My sister was a huge fan of all types of music and I used to sneak into her room and play them when she was out (thanks sis). Laying in front of a pile of records on the floor was this album with a greenish tint with 5 guys and a white head hanging from a string. It looked cool so I put it on her record player and played it. I will never forget hearing that record for the first time. I was hooked on YES from that day forward. About a week later, I peddled my bike in the freezing cold to a record store about 2 miles from our our house to look for other YES records. I didn't have to look hard because they had a section with new releases in a rack at the front. Needless to say, I got my news paper route money out of my pocket and peddled back home with Fragile under my arm. The year was 1971 and I was 11 years old. And it's been a musical journey ever since.
I remember just like yesterday. We heard Roundabout on the car radio, coming out of Philly on WMMR. I did some chores and bought the album, Fragile. There were several hooks: Chris's bass tone, Steve Howe and Jon's vocal. In Philly, Yes was huge and we loved that group. For me, it was a journey of absorbing all of that music and lyrics that influenced me later on with guitar and bass. When I listen to Yes, I am in my happy place. They bring me right back to the 1970's and the freedom we all had during that time. When Chris passed away, it felt like I lost an Uncle. It really hurt. If you're ever feeling down go check out Wakeman. He should be doing Standup Comedy. Hilarious. It's been about 50 years now that Yes has been a part of me. I just don't know how else to describe what I feel. I love those guys so much and it did not matter if they rotated different personnel; The anchors Anderson and Squire were at least lurking about. I owe a huge Thank You to Jon, Steve, Chris, Rick, Alan, Bill and everyone who were apart of one of my alltime favorite groups.
I agree about Rick being hilarious. I saw him in a solo performance here in Seattle, not knowing that side to his personality. I felt the comedy was as great as his music!
Not just in awesome Philly though. Meanwhile, we loved Yes down in Memphis too. Like youl, i heard Roumdabout on the radio and ran out & bought Fragile, then bought CTTE., then The Yes Album. Saw them 3 times in Memphis between 73-76? Losing Chris broke my heart too. Yes blew my mind and always will. Best band ever imo.✌🏻
Yes were the Masters of the universe in the 70s! I saw them many times in Chicago, from Hawthorne race course to a bunch of shows they did at the international amphitheater next to the union stockyards! They were incredible❤❤❤
Correct!!! This drives me mad. Jon's larynx did not mature in a typical way (ie his voice did not "break" during puberty) which preserved an angelic "quire boy" range that has never left him. You can hear this clearly in his speaking voice in interviews. He sings in his "chest voice", not his "head voice", but uniquely for an adult rock singer, he has the chest voice of a pre-pubescent boy.
The amazing performances and recordings from Yes over the past 55 years continue and inspire. I truly love their impactful music, along with the creative voyages that accompany their art. It is such joy to see people experience this music in 2024 for the first time. Keep listening. There are even greater rewards for the tenth time you hear their best songs. Enjoy the ride, it is well worth your time to explore the deep cuts.
Along with so much else, such unique talents, such great studio albums, such electrifying concerts, Yes are possibly the foremost deep cuts band. I’ve been a huge fanboy to fangeezer for well over half a century and I’m still discovering great Yessongs. Nothing even remotely like them in the long history of music, before or since, or indeed ever again.
Me too, in 1970 on a legal reel-to-reel tape. Malcolm Gray, who loaned me the tape, particularly liked the track 'Then', which to him "tears the guts oot ya" .
If you can listen with full attention and bliss to a 19 minute song, then you know you have a master-piece, anything less and you would grow bored. But Close to the Edge pulls you in and never lets you go.
I bought the first album not too long ago (I had the record on vinyl until I recently sold all mine). It still sounds great! Good songs, good writing, great playing - and this was young band first trying to find their direction. Buddy Rich even gave then a thumbs up on the back of the original album cover - and he didn't dish out compliments to just anyone.
