Yes Albums (26)
'(Re)Union'
Release Date 6/1/2004
Tracks 10
Label BMG Special Products
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What The Critics Say
Although featuring new cover art and packaging, this is essentially a reissue of 1991's excellent Union record, cropped down from 16 tracks to ten. However, those who missed Union the first time will be treated to an album featuring nearly every artist ever to play in Yes. Steve Howe plays his heart out on "Masquerade," on one of the most energetic solos of his career. It's not one of their strongest albums by any means, but die-hard fans will revel in the quality musicianship, production, and songwriting from a group putting forth its strongest effort in years. ~ Rob Theakston, All Music Guide
'Big Generator'
Release Date 1/15/2002
Tracks 8
Label East West Japan
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What The Critics Say
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, All Music Guide
What The Critics Say
Many call Yes' brand of progressive rock "symphonic rock." The term means that the group produces arrangements in the vein of a symphony using typical rock instrumentation. With Magnification, Yes has taken that a step further, adding a symphony orchestra. The orchestra is not simply thrown over the top, though; the songs were written for this particular grouping. Yes has flirted with this type of thing before. Released in 1970, the Time and a Word album featured a string section, but the complete integration is what makes Magnification a superior work. The material on the CD is pretty standard modern Yes fare, but the addition of that symphony really does create a whole new texture. It also seems as if it inspired the band, and some members put in performances that are head and shoulders above their recent work. The album does have its weak moments and gets just a little over the top at times, but there are a lot more moments that shine than dull ones. ~ Gary Hill, All Music Guide
'The Original Members of Yes: Anderson, Wakeman, Howe'
Release Date 1/1/2001
Tracks 9
Label KRB
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What The Critics Say
The first peculiarity to report about this odd collection is the inaccuracy in its title. Of the three recording artists whose work is sampled, only one, Jon Anderson, was an original member of Yes. Rick Wakeman and Steve Howe were both replacement members of the group. Encountering such a boner right off the bat is a good indication of the "buyer beware" nature of this budget album, which borrows two tracks from Anderson's 1998 solo album The More You Know and two from Howe's 1999 solo album, Portraits of Bob Dylan, with the remaining five taken from Wakeman's prolific output, including re-recordings of three of Yes' best-known songs, "Roundabout," "And You and I," and "Long Distance Runaround." The album contains the barest of annotations (not even songwriting credits), so that, for example, there is no way for the potential buyer to know that Allan Clarke of the Hollies sings Dylan's "Going, Going, Gone." Anderson and Howe's albums are worth investigating on their own, though the Yes fan will want to stick with the original recordings of the band's hits, not Wakeman's recreations. This cheapie, which one is most likely to encounter in a drugstore or other non-record-store outlet, will justify a Yes fan's curiosity only barely, even for the five bucks or so it is likely to cost. ~ William Ruhlmann, All Music Guide
'House of Yes: Live From House of Blues'
Release Date 1/1/2000
Tracks 15
Label Edel
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What The Critics Say
Released as a companion CD soundtrack to a live DVD/VHS offering, this two-disc set captures the group's Las Vegas show at the House of Blues. Including a nearly complete set from The Ladder tour seems to be a double-edged blade. This creates for a definite completeness as a concert recording. However, many of the tracks on this set have already shown up on other live Yes sets. Followers of the band will find an appeal to this disc that goes beyond the music. The CD represents a live chronicle of The Ladder/Open Your Eyes lineup of the band. By the time House of Yes was released, Billy Sherwood had already become a "former member" and Igor Khoroshev was to follow late in 2000, making this a bit of an end of a chapter. It includes many standout moments, and some that don't shine quite so brightly. Sitting among the great side are Steve Howe's extended guitar solo in the opening track "Yours Is No Disgrace," a rendition of The Ladder's epic "Homeworld," and the inclusion of both "Lightning Strikes" and "Face to Face" from that same album. Probably one of the more subtle but interesting things this disc offers is a short improvised bit whose chorus is "Yes is in the House of Blues." Among the down sides, in many ways it is unfortunate, but probably unavoidable, that the group felt compelled to include the overplayed "Roundabout" and "Owner of a Lonely Heart." That said, the particular rendition of "Owner" is very inspired and includes a fine performance of the "Cinema" instrumental cut as its introduction. The other central complaint is that in many places the CD feels very over-produced, losing much of its live texture. ~ Gary Hill, All Music Guide
What The Critics Say
You'd probably need a mainframe computer to keep track of all the personnel changes in Yes over the years, and the quality of the prog rock giant's music has fluctuated nearly as much as the lineups. The Ladder is a synthesis of the best traits of the experimental Fragile era and the pop-oriented 90125 era. Producer Bruce Fairbairn completed The Ladder shortly before his death in 1999, and unlike some of his work with Bon Jovi, Aerosmith, Kiss, and others, he didn't overproduce it. Vocalist Jon Anderson, lead guitarist Steve Howe, and bass guitarist Chris Squire all have fine moments, and drummer Alan White is consistent. The roles of keyboardist Igor Khoroshev and, in particular, guitarist Billy Sherwood are less clear. It occasionally seems the purpose of Khoroshev's keyboards is providing a variety of sonic textures instead of functioning as a lead instrument. Sherwood's second guitar tends to flesh out the sound. "Homeworld (The Ladder)" is a tight band performance, but the supple vocals/acoustic guitar/piano coda is the best part. Howe's bouncy acoustic guitar drives "Lightning Strikes," yet the biggest surprise is the addition of a horn section. The energetic "Face to Face" is the strongest track, and Squire lets loose with a sputtering bassline. "If Only You Knew" is a sweet, straightforward love song Anderson wrote for his wife. "The Messenger" has a smooth, funky feel -- a remarkable feat considering prog rock is usually considered the "whitest" rock genre. "New Language" is the best long song on The Ladder, thanks to a clever arrangement giving all six members an opportunity to demonstrate their talents. ~ Bret Adams, All Music Guide
