Classic Rock Album of the Day- Yes- 90125 (1983) *****
There was a few moments in the early 1980's that there were a great many of us who felt that AOR was dead. Punk and new wave had infiltrated the rock air waves in massive amounts, and a lot of the old classics were seeming to fade into the night. But... with the inevitable ebb and flow of strange trendings in rock music, one axiom lives on no matter what. Great music, and great musicianship trumps all. By 1980, it is pretty much universally accepted that Yes was in such a slump with Tomato and Drama. No these weren't bad albums. Yes didn't ever make a bad album, but I think we all know that this drop off ended up in at least their short term demise. The great core of this band went on to other supergroups. Some with success, some with less.
But something incredible happened in 1982. The band regrouped and and hired a masterful songwriter named Trevor Babin. I know I have sang his praises previously, but what he added and brought to this band is nothing less than breathtaking. With 90125, a Yes album was produced unlike any other. It included drastic stylistic changes, but not at the expense of masterful musicianship. Pound per pound few if any bands are more talented than this one. Babin went on with this level of excellence for several more. As a guitarist, he wasn't Steve Howe, but who else is, within the nuances of magic and legacy of this band. But OTOH, the drop wasn't as bad as many thought. So, before going further, I do realize and understand that there a magnitude of Yes purist, that saw Babin's foray into "pop-ish" territory as an affront to the band's legacy. Me? It just seems like icing on the cake. Growth is almost always good, and to those who of who think Yes is the greatest Prog act in history, but sold out..... I ask that you give this LP another listen, and understand that Babin added an almost avante-garde angle that adds to their overall greatness.
Back in '83, when it hit the airwaves, my circle of friends went crazy. I had no less than 4 make it a point to make sure I had gotten a listen to this new and revitalized supergroup. And what really I loved is that the base of the old band, like Squire and Anderson not only embraced the new sound, they rose to the occasion giving some of their best performances in near a decade. This is Hollywood a mini-series like feed good story, where journeyman session guy finally gets recognized and becomes a superstar.
What is also special about this album is its level of consistence of excellence. There are almost no weak moments. Every cut has something to offer and add to the equation.
Fun Fact: Album name corresponds to it's Atlantic Record Catalog Number. There were rumors of other sinister reasons back in the day, but all urban legend.
Side 1-
-------------
Owner of a Lonely Heart- Unique and powerful opening. The use of funk in a proggish, rocking manner was an absolute genius stroke and move by Babin. This song sounded unlike any other the band had created, and for a few die hards, they weren't pleased in what at that time seemed like a possible commercial sell out. But in my opinion, it was the opposite. This song and its ultra-interesting mix of style, and delivery just let the world know that this band was back- 2
Hold On- To quell the purist concerns, the second entry provided a more traditional, though rocking angle to the band's portfolio. Sync rhythmed alternating with a bluesy tinge, was another spot on endeavor. Off centered chorus at the line is a songwriting feat. 5
It Can Happen- Originally, I wasn't too pleased with the sitar'ed opening and melodic center. But in hindsight, the technological slant on this particular number was ingenious, Solid Solid tune. 4
Changes- First example of Babin influences, with his African Xylophone electronic like semi-bass line. Maybe a tad weaker on the whole of the LP, but still and excellent example of this band's great work. This was not an easy composition to perform to say the least. 8
Side 2-
-----------
Sinema- Interesting hard rocking instrumental that in a lot of ways plays into the next song, Kind in a way like Foreplay leads into Long Time for Boston. When listening to this albums these songs beyond in natural order. Don't mess with it (Hint to classic rock radio stations) 6
Leave It- Some of the best harmonies and unique songwriting in Yes' career. Fantastic blend of styles including rock, prog, funk, and even acapella. A masterpiece, and a song with it's level of simplistic, but so complex, and powerful. 1
Our Song- Even as the weakest tune on the LP, this is a technological masterpiece. No weakeness on this album, and just another reason this gets a well deserved 5 star rating. 9
City of Love- FX laden good number that has that Big Generator feel to it. Very complex song on so many levels. More excellent harmonies, that are maybe the biggest halmarks of this one. 7
Hearts- Album closes with a highly Anderson influenced song. This great one rollicks along from the ethereal to heavy rocking, to a downrigtht Anderson like Spiritual voyage. (Early '70's like) 4
There was a few moments in the early 1980's that there were a great many of us who felt that AOR was dead. Punk and new wave had infiltrated the rock air waves in massive amounts, and a lot of the old classics were seeming to fade into the night. But... with the inevitable ebb and flow of strange trendings in rock music, one axiom lives on no matter what. Great music, and great musicianship trumps all. By 1980, it is pretty much universally accepted that Yes was in such a slump with Tomato and Drama. No these weren't bad albums. Yes didn't ever make a bad album, but I think we all know that this drop off ended up in at least their short term demise. The great core of this band went on to other supergroups. Some with success, some with less.