All right, I'm chiming in.Bring on the hate. I'm so sick of people criticizing Anderson's lyrics for "meandering", being "hard to understand" and "not making sense." He's written only a few songs with clear messages. I personally am convinced his lyrics are intended to paint changing image of ideas and feelings - positive, negative, full of love, whatever. That's a whole different thing and one I don't think a lot of people appreciate.
I enjoyed this documentary alot, which brings the fresh perspective of what the flowering days Yes music was composed: new keys, pitches, rhythms, arrangements, patterns (and overcast surrealist watercolors). I didn't hear critics but studio people, fellow musicians who know what it is Yes were trying to score and play. Yes were certainly an enigma. Consider: Steve Howe was quoted several times in the 70s sharing that he did not read music well (but yet knew his way all around the guitar like a blind savant; then Rick Wakeman who was a bona-fide, conservatory-trained virtuoso, who absolutely knew the theory of everything they were doing. Anderson was also self-taught, and also quoted back in the day, revealing his own constant personal growth toward secure status as professional musician. He said he reached that place during his solo album work in 1976! Close to the Edge, the piece, is overwhelming. Hearing the Rainbow Theatre film version (again) tonight was shocking. The pluck, this beyond-bold presentation, so astonishingly confident and committed. The side two of the album is just as good, but all three selections together are heroic feats of complexity and beauty. The song is called Close to the Edge for a reason, but we never hear music writers unpack how 'close to the edge' the frenetic opening section sounds. (sounds close to an edge!) Yes did not like war and they had expressed this in Yours is no disgrace. The tensions and relieving serenities of Close to the Edge echoes the anti-war stance. I think the Close to the Edge album (and Yes generally) is rooted in the phenomenon of Stravinsky's audacious ballets between 1910 and 1913. In fact, Yes, as the hailed masters of 'progressive' rock, were always balletic during the 70s. Ballet is a form you would say is through-composed, a trip from A to B to C to D et al, never repeating, in an evolving narrative. Its the 20th century ballet (and the Russians no less) that introduced this idea of unfolding non-repeating feral yet sidereal music. Herbal cigarettes and funky porcinis aside, long open-ended narrative forms came from (avant-garde) modern classical composers. Yes applied this long-form aesthetic (whether they entirely knew it or not) to electric music. I don't see how one could say they were a rock band. They were an art salon act. Squire called them the everyman's underground group. They made a music of human ultimacy for the rock stage. It is definitely revealing that during the Fragile tour they played the Finale from the Firebird for the first time as an act introduction (this too, before Close to the Edge even appears), as if to say "where Stravinsky left off, we now take up..." Siberian Khatru is this masterful unbridled chamber piece favoring the black keys, to me the ultimate bow to the ever serious but vivacious Stravinsky. In 1970s Yes, there is always the search for Source, which is what religion perenially espouses. Tales is a fascinating conundrum: that is, alot of music and beauty drawn out over big acoustic spaces - so much in there, so much finely fitted-detail and poetic sonority; but textually muddled. Chris Squire said in interview they (Jon & Steve) had picked a "weak concept". Tales is musical magnificence resting on a content-foundation of poverty. Anderson admitted this indirectly years later. The second side (The Remembering)(non-human authority, wisdom & grace in particular being the lost objects recalled) is the one masterpiece of that record - the closest they got to marrying the text with shape of the music assembled. Some may wish to add side 1, because it is asking the big question what happened to modern humanity, what did it forget as a creature-family. >> God, love of God's earth and trust in given life, faith, goodwill. Religion has always waited with these simple indestructible answers. The references to Christianity are numerous on Tales, but they were all non-practicing protestants as adult musicians who did world touring (not a life conducive to regular worship of God). Yet, Yes always had this distinctive way of pointing to God. I wish they had included in the survey Relayer and Going for the One and stopped there, because though Yes always pushed themselves up mountains, there was nowhere else to go after Awaken, except back to streets of earth. Awaken is the realization of what they were really looking for on Tales - they created a theology of sound, introducing souls to God without religion. Which is a very good first move.... Awaken is the unsurpassable masterpiece of the 1970s catalog. Records seven and eight (important numbers!) are truly great. As original as Close ot the Edge was Relayer goes much farther in mapping the possible and yet still coherent and indeed beautiful - while remaining every bit as obsessed with the revelation of Divinity. Going for the One reaches the same themes but on a very high plateau of crystalline classicism, never dared to be visited again. Ultimately, I don't think Yes can be completely explained . Others here note perfectly: its more 'what does it sound like and how does it move you' that is upmost. But I can agree with most everything that got said by the observers in the film, including the crunchy disagreements over Tales.
