




Yes was the model English art-rock band, with all the overload and splendor that demands. Loaded with too much virtuosity, too many ideas and too many personnel changes for one band to deal with, Yes has produced its share of blemished albums over the past 20 years. Yet during its classic period (lasting between 1970's The Yes Album and 1977's Going For The One) Yes was almost consistently inspired. Anyone needing to defend art-rock only has to pull out the title track of Close To The Edge (1972): It never got more intuitive or more melodically towering than that.
| 2008: Jul Aug |
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Initially, Yes was simply a pop group that got very ambitious. Their first two albums have some R&B traces, thanks to the more basic styles of guitarist Peter Banks and keyboardist Tony Kaye, who were both dropped from the band early. Besides that, the fragile, nearly feminine sound of singer Jon Anderson verified an early trademark, along with the jazz leanings of the rhythm section, bassist Chris Squire and drummer Bill Bruford (replaced in 1972 by the heavier-hitting Alan White).
With the appearance of guitarist Steve Howe and keyboardist Rick Wakeman, Yes was liberated to explore the rock-symphony advance they desired to. Their aspirations reached a climax on 1973's Tales From Topographic Oceans, a four-song, lyrically dense double album that even Wakeman found excessive, yet there were more than enough lovely and powerful moments to justify the stretch.
Reunited with Wakeman after a year making solo albums, Yes stripped down to and made its last great album with 1977's Going For The One. Anderson and Wakeman left in 1979, replaced by the two members of the Buggles. Yes was then laid to rest until 1983, when Anderson, Kaye, Squire and White formed a new arrangement with guitarist/singer Trevor Rabin.
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