Yes

Along with Pink Floyd, Jethro Tull, the Dead, etc., they were a staple of many, many late nights at friends’ houses in high school (the cool friends whose parents didn’t care how late we hung out in their basement, even if my mom thought I was fast asleep in my bed).

The Yes Album
Close to the Edge
Fragile
and 90125 (favorite cut: “Leave It,” because I am a huge vocal harmony geek, which is one of my favorite things about a lot of prog rock)

They were also, I think, the second rock concert I ever went to.

I’ve been a Yes fan since the first time I heard “Owner of a Lonely Heart” at the age of 13, and I thought 90125 was the greatest album ever. Not unlike Sublight, I got Classic Yes after that and was not expecting the sound to be so different. Of course, I ultimately enjoyed the early stuff as much as the “new” sound, and my collection quickly grew to everything they’d released up to that point.

The “classic” Yes albums would have to be The Yes Album, Fragile and Close To The Edge, any proper Yes collection would require all three. However, all of their releases from the '70s featuring Steve Howe are excellent. Before these were the albums Yes and Time And A Word, which have Peter Banks on guitar, aren’t bad but are much less distinctive.

Tales From Topographic Oceans and Relayer represent the peak of their progressive-ness, the latter featuring “The Gates of Delirium”, which is the best song ever. :slight_smile:

Going For The One and Tormato feature mostly shorter-form songs that would fit well into Gail’s iPod, particularly the title track off the former and “Don’t Kill The Whale” off the latter.

Then they had Drama in 1980, which is their only album without Jon Anderson, instead has vocals by Trevor Horn, who with Geoff Downes (who also had joined Yes) had been known as the Buggles. You know, “Video Killed the Radio Star”, those Buggles. In spite of this, I really liked this album, and it actually fits well in its place in the progression of their sound from the '70s to the '80s.

90125 is one I would count along with the “classic” albums above as one of the “essential” albums (on preview, as Eva Luna much more concisely pointed out). Big Generator was a decent follow-up, and a while later they had a third album with this lineup called Talk that is also worthwhile if you want more of the Rabin-era sound.

Before Talk, however, Jon Anderson joined up with classic-era mates Steve Howe, Rick Wakeman and Bill Bruford to put out Anderson Bruford Wakeman Howe, which I really liked and would recommend. Unfortunately, the follow-up got horribly botched when it was merged into Union, possibly the worst Yes album ever.

The Keys To Ascention albums were both good, though the second one was more of an afterthought to the first, and a compilation of the studio tracks from these albums was later released under the title Keystudio. Unfortunately, the momentum gained from the success of these albums was lost due to poor management, and the ensuing carnage resulted in the trainwreck known as Open Your Eyes, hence the use of “possibly” in reference to Union above.

The good news is that things got better. Their most recent albums, The Ladder and Magnification, are both well-made and recommended if your collection isn’t quite big enough yet.

I saw them at Merriweather Post in August 1989 – my girlfriend took me for my birthday. With four of the five original members of ‘Yes’, I always thought they should have gone by the name ‘Probably’.

They’re one of my favourite groups, in heavy rotation on my Ipod. Personally, I like Gates of Delirium a lot. If you fancy more modern production values and styles, you might like The Ladder - the opening Homeworld is very, very good.

Not very fashionable nowadays, but I loves me some Yes. I agree with earlier calls about The Yes Album, Close to the Edge and Fragile being the best. Tales of TO isn’t as bad as they’ll tell you it is, although it has some bad moments. Going For The One is hot. Purchase immediately.

I had the good fortune to realise a 20-year dream and see Yes live about 3 years ago. Totally awesome. I almost came in my pants during the closing section of Awaken. Fortunately, it was near the end of the show.

www.forgottenyesterdays.com is a great Yes site which lists every show they’ve ever done and people can post reviews and pictures. Check it out.

Put me down as another huge Yes fan. Favorite albums include: Fragile, Close to the Edge, Relayer, and Drama. I see a lot of Gates of Delirium fans, which is cool. Does anyone else just skip the “soon” portion?

Saw them live twice, once two years ago in San Diego, and once roughly 4 years ago in Madison

I’ll put in a plug for ** Olias…** as well. It was for many years one of my favorite albums. I’ll say though that it is surprisingly quite a distinct sound from Yes; few (if any) non duple or triple meters, mostly acoustic instruments, not a traditional rock ensemble (e.g. lots of non-western percussion), simple harmony (mostly major chords). I kinda think of it like a folk album from another planet.

