. It topped the U.K. charts and reached #8 on the Billboard 200. It includes the hit singles “Wonderous Stories” and “Going For The One.” Absolutely essential.

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.

Tracklist:

01 - Going For The One
02 - Turn Of The Century
03 - Parallels
04 - Wonderous Stories
05 - Awaken




Tormato is the prog-rock band’s ninth studio classic. Yes fans have praised the album as a truly inspiring masterwork. The Platinum hit includes “On The Silent Wings Of Freedom,” “Future Times/Rejoice” and the international smash “Don’t Kill The Whale.” Tormato reached the Top Ten in the U.K. and in the United States. This important piece of music is widely considered one of the band’s finest recordings.

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.

Tracklist:

01 - Future Times / Rejoice
02 - Don't Kill The Whale
03 - Madrigal
04 - Release, Release
05 - Arriving UFO
06 - Circus Of Heaven
07 - Onward
08 - On The Silent Wings Of Freedom




1980 was a great year for the legendary Yes. While the Close To The Edge line-up was taking a break, founding member Chris Squire maintained the legendary status of the band along with long- time band mates Steve Howe & Alan White, with new members Trevor Horn & Geoff Downes (The Buggles), and created the harder rocking masterpiece, Drama. With stand outs like "Into The Lens", it was easy to hear why this new edgy Yes sound truly resonated in the eighties. Check out the amazing musicianship on "Run Through The Light" and "Tempus Fugit", all of which made Drama the classic album it is today!

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).

Tracklist:

01 - Machine Messiah
02 - White Car
03 - Does It Really Happen
04 - Into The Lens
05 - Run Through The Light
06 - Tempus Fugit




Prog-rock band, Yes, is one of the most exhilarating live acts in music history. The band’s live interaction is captured in all its glory on their second live album, Yesshows. Jon Anderson, Chris Squire, Alan White and Steve Howe are joined by Rick Wakeman for a variety of tracks. The band’s contagious live energy, intricate melodies and riveting dynamics are in exquisite form. They performed hits including “Time And A Word,” “Going For The One” and “Don’t Kill The Whale”.

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.

Tracklist:

01 - Parallels (Live @ Ahoy-Halle Version)
02 - Time And A Word (Live @ Empire Pool Version)
03 - Going For The One (Live @ Festhalle Version)
04 - The Gates of Delirium (Live @ Cobo Hall, Detroit Version)
05 - Don't Kill The Whale (Live @ Empire Pool Version)
06 - Ritual / Nous Sommes Du Soleil (Part 1 Live @ Cobo Hall Detroit Version)
07 - Ritual / Nous Sommes Du Soleil (Part 2 Live @ Cobo Hall Detroit Version)
08 - Wonderous Stories (Live @ Ahoy-Halle Version)




90125 is the eleventh studio classic by the prog-rock band. It marks the return of Trevor Rabin, Jon Anderson and Tony Kaye. The record reached the Top Five on the Billboard 200 and includes the Top Ten singles, “Owner Of A Lonely Heart,” “It Can Happen,” “Leave It” and “Changes.” In addition, “Cinema” won the GRAMMY for Best Rock Instrumental Performance. Absolutely essential.

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.

Tracklist:

01 - Owner Of A Lonely Heart
02 - Hold On
03 - It Can Happen
04 - Changes
05 - Cinema
06 - Leave It
07 - Our Song
08 - City Of Love
09 - Hearts

# This original recording used digital multi-track along with 2” analog 16 and 24 tracks. Then transferred from 2-track analog EQ copies.
44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit.




Yes' 1987 classic is the follow-up to their comeback album 90125, featuring Trevor Rabin. The album reached the Billboard Top Twenty and includes the rock anthems “Love Will Find A Way,” “Rhythm Of Love,” “Shoot High, Aim Low” and more. This Platinum-selling hit is another masterpiece in their illustrious career. Must-have!

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.

Tracklist:

01 - Rhythm Of Love
02 - Big Generator
03 - Shoot High, Aim Low
04 - Almost Like Love
05 - Love Will Find A Way
06 - Final Eyes
07 - I'm Running
08 - Holy Lamb


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