Unequivocally the defining
progressive rock album of 1971, “The Yes
Album”, was the collected batch of music
that brought “YES” from promising up comers
to international superstars. Most of the
songs here 30 years later are still the
main stay of their live show.
“YES” were one of the bands who helped
create the genre known as progressive
rock, where more emphasis was put on the
musicianship and songwriting ability of
the band members than whether they could
leap about in pretty clothes on Top of
the Pops. “YES” and their fans took themselves
very seriously which had already led to
dissention in the ranks as original lead
guitarist, Peter Banks, had been fired
for the horrendous sin of drinking alcohol
and enjoying himself both on and off the
stage. This did, of course, not deter
all future “YES” guitarists to copy Bank’s
style right up to the present day. Enjoying
oneself was also the reason for the loss
of drummer Bill Bruford the following
year.
Despite this rather sterile work method,
it would take a braver scribe than I to
be anything other than full of praise
for this great album. There is a crucial
blend of musical styles, superb musicianship,
adventurous songwriting, the desire to
stretch their collective musical ability
to the outmost limits, and plenty of chances
taken and no fear of diversity shown by
the first two tracks. “Yours Is No Disgrace”,
a fully fledged rock workout clocking
in at nine minutes forty one seconds,
with it’s extended solos, soaring harmony
vocals, and a storming infectious main
riff stolen from the “Bonanza” T.V. theme.
This is immediately followed by “The Clap”,
a Steve Howe acoustic guitar workout recorded
live that year at the Lyceum London.
“YES” were everything a progressive rock
band should be. Soaring keyboards provided
by the rock orientated Tony Kay (this
was his last album with the band as he
was soon to be supplanted by the ultimate
progressive rock keyboard wizard Rick
Wakeman. But then again, that’s a whole
other story). Steve Howe providing concise,
driving, intricate, and sometimes subtle
guitar, a solid bottom end rhythm section
holding down all the songs. The majesty
of “Pomp and Circumstance” next to the
interwoven delicacies of acoustic piano
and classical guitar. This album is an
absolute must for those who like their
music refined but with plenty of strength
down the backbone.
By the time the band reach the closing
song “Perpetual Change” the pedal has
definitely been pushed to the metal and
the song is built up to a magnificent
rampaging conclusion, the perfect ending
to a fine album. (Although Peter Banks
probably surpassed them with his own version
of “Perpetual Change” which he released
on his own band Flash’s debut album changing
the song title to “Dreams of Heaven”).
Never the less, “The Yes Album” is a fine
work. Later, with umpteen lineup changes,
only bass player Chris Squires has been
with the band permanently. “YES” were
to release some appalling dross, but this
catches a fine band at their zenith.
Pawed by Mott The Dog
Remastered by Ella Crew
E-mail: review@mott-the-dog.com
