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One of their trademarks has always been an ability to re-create their often densely layered sound in concert. They effortlessly pull off the tricky chord progressions and changes in time signatures of "Siberian Khatru" and a sublime "Heart of the Sunrise," which unquestionably bests the dexterity of its carefully crafted studio counterpart. Both Howe and Squire's respective solos during "The Fish Schindleria Praematurus " are highlights as they give the entire unit an opportunity to show off their capacity for dramatic dynamics.
The remainder of Yessongs is similarly strong, particularly the note-perfect "Close to the Edge," and the inspired concluding instrumental jam during "Starship Trooper. The sound is generally muddy with no real fidelity to speak of and an even less precise stereoscape.
But until someone goes back to the multi-tracks and remixes them for 21st century ears, this is as good as it gets when documenting Yes during this seminal transition period. Yes' second and least successful album was a transitional effort; the group trying for a more produced and sophisticated sound through the use of an orchestra.
Even so, the results weren't conventional, because the group didn't tone down or turn down its sound. Additionally, by this time the group was developing a much tauter ensemble than was evident on their first LP, so there's no lack of visceral excitement. Somewhat more successful musically is "Then," which keeps the orchestral accompaniment to a minimum and allows Kaye and Banks to stretch out on organ and guitar.
A surprising amount of the material here seems rather tuneless, but the group was solidifying its sound and, in the process, forcing Banks out of the lineup, despite some beautiful moments for him and Tony Kaye on the prettiest parts of "The Prophet," a piece that also contains fragments of music that anticipate Yes' work right up through Tales from Topographic Oceans.
By the time the record was completed, Banks was out of the band, which is why Steve Howe, his successor, ended up pictured on the cover of most editions. The fourth studio album by British prog-rock legends Yes stands among the band's greatest and most commercially successful work. Marrying the complexity of classical music the album includes reworked excerpts of Brahms' 4th Symphony the melodicism of pop, and the instrumental prowess of progressive jazz, the record took the recording industry by storm, sitting on the Billboard for 46 weeks and eventually going gold.
Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon; not coincidentally, it also marked the point where all of the elements of the music and more that would define their success for more than a decade fell into place fully formed. The science-fiction and fantasy elements that had driven the more successful songs on their preceding record, The Yes Album, were pushed much harder here, and not just in the music but in the packaging of the album:the Roger Dean-designed cover was itself a fascinating creation that seemed to relate to the music and drew the purchaser's attention in a manner that few records since the heyday of the psychedelic era could match.
Having thrown original keyboard player Tony Kaye overboard early in the sessions principally over his refusal to accept the need for the Moog synthesizer in lieu of his preferred Hammond organ the band welcomed Rick Wakeman into its ranks. His use of the Moog, among other instruments, coupled with an overall bolder and more aggressive style of playing, opened the way for a harder, hotter sound by the group as a whole; bassist Chris Squire sounds like he's got his amp turned up to "12," and Steve Howe's electric guitars are not far behind, although the group also displayed subtlety where it was needed.
The opening minute of "Roundabout," the album opener and the basis for the edited single that would reach number 13 on the Billboard charts and get the group onto AM radio in a way that most other prog rock outfits could only look upon with envy was dominated by Howe's acoustic guitar and Bill Bruford's drums, and only in the middle section did the band show some of what they could do with serious amperage. Elsewhere on the record, as on "South Side of the Sky," they would sound as though they were ready to leave the ground and the planet , between the volume and intensity of their playing.
The solo tracks by the members were actually a necessity: they needed to get Fragile out in a hurry to cover the cost of the keyboards that Wakeman had added to the group's sonic arsenal. But they ended up being more than filler. Each member, in effect, took a "bow" in mostly fairly serious settings, and Squire's "The Fish" and Howe's "Mood For a Day" pointed directly to future, more substantial projects as well as taking on a life of their own on-stage.
If not exactly their peak, Fragile was as perfect a record as the group would ever make, and just as flawless in its timing as its content. With stand outs like "Into The Lens", it was easy to hear why this new edgy Yes sound truly resonated in the eighties. Check out the amazing musicianship on "Run Through The Light" and "Tempus Fugit", all of which made Drama the classic album it is today!
