The Studio Albums of Yes, Part 4.

90125, 1983.  Owner of a Lonely Heart and Leave It are the hits, as well as the tracks that find the most idiosyncratic middle path between radio-ready pop shlock and new-wave rethinking of same. The rest of the album sounds like Toto's forgotten B-sides. New guy Trevor Rabin seems to have bypassed seniority issues to become the band leader and head writer; his slick craft and harmonic cleverness annoyed old Yes fans who missed Steve Howe's folkadelic streaks and smears and strums, but it was the 80s now. People who like Toledo should check out the song Our Song, which is about how Toledo is the best city in the USA, and also music is magic. The music in the actual song sounds like a toothpaste jingle.



Big Generator, 1987. Laminated production quality makes everything sheen and sparkle. They don't seem to have worked nearly so hard on the material, though standout track Shoot High, Aim Low has a misty predawn quality that welcomes and envelops the irruptions of contrasting voices and guitars. Attempts to recreate the old Yes suites take a few pleasant chances, as on I'm Running; the title track is a gimmicked-up retread of Owner of a Lonely Heart. Holy Lamb (Song for the Harmonic Convergence) fulfills its subtitle. I got in trouble for arranging a screening of the bawdy Rhythm of Love video in my English class on some forgotten pretext.



Anderson Bruford Wakeman Howe, 1989. Not officially a Yes album, but a reunion of all the key members of Yes's finest lineup except the one who controlled the rights to the band name (bassist Chris Squire.) This album relies on prettiness, pastiche, fanciness and fussiness. Late-80s digital synthesizers and digital drums sparkle and shimmer and shine, while layers of acoustic and electric guitars create a glittery mobile sculpture in then-fashionable shapes and colors. Lots of work must have gone into the stratigraphy of overdubs that made this album what it is, but as with Big Generator, all that craft and skill can't compensate for banality. Bill Bruford, the member with the best taste and the most artistically rewarding non-Yes career, has revealed in his memoir that he took this assignment on the grounds that he be a well-paid hired hand, able to save his artistic first fruits for his jazz ensemble Earthworks.

But I LOOOOVED it when it was new. I had only become a Yes fan (on the basis of Close to the Edge) about a year before this album appeared, and I listened to it every day on the walk from the bus stop to the house, enjoying the way the high trees and cocky brick houses embraced the shimmery archipelagoes of arpeggios this de facto Yes was pumping out. It's music for walking around suburbs in the late 80s.

Union, 1991. Less a reunion than a shotgun wedding between two bands, each consisting of 4 ex-Yes guys and various session cats. An armada of session musicians swamps most of the album, rendering it a factory-fresh product. A solo guitar spot by Steve Howe rises above the rest, while Miracle of Life (not an anti-abortion/creationist screed as far as I can tell) hints at the next album's more dynamic sound, with an organ riff that I still burst out singing in weak moments. Otherwise, all the sheen of the previous two albums, with little personality.

Talk, 1994. Essentially a Trevor Rabin/Jon Anderson duo album. Invigorating commercial pop if you like well-oiled rock guitar machinery resting on a bed of cushiony synths and processed vocal harmonies. Rabin's predilection for bombast does no one any favors. A compositional sensibility undergirds the whole enterprise, shaping this bit to fit nicely alongside this other bit, balanced by another bit. The final big long thing seems like a demo reel of soundtrack ideas, and perhaps it worked, because Rabin makes Tinseltown soundtracks now. Takes shots at televangelists, because Yes knows no fear.

Outside, 1995. Not a Yes album. A Bowie album that completely reprogrammed my musical interests. As a result, my engagement with the next few Yes albums was diffident at best. Anyway, Outside is a Twin Peaks concept album that recasts Leland Palmer with Chris Burden, and it blends musical vocabularies with the ambitious aplomb of prog rock in better days.



Keys To Ascension, 1996. Bland new live performances of old favorites. Guitarist Steve Howe sounds like he's straining to remember how this stuff goes, and the rhythm section is sluggish. Then there's some new studio material, with some peppy sections and nicely rubbery bass. If you're sitting on the fence about whether or not to smoke crack, this album has some things to say about that. I'm not sure how many potential crack addicts were buying 1990s Yes albums, but you can't fault Yes for trying.