I’ll also agree that others have covered the topic of Yes well enough for me to have much meaningful input, but I’ll say that * Tales from Topographical Oceans* is a fav.

Not me. I actually quite enjoy that part.

I saw Yes at the Boston Garden back in 1979 or 1980, with a revolving circular stage. Not sure which tour that was. One crystal clear memory: during the long intro to “Long Distance Runaround” Jon Anderson had his back to the rotation of the stage. A frisbee was thrown from the second balcony and was headed right for him, but he couldn’t see it (since he was travelling backwards). It looked like it was going to hit him in the back of the head right as the lyrics started. Just a second before that he turns around to start singing, sees the frisbee about to hit him, catches it with his non-mike hand while singing “Long Distance”, and flings it back into the audience while finishing the line “Runaround”. It couldn’t have been better timed and I doubt it could have been staged. My quintessential Yes moment.

Lots of late nights, stoned, listening to their albums back in high school. Those early ones really took advantage of the LP format, they weren’t just collections of songs.

I’ve been a fan of Yes ever since I heard “Roundabout” played on the radio when I was probably seven or eight years old. I became fond of their other radio staples as well. Over the years I’ve collected a few CDs, mostly the older stuff as I am more fond of it. I consider 90125 to be the equivalent of Metallica’s black album. It’s still a good album, but it also marks the turning point for the band when they departed from their original style and went “mainstream” with shorter songs and a more radio-friendly “pop-ish” sound. Everything that followed then went downhill.

In addition to the complex melodies I enjoy the long tracks that Yes and other prog rock is known for. My favorite Yes tracks are “Gates of Delirium” (too bad they were limited to the maximum length of one side of an LP at 23 minutes at the time), all the tracks on Close to the Edge and just about everything on Fragile.

Huge Yes fan here. Seen 'em 7 times.

Brief anecdote: During a key acid trip in the fall of 1983, I came up with a highly meaningful :rolleyes: symbol–a 3-way pie with the colors blue, red and yellow. I bended my college roomate’s ear with all this psycho-delic babble as we walked over to Positively 4th St. (record store/head shop). As we entered, one of us said, “Hey, I hear Yes got back together and came out with a new album”.

And there it was.

Shit, the colors are reversed. Doesn’t mean the same thing at all.

But still… :cool:

Not only have I been a huge fan since the early 1970’s ( my older brother’s influence there ), but I got to do something I never imagined. I got to meet my personal rock and roll hero, Jon Anderson.

In the late 1990’s, ABC’s Monday Night Football aired it’s halftime show hosted by Chris Berman from the ESPN Zone in Times Square in NYC. I shot it during those years. My work consisted of the fast-moving Steadicam shots in the beautiful and visually overstimulating Screening Room area, which features two immense projection screens with tons of smaller monitors all around them. The show would open with my shot, then move to Chris who was around the corner on the same level. Fun stuff. Typically if a sports or entertainment star was going to be coming in, they’d send word on and have seats held for them in the Screening Room area. In that way, they got the finest seat in the house ( but not at all “private”, they were surrounded by other fans ), and got a few seconds on t.v., courtesy of my shots.

My Director for that show was also a big Yes fan, and told me on headsets early on that there was a rumor that Jon and Janey Anderson were coming in that night. Couldn’t have rehearsed it any better- as he told me this, they walked up the stairs and into the staging area.

I’ve been with and around tons of “celebs” and whatnot and I almost never lose my cool. THIS was tough. I smiled, walked up and introduced myself and asked if they were there for the broadcast. Jon explained that Janey was a serious NFL fan, and had turned him into one as well. He said that when not out on the road, they’d spend all of Sunday watching as many games as they could. He said that she figured he was the one always in the limelight, on t.v., etc. Here was her chance to sit near Chris Berman, get on t.v. and watch it all. I informed them both that there were no audience angles for Chris’s work, but I could in fact design a shot that would include both of them.

I mentioned to Jon that I was a serious fan and had listened to ABWH Live ( It’s called " An Evening With Yes Music, Plus " and is amazing… ) on the way in that day. That earned me the polite professional smile that is given when one is told " I’m a huge fan !! " That was it for the gushing, for me.