It rocks harder than other Yes albums, and for classically inclined fans, it was a jarring departure; but it was a harbinger of Yes and Asia albums to come. A newly emboldened Chris Squire lays down aggressive rhythms with Alan White, and Steve Howe eschews his usual acoustic rags and flamenco licks for a more metallic approach, opting for sheets of electric sound. Prime cuts include the doom-laden "Machine Messiah" and the manic ska inflections of "Tempus Fugit.
Prog-rock band, Yes, is one of the most exhilarating live acts in music history. The band's live interaction is captured in all its glory on their second live album, Yesshows. The band's contagious live energy, intricate melodies and riveting dynamics are in exquisite form. The second official concert package from Yes contains tunes recorded over a span of two years and two different incarnations of the band.
Like its live predecessor Yessongs , Yesshows finds the combo during one of their states of perpetual change. The exceptions being "Gates of Delirium" from Relayer and the Tales from Topographic Oceans' epic "Ritual" which is presented in two parts and has Patrick Moraz keyboards in Wakeman's stead. The original concept contained a few features that would have been akin to Yessongs. They debated as to whether they should make it another triple-LP and feature Tales from Topographic Oceans in its entirety, like Close to the Edge had been done on Yessongs.
Undecided, they made a rough mix of a two-album incarnation, but then shelved it in order to focus their attentions on creating new music. Purportedly, that unapproved by Yes, anyway version was cleaned up by the record company and released for the holiday shopping frenzy of As issued, the seven tracks hang well together and provide enthusiasts an opportunity to hear a mixture of older and newer material.
Best of all, Yes retain their enviable ability to ably re-create the complex and challenging passages with a soul that is occasionally lacking from the studio counterparts. Reaching back nearly a decade is an excellent update of the optimistic "Aquarian Age" anthem and the title composition of their second platter, "Time and a Word.
Here, both the opener "Parallels" and the song "Going for the One" exceed the comparatively sterile non-live readings. Particularly endearing and inspired is Anderson's off-key voice crack during the high-octane chorus of the latter.
The more involved works especially the Moraz performances on "The Gates of Delirium" and the nearly half-hour "Ritual" are fuelled by a continuous energy. They build on the structure established from the respective long-players, yet even the most intricate elements and dynamics are amplified in their decisiveness and command. Anderson's intimacy and passion fuse on the closer "Wondrous Stories," almost as if releasing the audience from one last embrace.
Tormato is the prog-rock band's ninth studio classic. Yes fans have praised the album as a truly inspiring masterwork. This important piece of music is widely considered one of the band's finest recordings. The '70s model of Yes runs out of gas. Recorded in a morale slump and an impending haze of drink, Tormato's decent tunes are sabotaged by Rick Wakeman's increasing penchant for cheesy textures and the band's thin overall sound.
Bass freaks, take note: this tune also marks one of the few appearances of the Dipthong pedal, accounting for Squire's distinctive "bow bow bow" sound. The Yes Album is the prog-rock legends' Platinum classic. This monumental release finds the band discovering their trademark sound. Widely acclaimed, it received rave reviews from Rolling Stone, Pitchfork, Q and many other publications.
It reached 4 in the U. The album that first gave shape to the established Yes sound, build around science-fiction concepts, folk melodies, and soaring organ, guitar, and vocal showpieces. Switch Editions? Mark channel Not-Safe-For-Work? Are you the publisher? Claim or contact us about this channel. Viewing all articles. First Page Page Page Page Page Page Last Page. Browse latest View live. More Pages to Explore Latest Images. Hong Leong Finance: Earn up to 1. June 21, , am.
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Life Is Beautiful is the fourth studio album and fifth album overall from the contemporary Christian music band The Afters. It was released on April 16, by Fair Trade Services. The album has been received critical and commercial success since it has been released. The album was the No. Life Is Beautiful has received mostly positive reviews.
The band's first LP in three years is filled with radio-ready anthems that celebrate the human experience". From Wikipedia, the free encyclopedia. The Afters. Title Writer s Length 1. Retrieved April 12, Retrieved August 12, CCM Magazine. Archived from the original on June 28, Retrieved May 1, Christian Music Zine.
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