Keys to Ascension 2, 1997. I can't help but think this might have been a really special album, but the sound is lacking. Guitars sound tinny, vocals sound strident. One gets the impression that the band is playing and singing as well as it can, but that there wasn't enough perfectionism in the sound engineering or mixing to capture and enrich what the performers were putting out. The best Yes producers (Eddie Offord, Trevor Horn) bound the band members' efforts in a rich broth. That doesn't happen here. Everything's too sterile and lit by fluorescents.

Open Your Eyes, 1997.  A side project converted into a Yes album. Various old Yes hands and session cats are parachuted in.  I complained about the sound quality on the previous album, but KtAII sounds like Pet Sounds next to this basement tape.  Which would be fine if this came out sounding cheerfully lo-fi, like Beat Happening or something, but of course Yes isn't about to do that. Potentially charming songs are undone by cheap ornamental effects. The cover art is just the classic Roger Dean logo from the 70s on a black background, and this spirit of not trying too hard pervades the album.

The Ladder, 1999. This time out they hired a proper producer for a change, and he got a pretty good album out of them, though sadly the effort literally killed him. A genuine spirit of enthusiasm and esprit de corps suffuses the album, and they perform with a verve they haven't shown in years. That said, I heard one song from here (If Only You Knew) on a soft rock station. It fit right in. Clearly, ambitions have settled, over the decades, into something more humble than the starry-eyed dreams of yesteryear.

Magnification, 2001. Working with an orchestra and an Emmy-award winning composer, Yes steers clear of the bombast and cheap prettiness that such a combo threatens, and produces some music that relies on restraint instead of the usual claptrap. Once I accepted that they wouldn't be taking advantage of the opportunity to channel Stravinsky (a key Yes influence in the 70s) I found that this one stuck to the ribs more than anything they'd released in many a moon. But only I bought it so they stopped recording new albums for a decade. Anyway, the last song on it, Time is Time, sounds like a lost track from The Yes Album 30 years before. A nice way to end.

But it wasn't the end.

Fly From Here, 2011.  I saw the boring video for the boring song with the new lead singer and passed on this one. The first Yes album I've shunned.

Heaven and Earth, 2014. Listened to a sample of this item with the NEW new lead singer. Sounded like an Air Supply tribute band that over-relies on synths. Pass.

To make up for punting on the last two Yes albums, here's a bonus round.

BONUS ROUND!

Symphonic Music of Yes, 1993. Should be titled Steve Howe with Bill Bruford and an orchestra that's not too proud. More Mantovani than Stravinsky. Only Mood For a Day, Steve Howe's beloved Jose Feliciano tribute, survives, because it gets a very different treatment, with a chamber orchestra adding sharp counterpoint instead of drizzling mayonnaise all over it like the rest of the album do.

Tales From Yesterday, 1995. My parents had a tribute album dedicated to Elton John that had an all-star cast. Yes's tribute album does not have an all star cast. It has once and future members of Yes, like they had to throw their own birthday party. Robert "has worked with some other prog rockers" Berry does a rendition of Yes's 70s signature song Roundabout that turns it all angular. Not my style, but I admire the willingness to take chances and reinvent a chestnut. Steve Morse's rendition of Mood For a Day doesn't reinvent; it's just lovely, like a fine cup of tea on a sunny, frosty day. Pickup band Stanley Snail (after Yes Lyric "Cold stainless nail" and featuring Zappa associate Mike Keneally) does a note-for-note of Siberian Khatru, and their fiery investment makes it sing. Other note-for-notes on the album just sit there. Original Yes guitarist Peter Banks demonstrates that he can still play sharp-edged but melodic rock guitar and will someone please hire him. (Poor Peter.) Spurned Yes keyboardist Patrick Moraz improvises on a Yes melody as only a Swiss jazzman can. Steve Howe teams with Annie Haslam (of prog act Renaissance.) Phrasing has never been Yes frontman Jon Anderson's strong suit, but he sounds like Billie Holliday next to Haslam's cloth-tongued realization of Turn of the Century, a pretty if drippy retelling of the Pygmalion myth.