She was delirious and in the very sweet way that someone has when the love of their life is being given a gift, he was grateful and happy. I told my Director what I had in mind, he cleared it with the Producer and I walked them to where I wanted them to stand. Told Security to allow them both through before Half-Time to that area, and walked them back to the area where Chris always did his show. There are tables all over there for folks to sit and watch the live broadcast and eat and drink, but none are seen on air.

Jon motioned for me to come and sit, and so much to my delight, I spent perhaps half an hour alone with the man. I knew better than to be a stupid fan, but instead was able to enjoy just a serious conversation. We talked about kids, about spouses, about life on the road, etc. A totally gentle soul, he is all that we see on stage and in videos. Quick to smile, even when very tired. ( more about that in a moment. :slight_smile: )

I went down to the gift store and bought Janey a lovely heavy ESPN Zone baseball jersey as a gift from the crew. She asked Chris to sign it, which he graciously did. I did the shot, which allowed both of them to be in a medium shot from which I backed away quickly. It allowed them to SEE themselves on the projection monitors as well, as I did the shot. Instant gratification as they say.

She was just so jazzed, the second my tally light went off, she was on the cellular to her girlfriends on the West Coast. Jon was grinning, came over and grabbed my arm and said, " aaahh you made her VERY happy, thank you so much".

As I was wrapping, he came by and asked me my name. I knew what was up, the group was to perform at The Beacon Theatre that week for a few nights. I looked the man in the eye and said look, Jon, this is a rare treat for me to have been in a position to make YOU and your lady happy, for all of the years of happiness your music has given me, I’d say we are even.

He insisted, I knew enough not to decline. My Director, the prop lady and I got comped tickets and backstage aftershow passes. Whipped as the fellow was after a long and great show, we were escorted backstage afterwards and he spend another five or ten minutes talking with the three of us. My Director had not met Jon the night of the broadcast, so it was a special treat to be brought back after the show.

Gracious to the end, a genteel and spiritual soul. Not at all a put-on or an act. This feeling was reinforced rather strongly a few years ago. Yes came to Madison Square Garden ( I want to think it was 2003, in the spring, but I’m unsure ). Lacking a ticket, I just dumped my camera gear in the car after the job, left it in the garage and headed down. Bought a good seat from a guy whose cousin had bailed on him, and enjoyed a spectacular show. It was the 35th Anniversary tour. ( 2004? 2003 ? Hmm. )

Near the end, Jon introduced a woman who he said was his spiritual guide. She said a prayer blessing the crowd and band. I want to think she was speaking Hindi but I am unsure to be honest.

The prayer took perhaps 3 minutes, and the audience underwent a very ugly transformation. Not nearly everyone, but a vocal section of the audience starting making negative comments. A few quiet boos here and there. Jon was obviously very upset by this, and the group finished the show and he left quickly. There ws a rather long wait after they left, and I thought that he might have insisted that there be no encore due to the poor manners of the audience.

It was dismaying, to hear such negative things be shouted out. It seems that the audience, or part of it, was glad to bask in the glow of the classic line-up, listening to their old faves ( the second half of the show was mostly 100 % acousic and my god what a rare treat that was ), but weren’t interested in the person who moves Jon to create some of those spiritually moving lyrics.

He came out, along with the group, leaned into the mike and said, " I wasnt’ going to, but this one’s for Damien" ( his son ). They did Starship Trooper, and they left. A great show but a sobering dynamic.

Not only did I get to meet my rock and roll idol, but the gentleman did not disappoint. His wife’s a strong, smart lovely person as well.

:slight_smile:

Yeah, “Gates of Delirium” was the default track to put on whenever Mom told me, “you can just play one more song, and then everyone has to go home.”

Hooray for Yes!

BTW, read this.

Doon! de deedle deedle dee do dee do dee de doo
dunh dunh DUHN dunh duuuuuunh dunh dunh
dunh dunh duuuuuunh dunh dunh

I’d go with Fragile, but not so much for Roundabout as for South Side of the Sky, Long Distance Runaround, and Heart of the Sunrise. Bill Bruford’s drumming is a thing of beauty, as is Steve Howe’s guitar work and Rick Wakeman’s keyboards. I guess if I could only own one album it would be Yessongs for sheer quantity of good material, although I’d prefer the studio versions for the denser arrangements (overdubs) and better sound quality. The Yes Album, Fragile, and Close to the Edge do it for me, possibly Relayer (the one with Patrick Moraz, right?) and slightly Going for the One. I saw them at JFK Stadium in Philly with Moraz on keyboards and again at the Spectrum with Wakeman back on keys. Loved both shows.