So cool. I got an audio only version of this as a gift many years ago. I heard an interview with Rick Wakeman saying that many of the time signatures were to fit Jon's lyrics, to fit the pronunciations, syllables, rhythm, etc. Of course there are the ones that are large scale compositional choices.
They’ve been continuously wrong about Yes for 55 years. It’s quietly hilarious. The critics have and will come and go while Yes music is played for many. many years to come.
I can’t believe how poor the contributors are on this documentary. It is full of misinformation and inaccuracy. I wonder if many of them have ever listened to Yes albums. Jerry Ewing is particularly obnoxious - particularly for the editor of Prog magazine. I think he’s more of a metal guy.
Interesting assessment of Yes. I am a Yes fan and a I have a more favorable view of them. This documentary was a bit thin on content and somewhat incomplete, even for 2003. For instance, I have a different opinion of the Tales album. I think it was their best compilation at the time of release. Years later, Magnification came out which was yet another great compilation. It was great to hear these epic albums played live. I would call it masterful.
I don't agree with a lot of what these guys have to say in the first ten minutes; Banks was Hendrixy, Chris wrote the odd time changes, the first album was sub par (let's hear you play it on your instrument?), Jon's falsetto, the music is uninteresting without Jon, the early assessment of Chris's contribution being the grounded one, all wrong imo.
Agree with most of it. Especially with Chris not grounding the music. Grounding bassists are the Uriah Heep-type bassists. Chris made the music "fly away" in other directions. Rather unexpected directions.
Tony Kaye's dedication to the organ really was very important to the drive of the first stages of Yes. Their move to more "advanced" technological palettes did not ultimately serve them well, even if Wakeman's broader palette did for a while. _The Yes Album, Fragile,_ and _Close to the Edge_ are so full of drive and body.
Tales is an acquired taste, its in my vinyl library cause I’ve grown to like it. Not love it but, appreciate it! And I still wish Bruford never left, it would have been interesting to see where they evolved with him. Nothing against Alan White, but he’s more a rock drummer than prog rock.
The only thing pompous here are every one of these so-called "critics"! I can't call Yes pompous. Complicated at times. But calling a band of real musicians pompous is arrogant! And who are the most self-important, arrogant, and pompous individuals on the planet? CRITICS!
Titled "INSIDE YES" on my CD Box version, this unofficial release has some very interesting different insightful opinions and great analysis into the bands 70's career !
Huge Yes fan here. Still listening to them today. I never purchased the Tales album and couldn't name you one song off of it. Only album of theirs you would have to tie me down to listen to. Just not a fan. But as they say, "beauty is in the eye of the beholder."
Cue the journalists following their fashion noses and dismissing TFTO as 'crap' and 'ludicrous'. Ironically, these are the only expressions that can be applied across the board to music journalists. It's why I stopped reading their tripe 50 years ago.
I don't mind that the band went through a lot of lineup changes over the years. But now without Jon or Chris, I just can't call it Yes anymore. It's just a Steve Howe tribute band. I liked Fly From Here. It was a decent record. But Jon Davison sounds awful and ruins everything and without Chris, it's just pathetic.
One thing never mentioned is that Yes were a self-proclaimed "magic mushroom" band. They were very frequent users of it, and made most of their music while on it, and believed its what humanity needed to evolve and progress to higher levels of being. Where did l hear this ? From their own mouths. Most of the "analysis" by the nerdy, so-called experts in this video, is a bunch of pure, self-important, dreamt-up crap.