I've been hard on Yes, but I'll always love them. Close to the Edge is perfect.  Goodnight.

Actually if you read the thing

I was at the Mint Museum the other day, enjoying their photo exhibit Women of Vision, centered around a lineup of great female documentary photographers, when a group of high school students came through.

The teacher, a gnomic woman old enough to be their grandmother, led them to a picture of two teenage girls in a piercing parlor who had just gotten tongue studs and were considering their new ornaments in the mirror.

"These girls just got their tongues pierced," the teacher thundered.  "Do they look happy?  Why would they do something like that to themselves?"

"Maybe it was for art, an art thing," a gentle voice said.

"What's artistic about getting your tongue pierced?" the teacher retorted.

They moved to a picture of a toddler pageant contestant, an infant with heavy makeup and big Loretta Lynn hair.

"Look at this girl.  This girl is two years old and she's dressed this way to be 'beautiful.'  Is that beautiful?  She's standing there wearing a wig..."

"Actually if you read the thing, it says that's her real hair," spoke a shy voice.

On to the next picture: a man in heavy winter clothing stands by a pair of severed reindeer heads.

"Here is a man who's hunting reindeer," the teacher said.

"Actually if you read the thing it says he found them, they had gotten their antlers locked in a fight and starved in the cold.  He cut them apart after he found their bodies."

I got the impression this was part of an ongoing conflict.  The girls had learned to respond to the hectoring sermonettes with close reading, fact-checking, and gentle counter-narratives.  Throughout, the teacher sounded like a brat on the edge of a tantrum, and the students sounded like endlessly patient caregivers.  Gives me hope for the future.  No boys involved in the struggle.  They probably respond by carving insults in desktops.

(I should mention that I'm sympathetic to the teacher's skepticism regarding "Beauty," but there were other photos in the exhibit that showed other sides of beauty.  Costumed revelers at Venetian Carnival, barely-costumed revelers at the beach, cheerful women meeting at the hair parlor... positive social functions exist for beauty.  I can't blame Teach for wanting to police the borders of her young charges' behavior and presentation, but her hasty generalizations and sloppy confabulating probably don't help her cause.)

How We Ruined Everything Down in New Orleans

It was the 90s, and this is a story about my 20-something self.  He didn't much care for working hard and being responsible.  I do, so if you're a potential employer reading this, c'mon, gimme a break.  That said:

A friend (let's call him Tim) from New Orleans invited another friend (call him Glen) and myself to stay with him and attend a Nerd Convention there, where we would play live-action Vampire: The Masquerade (whatever that was) and hopefully meet girls girls girls.  Glen and I signed on to work as volunteers at the Con, in exchange for which we'd get discounts on our admission fees.

The event took place in a conference center, and the first day Glen and I went to mission control for our volunteering orders.  Boss Lady, a foxy, busty, stern young woman, assigned us to guard the door at a movie screening room, keeping out anyone who wasn't a paid-for Con attendee.  The guy running the screening room told us that, legally, we couldn't keep anyone out, though, because of the legalities of playing commercial videotapes in a hotel screening room.  Did we go back to mission control for a new assignment?  Nope.  We sat back and watched Das Boot, which someone had decided was a suitably vampiric film (well, Nazis, close enough).

That night (first of two, I believe) we started playing the Vampire game, which involved each of us wearing badges and running around the conference center, pretending to be vampires from different clans, because vampires have clans, it seems.  Each player's badge had a symbol on the front (my symbol, a cryptic glyph which I can't recall, meant nada to me) and on the back, a brief biographical note (I was playing a thief named Stinky with no clan and no friends).