But something incredible happened in 1982. The band regrouped and and hired a masterful songwriter named Trevor Babin. I know I have sang his praises previously, but what he added and brought to this band is nothing less than breathtaking. With 90125, a Yes album was produced unlike any other. It included drastic stylistic changes, but not at the expense of masterful musicianship. Pound per pound few if any bands are more talented than this one. Babin went on with this level of excellence for several more. As a guitarist, he wasn't Steve Howe, but who else is, within the nuances of magic and legacy of this band. But OTOH, the drop wasn't as bad as many thought. So, before going further, I do realize and understand that there a magnitude of Yes purist, that saw Babin's foray into "pop-ish" territory as an affront to the band's legacy. Me? It just seems like icing on the cake. Growth is almost always good, and to those who of who think Yes is the greatest Prog act in history, but sold out..... I ask that you give this LP another listen, and understand that Babin added an almost avante-garde angle that adds to their overall greatness.
Back in '83, when it hit the airwaves, my circle of friends went crazy. I had no less than 4 make it a point to make sure I had gotten a listen to this new and revitalized supergroup. And what really I loved is that the base of the old band, like Squire and Anderson not only embraced the new sound, they rose to the occasion giving some of their best performances in near a decade. This is Hollywood a mini-series like feed good story, where journeyman session guy finally gets recognized and becomes a superstar.
What is also special about this album is its level of consistence of excellence. There are almost no weak moments. Every cut has something to offer and add to the equation.
Fun Fact: Album name corresponds to it's Atlantic Record Catalog Number. There were rumors of other sinister reasons back in the day, but all urban legend.
Side 1-
-------------
Owner of a Lonely Heart- Unique and powerful opening. The use of funk in a proggish, rocking manner was an absolute genius stroke and move by Babin. This song sounded unlike any other the band had created, and for a few die hards, they weren't pleased in what at that time seemed like a possible commercial sell out. But in my opinion, it was the opposite. This song and its ultra-interesting mix of style, and delivery just let the world know that this band was back- 2
Hold On- To quell the purist concerns, the second entry provided a more traditional, though rocking angle to the band's portfolio. Sync rhythmed alternating with a bluesy tinge, was another spot on endeavor. Off centered chorus at the line is a songwriting feat. 5
It Can Happen- Originally, I wasn't too pleased with the sitar'ed opening and melodic center. But in hindsight, the technological slant on this particular number was ingenious, Solid Solid tune. 4
Changes- First example of Babin influences, with his African Xylophone electronic like semi-bass line. Maybe a tad weaker on the whole of the LP, but still and excellent example of this band's great work. This was not an easy composition to perform to say the least. 8
Side 2-
-----------
Sinema- Interesting hard rocking instrumental that in a lot of ways plays into the next song, Kind in a way like Foreplay leads into Long Time for Boston. When listening to this albums these songs beyond in natural order. Don't mess with it (Hint to classic rock radio stations) 6
Leave It- Some of the best harmonies and unique songwriting in Yes' career. Fantastic blend of styles including rock, prog, funk, and even acapella. A masterpiece, and a song with it's level of simplistic, but so complex, and powerful. 1
Our Song- Even as the weakest tune on the LP, this is a technological masterpiece. No weakeness on this album, and just another reason this gets a well deserved 5 star rating. 9
City of Love- FX laden good number that has that Big Generator feel to it. Very complex song on so many levels. More excellent harmonies, that are maybe the biggest halmarks of this one. 7
Hearts- Album closes with a highly Anderson influenced song. This great one rollicks along from the ethereal to heavy rocking, to a downrigtht Anderson like Spiritual voyage. (Early '70's like) 4