I, for sure, was listening to their music while on schrooms. I remembering picking them in cow pastures with Yes's music playing in my head - particularly Then and Survival.
My sister was a huge fan of all types of music and I used to sneak into her room and play them when she was out (thanks sis). Laying in front of a pile of records on the floor was this album with a greenish tint with 5 guys and a white head hanging from a string. It looked cool so I put it on her record player and played it. I will never forget hearing that record for the first time. I was hooked on YES from that day forward. About a week later, I peddled my bike in the freezing cold to a record store about 2 miles from our our house to look for other YES records. I didn't have to look hard because they had a section with new releases in a rack at the front. Needless to say, I got my news paper route money out of my pocket and peddled back home with Fragile under my arm. The year was 1971 and I was 11 years old. And it's been a musical journey ever since.
Thanks for sharing your experience!
I remember just like yesterday. We heard Roundabout on the car radio, coming out of Philly on WMMR. I did some chores and bought the album, Fragile. There were several hooks: Chris's bass tone, Steve Howe and Jon's vocal. In Philly, Yes was huge and we loved that group. For me, it was a journey of absorbing all of that music and lyrics that influenced me later on with guitar and bass. When I listen to Yes, I am in my happy place. They bring me right back to the 1970's and the freedom we all had during that time. When Chris passed away, it felt like I lost an Uncle. It really hurt. If you're ever feeling down go check out Wakeman. He should be doing Standup Comedy. Hilarious. It's been about 50 years now that Yes has been a part of me. I just don't know how else to describe what I feel. I love those guys so much and it did not matter if they rotated different personnel; The anchors Anderson and Squire were at least lurking about. I owe a huge Thank You to Jon, Steve, Chris, Rick, Alan, Bill and everyone who were apart of one of my alltime favorite groups.
I agree about Rick being hilarious. I saw him in a solo performance here in Seattle, not knowing that side to his personality. I felt the comedy was as great as his music!
Not just in awesome Philly though. Meanwhile, we loved Yes down in Memphis too. Like youl, i heard Roumdabout on the radio and ran out & bought Fragile, then bought CTTE., then The Yes Album. Saw them 3 times in Memphis between 73-76? Losing Chris broke my heart too. Yes blew my mind and always will. Best band ever imo.✌🏻
He is funny. I love Rick. Not to mention, he is amazing.@@mercifulleedickens3291
Yes were the Masters of the universe in the 70s! I saw them many times in Chicago, from Hawthorne race course to a bunch of shows they did at the international amphitheater next to the union stockyards! They were incredible❤❤❤
Ladies and gentlemen Chris Squire and Yes the greatest show on earth
John Anderson's voice is not falsetto. He is one of the very few men to have this kind of male voice, naturally.
He's known as an Alto Tenor.
Right! It annoys me every time I hear someone says it's falsetto, because they're showing their total lack of ear or knowledge.
Correct!!! This drives me mad. Jon's larynx did not mature in a typical way (ie his voice did not "break" during puberty) which preserved an angelic "quire boy" range that has never left him. You can hear this clearly in his speaking voice in interviews.
He sings in his "chest voice", not his "head voice", but uniquely for an adult rock singer, he has the chest voice of a pre-pubescent boy.
He is an alto. Not a tenor at all.
@@johnries5593 - he's a countertenor. Males can't reach alto range.
"Tales from Topographic Oceans" is a great freaking album!
The amazing performances and recordings from Yes over the past 55 years continue and inspire. I truly love their impactful music, along with the creative voyages that accompany their art. It is such joy to see people experience this music in 2024 for the first time. Keep listening. There are even greater rewards for the tenth time you hear their best songs. Enjoy the ride, it is well worth your time to explore the deep cuts.
Along with so much else, such unique talents, such great studio albums, such electrifying concerts, Yes are possibly the foremost deep cuts band. I’ve been a huge fanboy to fangeezer for well over half a century and I’m still discovering great Yessongs.
Nothing even remotely like them in the long history of music, before or since, or indeed ever again.