I wandered around the halls a bit, and not much happened for me.  Most players were finding their clans and doing stuff together; they also seemed way more comfortable and familiar with this masquerade than I was.  Tim was all dressed up in his The Crow regalia (remember The Crow?  It was the 90s) and he was off with his clan, Glen was off with some other clan, I was on my own, my social skills were about the same as they'd been in the cradle, and I had no idea how to play this game.   Mapping the diegetic reality of the game onto the halls of this conference center took a facility, or at least a familiarity, with these Vampire games that I didn't have.  At one point I was strolling through the crowd when this one guy spotted my glyph, and his eyes went wide.  He begged me to come find him in Room such and such at a specified time.  Nowadays, well, nowadays I wouldn't be playing the game, but nowadays I'd do as he requested.  At 23, though, I really needed for this request to come from a girl, and it wasn't, so sorry, dude.  I went to the dancing room instead, because the Con had a dancing room.  I took off my badge, which officially signified that I was pausing my involvement in the game, and danced to 90s techno for the rest of the night.

The next day Glen and I did some actual legal volunteer work (in my case, watching the door of the merchants' room to make sure no one swiped anything) and then shifted to more work that mission control didn't realize was illegal (keeping people out of the screening room again, although this time we actually performed a public service, chasing children out during Fritz the Cat and Heavy Metal).

That night I don't think I bothered putting my badge on; I just didn't care about vampire games.  I cared about dancin'!  The dance floor got nice and friendly; in particular, my boy Glen was slow dancing with Boss Lady.   She'd been assigning us work during the day, but was getting quite cozy with the help by night.  Glen and Boss Lady were shooting off sparks, no question.  Meanwhile I told a woman I was dancing with about the (awful) screenplay I was writing, and she told me she was on the board of the New Orleans Film Festival.  I should have gotten her digits.  I didn't, because I was in a monogamous relationship with Akane Tendo.

Well, the next morning it turned out no one won the game because it had been designed such that Stinky was The Chosen One and whichever clan got him on their side would win, or something.  Too bad Stinky was out of commission.  I like to imagine he went to Nashville and became a professional dancer, avoiding the responsibilities of Chosen Oneship.

Also, Glen, who had been warned before about his tendency to speak without thinking, made the mistake of confessing to Boss Lady that we'd gamed the system and avoided doing real work, and she shot off some sparks of a decidedly non-romantic kind, and didn't give us our refunds, and I was glad because we didn't deserve them.  I went home and told my Goth friends that I'd played Vampire: The Masquerade in New Orleans, letting them think I'd been slinking around on Bourbon Street just a'reveling in the Anne Riceyness of it all.  They spit with envy.  Haw haw.

I apologize to New Orleans for screwing up the game, but maybe you should blame the designers who evidentially didn't provide multiple paths to success, because in reality There Is Always Another Way To Succeed!   Glen and Tim and I are all happily married to other Boss Ladies, so we all Won The Game, even without refunds, so Happy Endings all around!

The Studio Albums of Yes, Part 3

Going For the One, 1977.  Some bracing pop/rock, but mostly this one is like a counterfeit Faberge egg, dripping with pancake syrup.  It's so ornamental and sugary sweet,  one expects a few Disney Princesses to pirouette through.  The 16 minute closer, Awaken, is Tales From Topographic Oceans 2.0 with an energy and concision missing from 1.0.  Some fans, including the lead singer, regard Awaken as a high water mark for the band.  I prefer the shapeless, blissed-out expansiveness of TfTO.  If Going For the One had come out in the 90s it would be their best album of that decade.  In the 70s, it's a downturn.  Snappy cover art, though.




Tormato, 1978.  Some entertaining showbiz here, but half the time it sounds like they spun the radio dial and imitated whatever they heard.  for some fans, the chance to hear Yes take a package tour through pop trends of the late 70s is a selling point.  When Yes tries to make the music only Yes can make, though, it sounds like someone else's vicious parody of Yes.  It's the kind of thing that demonstrates the necessity of Punk.

Drama, 1980.  A Hail Mary pass, as they say in American Football.  Without the distinctive voice of Jon Anderson or the pseudo-classical kitsch of keyboardist Rick Wakeman, this represents the first of several times the band might have done well to continue as a trio.  Instead they hired a pair of clever younger guys from The Buggles (of Video Killed the Radio Star fame).  Cannier songs than the previous outing, and they mix in a soupçon of new musical ideas ("new wave," synth pop, and heavy metal) with greater integration than the pastiche of Tormato.  The band Styx would have great commercial success with a similar blend, but it seems Yes's fans were underwhelmed (judging from bootlegs, Horn couldn't hit the high notes in concert), so this lineup marked the end of Yes.  At least for a while...