What The Critics Say
Many Yes fans really dislike this album. However, it is a disc, as much of the classics in the group's catalog are, that is not fully appreciated on the first few listenings. You really need to give this one the time to sink in. The faithful in Yes' fandom had very high hopes for this release, as it was the first full studio album after Steve Howe re-joined the group. Many were anticipating another Close to the Edge. The disc certainly does not live up to that standard. It actually works better serving as a bridge between the classic Yes sound of the '70s and the more pop-oriented Trevor Rabin-era material. It also seems at times to carry on in the direction begun with such albums as Tormato and Drama. There are some fine songs in the set, but there are also a few pieces that are worthy of the contempt of the diehards. There are at least a couple of standout tracks here that would, having been released on a different album, probably have become Yes classics and fan favorites. The title track is one of those that seems to merge the '70s and '80s Yes styles, but it also has leanings in the direction of Chris Squire's solo release, Fish out of Water. That Squire styling is really natural since the song was originally intended for a new solo album from the bassist. Among the other tracks that are highlights here are "Universal Garden" (a very intriguing number that seems to combine the classic Yes sound with some tendencies toward Jon Anderson's solo work), "Fortune Seller," and "Wonderlove" (one that feels a lot like an extension of the band's work just prior to their 1980 split). On the other end of the spectrum come "No Way We Can Lose" (essentially a new attempt at the reggae-ish Rabin-era cut "Saving My Heart") and "Man on the Moon" (a trite pop ditty with very weak lyrics). The rest of the album fits more toward the middle ground in terms of quality. There are two versions of the disc out there: the first standard release and a surround-sound edition (the first album ever released in that format). If you have a surround-sound system, or intend to get one, you should try to pay the extra money for that version. The sound of the CD really envelops you, and it becomes an expansive experience when played in that format. The only thing missing from that version is the hidden track at the end of the original release. Since that track was really not much more than an extended piece of atmosphere, it is not really a loss. ~ Gary Hill, All Music Guide
'Keys to Ascension, Vol. 2'
Release Date 10/21/1997
Tracks 11
Label Cleopatra
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What The Critics Say
This two-CD set is that odd musical griffin: a live disc plus a studio disc. While the live material is rendered well, it's dispiriting that two of Yes' three live albums of the '90s rehash material adequately covered in Yessongs and Yesshows. While the appearance of Steve Howe's classical guitar on the lovely "Turn of the Century" is a pleasant surprise, the rest of the live album is nothing that you haven't heard before. The studio disc, at least, is a welcome return to form for the band. It opens with the epic "Mind Drive," a multi-movement suite strongly reminiscent of early Yes; the song's closing instrumental sounds straight out of Tales from Topographic Oceans. Wakeman's parts were overdubbed last here, and it shows: the keyboards are solely for atmospheric effect, ceding the melodic drive to the bass and guitar. Not that Wakeman's presence goes to waste; structured around a "Heart of the Sunrise"-like bass riff, "Bring Me to the Power" gallops through muscular Moog solos and equally slick harmonies. Like the rest of the studio tracks, it's a perfect blend of vintage art rock craftsmanship and gleaming modern production. ~ Paul Collins, All Music Guide
What The Critics Say
Yes, this time consisting of Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, and Alan White, got together for three nights in March of 1996 in San Luis Obispo, CA, to cut Keys to Ascension, the group's fourth live album in 28 years, which is rounded out with two new studio creations. Four of the seven live tracks are covers of songs that the band originally recorded between 1970 and 1974. The group has aged well, and Keys to Ascension is a more satisfying album than 1980's Yesshows. "Siberian Khatru" has less intensity but more lyricism than it did 23 years ago, making it slightly less dramatic -- the ending lacks some necessary attack, replacing it instead with more articulate guitar. Tales From Topographic Oceans is represented by "The Revealing Science of God," which shows off some superb ensemble playing on a 20-minute piece that is most difficult to bring off on-stage, with Wakeman the standout among the instrumentalists. Anderson's falsetto has lowered slightly with age, and lost a bit of its power in the process as well, but the ensemble carries the piece successfully to its conclusion. Nearly as surprising is the presence of Paul Simon's "America," a song they cut back in the early '70s, which comes off as a lot more engaging here than it did back when. "Onward" and "Awaken," from the late '70s, are well represented in beautiful live covers. The new songs featured as studio recordings on the second disc are superior to anything on the more recent Union "mega-Yes" album, with soaring harmonies and very spacious song construction. ~ Bruce Eder, All Music Guide
What The Critics Say
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, All Music Guide