51 years ago, June 1973, I started listening to Time & A Word. I had been a Yes fan since 1971. Today T&AW, is still a YES top 5 album for me.
So cool!
Me too, in 1970 on a legal reel-to-reel tape. Malcolm Gray, who loaned me the tape, particularly liked the track 'Then', which to him "tears the guts oot ya" .
If you can listen with full attention and bliss to a 19 minute song, then you know you have a master-piece, anything less and you would grow bored. But Close to the Edge pulls you in and never lets you go.
The 2 star reviews for first two albums are crap.....you were witnessing the evolution of the greatest Prog Group to ever exist.
I bought the first album not too long ago (I had the record on vinyl until I recently sold all mine). It still sounds great! Good songs, good writing, great playing - and this was young band first trying to find their direction. Buddy Rich even gave then a thumbs up on the back of the original album cover - and he didn't dish out compliments to just anyone.
A band made up of 5 musical geniuses at the right time and the right place in history. It was serendipitous.
All right, I'm chiming in.Bring on the hate.
I'm so sick of people criticizing Anderson's lyrics for "meandering", being "hard to understand" and "not making sense." He's written only a few songs with clear messages. I personally am convinced his lyrics are intended to paint changing image of ideas and feelings - positive, negative, full of love, whatever. That's a whole different thing and one I don't think a lot of people appreciate.
I enjoyed this documentary alot, which brings the fresh perspective of what the flowering days Yes music was composed: new keys, pitches, rhythms, arrangements, patterns (and overcast surrealist watercolors). I didn't hear critics but studio people, fellow musicians who know what it is Yes were trying to score and play.
Yes were certainly an enigma. Consider: Steve Howe was quoted several times in the 70s sharing that he did not read music well (but yet knew his way all around the guitar like a blind savant; then Rick Wakeman who was a bona-fide, conservatory-trained virtuoso, who absolutely knew the theory of everything they were doing. Anderson was also self-taught, and also quoted back in the day, revealing his own constant personal growth toward secure status as professional musician. He said he reached that place during his solo album work in 1976!
Close to the Edge, the piece, is overwhelming. Hearing the Rainbow Theatre film version (again) tonight was shocking. The pluck, this beyond-bold presentation, so astonishingly confident and committed. The side two of the album is just as good, but all three selections together are heroic feats of complexity and beauty.
The song is called Close to the Edge for a reason, but we never hear music writers unpack how 'close to the edge' the frenetic opening section sounds. (sounds close to an edge!) Yes did not like war and they had expressed this in Yours is no disgrace. The tensions and relieving serenities of Close to the Edge echoes the anti-war stance.
I think the Close to the Edge album (and Yes generally) is rooted in the phenomenon of Stravinsky's audacious ballets between 1910 and 1913. In fact, Yes, as the hailed masters of 'progressive' rock, were always balletic during the 70s. Ballet is a form you would say is through-composed, a trip from A to B to C to D et al, never repeating, in an evolving narrative. Its the 20th century ballet (and the Russians no less) that introduced this idea of unfolding non-repeating feral yet sidereal music. Herbal cigarettes and funky porcinis aside, long open-ended narrative forms came from (avant-garde) modern classical composers.
Yes applied this long-form aesthetic (whether they entirely knew it or not) to electric music. I don't see how one could say they were a rock band. They were an art salon act. Squire called them the everyman's underground group. They made a music of human ultimacy for the rock stage. It is definitely revealing that during the Fragile tour they played the Finale from the Firebird for the first time as an act introduction (this too, before Close to the Edge even appears), as if to say "where Stravinsky left off, we now take up..." Siberian Khatru is this masterful unbridled chamber piece favoring the black keys, to me the ultimate bow to the ever serious but vivacious Stravinsky. In 1970s Yes, there is always the search for Source, which is what religion perenially espouses.