Seeing the Diamond Beneath the Paste

Latest viewing experience: D.E.B.S.



The trailer is a bit of a bait and switch; what we really have here is a cheerful lesbian coming-of-age story. The superspy stuff is an overlay. The two lovers are, respectively, a superspy and a supercriminal who are supposed to be thwarting one another, not sneaking around and dating, and the tale of treachery and betrayal serves as an objective correlative for the socially imposed tensions of the love that still dare not speak its name in many quarters. It's a nifty idea, this stitching together of different misbehaviors to illuminate the unnecessary dangers of same-sex love, but what makes sense in theory fails in practice because the superspy genre elements mostly just lie there. Lots of candy colors and outsized props strive for cartoonish low camp but just look stagy, and the writer-director doesn't generate any thrilling thriller tension. Cat-and-mouse sequences are carpeted with techno music that's clearly meant to drive the energy, but someone chose chill house music instead of edgy tracks, so the chases are way too relaxing. In one scene there's an extensive establishing shot of a fancy restaurant that mimics the upward tracking shot of the opera house in Citizen Kane, showing us just how immense and fancy this restaurant is, but then the scene that plays out is a conventional restaurant scene that makes no use of all that fanciness. Then there's a long sequence in which the protagonists navigate a road-to-the-batcave route to a secret exclusive dangerous nightclub... that just seems like any old nightclub. People dancing, hanging, having fun. Lots of mohawks and spikes, but it still seems as safe as an after-church reception. 

 So why am I hammering on this mediocre movie? I watched it because the writer-director, one Angela Robinson, wrote (several years after making D.E.B.S.) some of the best episodes of True Blood. Her scripts blended and interconnected comedy, action, drama and suspense with acrobatic alacrity. She earned her money and how. Her scripts were jim dandy. Alan Ball (The auteur of True Blood) and company saw and nurtured something in Robinson that, on the basis of D.E.B.S., most of us would never have guessed was there. How does one spot the potential lurking behind a failure? Clearly the producers of a campy vampire soap opera know something about talent spotting that eludes most of us.

The Studio Albums of Yes, Part 2

Fragile, 1971.  If you can't imagine any Yes album being essential, this one just might change your mind.  Band tracks are interspersed with short solo pieces, and while the solos are hit and miss, they demonstrate what each member brings to the mix.  Lead singer Jon Anderson's tape-loop-heavy concoction demonstrates, probably, a fondness for Revolution #9, but maybe also Steve Reich; Anderson's pseudo-koan lyrics are front and center. on those tape loops.  Bassist Chris Squire's spot may be more notable for the work ethic involved in multitracking a zillion bass lines than for anything else.  Keyboardist Rick Wakeman tries to do a Wendy Carlos thing with some Brahms, demonstrating that he should probably create, in Brian Eno's phrase, frames for other peoples' pictures, (as he did with his delightful piano work on David Bowie's album Hunky Dory) rather than pictures of his own (bear this in mind before buying any of Wakeman's showoffy solo albums).  Guitarist Steve Howe does a lovely tribute to Jose Feliciano.  One of the things I find most invigorating about Howe is that he crafted a rock guitar sound that was rooted in everything BUT the blues.  Drummer Bill Bruford's brief burst of rhythmic danger is titled "Five Percent For Nothing" in honor of a former manager with a contractually obligated cut of the band's take, but it could be titled "Audition For King Crimson," the edgier band for which Bruford would soon leave Yes.

But the group efforts are what make the album.  Roundabout is the signature song, but South Side of the Sky, which could have coasted all the way on its rollicking riffs, includes a lyrical (but lyricless) piano-and-voice interlude and some thoughtful lyrics about death that I still find reassuring.  Long Distance Runaround could almost pass for a Thelonius Monk composition.





