As a straight rock music album and for it's production values, I would give it 5 stars. As I prepare for a rocking riff to open up the album, the crescendo deceptively leads to an unassuming open acoustic harmonic. But it has a nice melody and fits nicely within its three-minute runtime. The song's lyrics were written by lead vocalist Jon Anderson and inspired by a long tour ride through Scotland, which alternated between stretches with mountain and lake scenery and traffic-clogged roundabouts. Through its four distinct sections, the song transitions from folk to rock to a spacey, atmospheric piece with Wakeman's synths, Squire's pointed bass, and Howe's guitars playing hand-in-hand. Also, I do really love Wakeman's arrangement of Brahms 4th, as well as Bruford's composition, in which he has each member play a different piece of his drum kit on their respective instruments, allowing for a somewhat chaotic and dissonant, yet nonetheless interesting, short piece of music. Though still in the midst of its golden peak, progressive rock was already beginning to get comfortable with its own set of conventions.
The problem on Magnification is overuse, particularly on Chris Squire's solo parts and especially on Anderson's layered harmonies. I do not expect that everybody will understand this album, but I think that this is an essential listen, and one of the most colourful and diverse musical experiences that this wonderful earth has to offer. Regardless, the replacement for Jon Anderson and Rick Wakeman Trevor Horn and Geoffrey Downes, respectively made for a decent fit. Open Your Eyes 1997 I suppose Open Your Eyes makes better sense when taken into context. With no disrespect whatsoever intended towards Benoit David, who did a fine job on the album and live, the fact is that had it not been for the plan to tour, they never would have needed him in the first place.
Having studied and played a lot of classical music myself, I have no qualms in saying that the overall compositional structure of this piece is just masterful. I'll talk more about Alan White in the next review. Though commercially successful, the album signalled the end; Downes and Howe left to form Asia, Squire and White briefly formed a band called Camera. If Howe was based in classical music, Peter Banks has a clear love for jazz. Alan White joined the band during the tour documented on Yessongs, and made his studio debut on the ambitious Tales From Topographic Oceans, while Patrick Moraz replaced Wakeman for Relayer. Since 2005 they have been innovators boldly carving their own path through progressive and tech Metal styles, inspiring many in their wake. There's violins and trumpets and choirs too.
I hear that seeing King Crimson perform compelled Yes to brush up their skills and push the envelope; whatever the case, it worked to their benefit. This is far more poppy in both tone and structure than anything on the list of prog albums I named in the beginning, and might actually appeal to a wider audience than a lot of other prog albums, which is what makes it unique and enjoyable by its own more accessible rights. This is also quite a technical piece, and features some excellent playing by all members of the band. Are you saying Yes didn't have the right to change or evolve? The first part, titled The Solid Time of Change, opens off with the sound of birds chirping, growing louder for a while before entering into a somewhat chaotic instrumental opening, with some cleverly laid vocal breaks. Well, they succeeded on all fronts. He has proved his ear for production and mastering countless times before, and Close to the Edge is no different.
Their music is marked by sharp dynamic contrasts; often extended song lengths; abstract lyrics; and a general showcasing of its members' instrumental skills. One couldn't count the amount of musicians who have lived to regret their own stubborn arrogance by refusing to evolve and grow with the times. Mood For A Day 3:57 is a classic guitar solo, played by Steve Howe. Here, in fact, they try, and they are to praise, not to make the song dull, between percussion and the slashes of bass by Squire, which characterizes the ending of the piece, but overall the result is not compelling, and in short the song seems in effect, compared to the other two, a filler pulled too long. Even on the most disastrous albums their latest one included , there were always a handful of tracks that stood out, at least a passage or two that stuck after the record ended. If anything, the cognitive dissonance going into Talk made the anticipation that much more compelling. Squire's bass line in the beginning is simply iconic, and one of the most recognizable bass lines of all time.
It is a song verse-chorus dilated to no end, which repeats the chorus refrain 6 times in total. But here on a metal album? Even in progressive rock, where this degree of complexity is often a mandate, I find myself hard-pressed to think of a few other albums that have this much depth and engagement in the performance. In terms of overall quality, Magnification is in the same league as Tormato, Union, and The Ladder. Or, if you want to hear more of Anderson, Squire, Howe, and White, go with Going for the One. Tales From Topographic Oceans 1988, Atlantic, 7567-81325-2, W. Drama 1989, Atlantic, 7567-81473-2, W.
The title track follows with Rabins crunching guitar taking centre stage. If you like Slipknot when they go a bit Morbid Angel influenced 'Habitual Line Stepper' is worth checking out. If any of classic members truly benefited from the newfound pop leanings on 90125, it would be Anderson. If you view it just as a pop rock album with a lot of prog and hard rock stuff throwin in you might be able to appreciate it more. But then soon something comes along to perk up my ears and arrest my attention. The first section, Cord of Life, starts off with a brilliant acoustic guitar theme from Howe, and an excellent, though brief moog solo from Wakeman. .
Four and a half Stars. When the band brings the chaos down to earth a couple of minutes in and goes for a more typical sort of focus, the melodies and symphonic warmth are refreshing, thanks in large part to the jarring contrast. Magnification 2001 In so many ways, Magnification rides on the precedent set by The Ladder. While the longest songs on the previous two albums would only reach the six to seven minute marks, here we are treated to three nine plus minute tracks, much greater diversity in the overall approach of writing, and a seemingly endless ambition from all of the players to put their absolute best into their performances. The Beatles cover of Every Little Thing boasts a highly enjoyable jazzy instrumental opening, and proves to be an overall satisfying cover. Impressed with the commercial and critical success of Close to the Edge, Atlantic Records owner Ahmet Ertegun signed the band to a new five-year contract, which carried Yes through the rest of the decade of the 1970s. The rating has to remain the same as for the 2011 version, it is after mainly all the same album.
Certainly they weren't just gifted musicians, they created an imaginary, they have always been visionaries, both musically and narratively. Many people are bored by the lengthiness of this movement, as there is very little to please impatient ears. The album features four tracks of full band performances, three of which were of eight minutes length or longer interspersed by five short tracks each showcasing an individual member of the band. In spite of a few weak tracks, The Ladder aptly demonstrated that Yes were still capable of releasing great prog in their fourth decade of existence. The logical choice, of course, would be for Yes to fall back on their proud history with prog. The chorus is infectiously catchy, although the edgy lyrics and screams near the end nearly kill it.
Among the list of entries up top, and more obviously, the later Yes albums such as Fragile, The Yes Album and Close to the Edge, it can be easy to overlook Yes, the album that started it all for the British visionaries. I find the album to be a triumphant work of art from tip to toe. As he has so many times, Anderson demonstrates an incredible talent for creating vocal melodies from chord sequences and countermelodies from melodies. The music is a great mix of complicated awkward rhythms, soaring commercial choruses and spicing it up with shimmering guitar lines and the odd bits of electronics here and there. The piece transitions back into the main opening theme with the forth section, titled Seasons of Man, as Wakeman plays an excellent organ solo over top, and eventually the main vocal line from before comes back in, closing the piece off several minutes later with a recap of the original chorus. We see some small improvising at the beginning before Steve Howe kicks in with a speedy guitar line, which then goes into the most frantic part of a song that I have ever heard.