Tales is a fascinating conundrum: that is, alot of music and beauty drawn out over big acoustic spaces - so much in there, so much finely fitted-detail and poetic sonority; but textually muddled. Chris Squire said in interview they (Jon & Steve) had picked a "weak concept". Tales is musical magnificence resting on a content-foundation of poverty. Anderson admitted this indirectly years later. The second side (The Remembering)(non-human authority, wisdom & grace in particular being the lost objects recalled) is the one masterpiece of that record - the closest they got to marrying the text with shape of the music assembled. Some may wish to add side 1, because it is asking the big question what happened to modern humanity, what did it forget as a creature-family. >> God, love of God's earth and trust in given life, faith, goodwill. Religion has always waited with these simple indestructible answers. The references to Christianity are numerous on Tales, but they were all non-practicing protestants as adult musicians who did world touring (not a life conducive to regular worship of God). Yet, Yes always had this distinctive way of pointing to God.
I wish they had included in the survey Relayer and Going for the One and stopped there, because though Yes always pushed themselves up mountains, there was nowhere else to go after Awaken, except back to streets of earth. Awaken is the realization of what they were really looking for on Tales - they created a theology of sound, introducing souls to God without religion. Which is a very good first move.... Awaken is the unsurpassable masterpiece of the 1970s catalog. Records seven and eight (important numbers!) are truly great. As original as Close ot the Edge was Relayer goes much farther in mapping the possible and yet still coherent and indeed beautiful - while remaining every bit as obsessed with the revelation of Divinity. Going for the One reaches the same themes but on a very high plateau of crystalline classicism, never dared to be visited again.
Ultimately, I don't think Yes can be completely explained . Others here note perfectly: its more 'what does it sound like and how does it move you' that is upmost. But I can agree with most everything that got said by the observers in the film, including the crunchy disagreements over Tales.
So cool. I got an audio only version of this as a gift many years ago.
I heard an interview with Rick Wakeman saying that many of the time signatures were to fit Jon's lyrics, to fit the pronunciations, syllables, rhythm, etc.
Of course there are the ones that are large scale compositional choices.
Close to the Edge is not a masterpiece?? Don't you just love the uselessness of music critics?
They’ve been continuously wrong about Yes for 55 years. It’s quietly hilarious.
The critics have and will come and go while Yes music is played for many. many years to come.
Critics can’t create so they disparage.
@@skipmatsey8352 Those who can, play, those who can't criticise.
Don’t you just love these critics!!
The man in the arena taking all the slings and arrows and the spectator running their mouths.
Yes, Siberian Khatru is my favourite song on Close to the Edge, but The Gates of Delerium and Sound Chaser are my other favorite Yes songs.
The fact that many of the people talking here haven't got a clue about music doesn't detract from Yes being the greatest prog band of all time.
Jon never sang falsetto.... it's his awesome voice....pay attention.
I can’t believe how poor the contributors are on this documentary. It is full of misinformation and inaccuracy. I wonder if many of them have ever listened to Yes albums. Jerry Ewing is particularly obnoxious - particularly for the editor of Prog magazine. I think he’s more of a metal guy.
He's probably a Dream Theater expert
Interesting assessment of Yes. I am a Yes fan and a I have a more favorable view of them. This documentary was a bit thin on content and somewhat incomplete, even for 2003. For instance, I have a different opinion of the Tales album. I think it was their best compilation at the time of release. Years later, Magnification came out which was yet another great compilation. It was great to hear these epic albums played live. I would call it masterful.
That’s right. On all points. Masterful works from The Masters.
I don't agree with a lot of what these guys have to say in the first ten minutes; Banks was Hendrixy, Chris wrote the odd time changes, the first album was sub par (let's hear you play it on your instrument?), Jon's falsetto, the music is uninteresting without Jon, the early assessment of Chris's contribution being the grounded one, all wrong imo.
Agree with most of it. Especially with Chris not grounding the music. Grounding bassists are the Uriah Heep-type bassists.
Chris made the music "fly away" in other directions. Rather unexpected directions.