Close to the Edge, 1972.  When I discovered this album I spent a lot of time around high leafy trees, craggy cliffs, organs, choirs, sailboats, yellowing fantasy paperbacks, bibles and Beatles albums, sunbeams and moonmist.  This album seemed to pack it all together in 40 minutes of Stravinsky-loving symphonic rock.  The cheerful obscurantist lyrics bring a bit of Gertrude Stein's Tender Buttons to the mix, and some lines wouldn't seem out of place in John Ashbury.  If you only buy one Yes album, this is the one.

Tales From Topographic Oceans, 1973.  An Anglo attempt at a Bitch's Brew that seems to go down smoother with stoners than it does with the rest of us, this blend of english folk and Epcot multiethnic jazzless jazzing around is 2 LPs long, but doesn't have 2 LPs worth of inspiration; merely 2 LPs worth of ambition (and rawk star ego).  I can relate.  Its repetitions have grown on me over the decades; by turns simpleminded and convoluted, struggling for expansiveness yet bound up in indulgence, it mirrors my own mind.

Relayer, 1974.  This album cast a spell on me once, and I came to regard it as the last Great Yes Album.  Now I see the seeds of everything I don't like about Yes sending up shoots here.  The lyrics are plainspoken but banal (We go sailing down the calming stream/Drifting endlessly by the bridge... did they hire Thomas Kinkaide as a consultant?) and the straightforward ideology (war is bad, mystical illumination is good) doesn't enrich the music the way the bewildering lyrics of prior recordings did.  Perhaps the irritable public reaction to Topographic Oceans put them off modernist verse.  Much of one song is just a syke-a-delick guitar solo, skillfully done but not an interesting solution to an interesting problem.  There's a lot to love, though.  The music is lush yet jarring, Telecaster instead of Les Paul, jazz touches instead of classical flourishes.  It's producer Eddie Offord's last full album with them, and he weaves a rich tapestry of layered sounds.  The closing sung passage has incomprehensible lyrics (by which I don't mean I defy anyone to explain them, but that I can't make out the words) that weren't documented on the lyrics sheet; a welcome final burst of inscrutability.

The Studio Albums of Yes, Part 1

I'm going to comment on each of Yes's studio albums.  It's my blog, and my life, and this is what I choose to do with it.


Yes, 1969.  I've read multiple testimonies that the original lineup of Yes could delight crowds, but this album doesn't reflect such power.  In an interview (Source: something I read somewhere) guitarist Peter Banks said that neither the producer nor the editor assigned to work on the album was accustomed to working with rock bands, and kept telling them to turn it down.  They refused to believe that if you're playing rock loud, you're doing it right.  Perhaps this blunted the results.  There is something this uneven but charming post-Beatles recording does demonstrate, though: one of Yes's big breaks came when Sly and the Family Stone couldn't make a show, and Yes filled in.  Even though Sly Stone has more funk in his earwax than Yes has in its entire discography, the two bands had more in common than is obvious.  Sly's band was integrated along racial and gender lines, while Yes was all white guys, but both bands integrated an array of popular musical modes into ambitious, multifaceted songs without seeming like dilettantes.  

Time and a Word, 1970.  Guitarist Peter Banks told interviewers that he had a quarrel with the producer of this album; being a young man Peter did the only honorable thing and threw a guitar at the guy.  It's no surprise that large chunks of Peter's guitar work got replaced with orchestration on the finished album. and that Peter was fired.  According to Wikipedia, his last band was named Consolation in Isolation, which was also the title of an instrumental he recorded a couple decades before his death.  We can surmise he had a tougher life than he might have had if he hadn't thrown the guitar.

The Yes Album, 1970.  New guitarist, new producer, new success.  I used to assume this was the first really successful Yes album because of guitarist Steve Howe, but now I think the arrival of producer Eddie Offord was the exponential upgrade.  Offord midwifed their best work.  This time out, Yes expanded their ambitious suite song structures and crafted some of their concert chestnuts, like Starship Trooper, which ends on a riff that can be expanded, inflated, and fiddled with all night.  One can measure Yes's artistic decline by how long and bombastic Starship Trooper became in concert.  My favorite ditty from this album is Perpetual Change, which mixes its musical themes, tempos and moods with aplomb, and includes some of the most cogent, tough-minded lyrics they'd ever write.  Tough-minded lyrics were not to be a Yes mainstay, but they did it once.