Tony Kaye's dedication to the organ really was very important to the drive of the first stages of Yes. Their move to more "advanced" technological palettes did not ultimately serve them well, even if Wakeman's broader palette did for a while. _The Yes Album, Fragile,_ and _Close to the Edge_ are so full of drive and body.
Tales is an acquired taste, its in my vinyl library cause I’ve grown to like it. Not love it but, appreciate it! And I still wish Bruford never left, it would have been interesting to see where they evolved with him. Nothing against Alan White, but he’s more a rock drummer than prog rock.
5:48 - Ain't it truth. Hard-headed Steve knows this too. Shine On Jon.
Critic 1: Pete Banks is some kind of Hendrix.
Critic 2: Pete Banks was too jazzy for them.
"Without Jon's voice, it's not Yes".
And yet I'd rather listen to Drama than anything they released after it.
"Tales....makes you thankful for punk"???
Get outta here.🙄
Nobody I know cares about punk. YES music is eternal.
INSIDE YES was the name of this unofficial but good DOCUMENTARY when released
The only thing pompous here are every one of these so-called "critics"! I can't call Yes pompous. Complicated at times. But calling a band of real musicians pompous is arrogant! And who are the most self-important, arrogant, and pompous individuals on the planet? CRITICS!
The sound engineer chris stilmant saying CTTE isn’t a Masterpiece, what a joke, I’d like to hear some of the crap he’s worked on.
HealingLoveALL HealthyFlashbacks
🎶🥰🎶
Total garbage for a documentary of one of the best prog rock bands ever..
I’m left wondering which songs on Fragile are “subpar”. (33:30)
“Squire”, not “Squires”. Jesus, you’re in a Yes documentary.
Is there a second part? Yes performed a lot more albums, of course, but this video has reduced the reviews to the first six studio albums.
Underwhelming doco.
Titled "INSIDE YES" on my CD Box version, this unofficial release has some very interesting different insightful opinions and great analysis into the bands 70's career !
Yawn. Mostly blather! I'd rather hear the music than these mere opinions!
Agree, most of them haven't a clue! Tales is an absolute masterpiece, that's the reason why knuckle heads can't understand it 😂
Talking about music, is like dancing about architecture-Cage.
Huge Yes fan here. Still listening to them today. I never purchased the Tales album and couldn't name you one song off of it. Only album of theirs you would have to tie me down to listen to. Just not a fan. But as they say, "beauty is in the eye of the beholder."
Cue the journalists following their fashion noses and dismissing TFTO as 'crap' and 'ludicrous'. Ironically, these are the only expressions that can be applied across the board to music journalists. It's why I stopped reading their tripe 50 years ago.
So, there are some chord inversions in "I've seen all good people" and that is "Bach like"? Utter nonsense....
Long Distance Runaround 29:00 Sorry bro that's not quite right...
Topographic Oceans a 3 star album? Hmmmm
I don't mind that the band went through a lot of lineup changes over the years. But now without Jon or Chris, I just can't call it Yes anymore. It's just a Steve Howe tribute band.
I liked Fly From Here. It was a decent record.
But Jon Davison sounds awful and ruins everything and without Chris, it's just pathetic.
👍👍
This was not good.
Oh by the way. Nobody cares about chord progressions and arpeggios. Jeez a little of stolen valor as the saying goes.
smh lols for non entities repeating familiar words they can't understand ... so then we get a music lesson. we won't be hiring this AI vid editor
Sorry. But YES is the greatest band of all time.
Don’t be sorry. You and I and a few others who have turned up around here know how lucky we’ve been to share our time on the planet with them
One thing never mentioned is that
Yes were a self-proclaimed "magic
mushroom" band. They were very
frequent users of it, and made
most of their music while on it, and
believed its what humanity needed
to evolve and progress to higher
levels of being.
Where did l hear this ?
From their own mouths.
Most of the "analysis" by the
nerdy, so-called experts in this video,
is a bunch of pure, self-important,
dreamt-up crap.
I, for sure, was listening to their music while on schrooms. I remembering picking them in cow pastures with Yes's music playing in my head - particularly Then and Survival.