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Rock - Released January 1, 2014 | Eagle Rock

Progressive Rock - Released November 11, 2013 | Rhino Atlantic


Progressive Rock - Released November 11, 2013 | Rhino Atlantic

Rhino reissued expanded versions of all the Yes albums in the early days of the new millennium, so this 2013 set doesn't see either a massive sonic upgrade or expansion. Instead, those acclaimed remasters -- including the expansion of Big Generator, which hadn't seen U.S. release prior to this -- are now packaged in mini-LP cardboard sleeves and put into a box with new artwork designed by Roger Dean. Apart from the art, this may not offer hardcore Yes fans anything they don't already have -- that's assuming they didn't opt to purchase an import of Big Generator in the first place -- but this is an easy, attractive, and relatively affordable way to get the band's core catalog in one fell swoop. ~ Stephen Thomas Erlewine

Pop - Released October 29, 2013 | Mobile Indy Digital


Progressive Rock - Released June 24, 2013 | Rhino Atlantic


Progressive Rock - Released November 29, 2011 | Frontiers Records


Rock - Released August 25, 2009 | Rhino - Elektra

Yes already had a box set in the first great rush of rock boxes in the late '80s/early '90s. Although it was pretty good, YesYears felt like it was lacking something -- it either needed more rarities, or it needed to tell the story better. Rhino's 2002 box set In a Word takes the latter approach, choosing to present the band's history (including selections from Anderson, Bruford, Wakeman, Howe) in a logical, leisurely way over five discs, sequencing them like one long, cohesive album. The sound is better than YesYears, but not drastically better than the Atlantic reissues of the mid-'90s. There are some rarities, but not many, and nothing of real note to anybody outside of the devoted collector. Its true strength is that it tells the story exceedingly well, with all the chart and radio hits accounted for, along with significant album tracks from their baroque early recordings to their records from the '90s. True, you do need to have a deep interest in Yes to get this -- and, if you do, you'll likely have much of this material already -- but if all you want is one comprehensive Yes album in your collection, this suits the bill. ~ Stephen Thomas Erlewine

Progressive Rock - Released July 3, 2009 | Rhino Atlantic


Progressive Rock - Released July 1, 2009 | Purple Pyramid Records

Rock - Released June 11, 2009 | Eagle Rock

Rock - Released June 11, 2009 | Eagle Rock

You'd probably need a mainframe computer to keep track of all the personnel changes in Yes over the years, and the quality of the prog rock giant's music has fluctuated nearly as much as the lineups. The Ladder is a synthesis of the best traits of the experimental Fragile era and the pop-oriented 90125 era. Producer Bruce Fairbairn completed The Ladder shortly before his death in 1999, and unlike some of his work with Bon Jovi, Aerosmith, Kiss, and others, he didn't overproduce it. Vocalist Jon Anderson, lead guitarist Steve Howe, and bass guitarist Chris Squire all have fine moments, and drummer Alan White is consistent. The roles of keyboardist Igor Khoroshev and, in particular, guitarist Billy Sherwood are less clear. It occasionally seems the purpose of Khoroshev's keyboards is providing a variety of sonic textures instead of functioning as a lead instrument. Sherwood's second guitar tends to flesh out the sound. "Homeworld (The Ladder)" is a tight band performance, but the supple vocals/acoustic guitar/piano coda is the best part. Howe's bouncy acoustic guitar drives "Lightning Strikes," yet the biggest surprise is the addition of a horn section. The energetic "Face to Face" is the strongest track, and Squire lets loose with a sputtering bassline. "If Only You Knew" is a sweet, straightforward love song Anderson wrote for his wife. "The Messenger" has a smooth, funky feel -- a remarkable feat considering prog rock is usually considered the "whitest" rock genre. "New Language" is the best long song on The Ladder, thanks to a clever arrangement giving all six members an opportunity to demonstrate their talents. ~ Bret Adams

Rock - Released June 5, 2007 | Rhino Atlantic

For fans waiting for a follow-up to the massive success of 90125, 9012Live: The Solos proved to be a disappointment. This brief album consists of solo turns by each bandmember, along with two 90125 tracks scarcely changed from the studio versions. "Solly's Beard" provides a pleasant, if somewhat incoherent showcase for Trevor Rabin's guitar work, and Jon Anderson takes an uneventful walk down memory lane with "Soon." The highlight of the album is the duet "Whitefish," and with Chris Squire and Alan White galloping through a spirited medley of "The Fish," "Sound Chaser," and "Tempus Fugit." While it's an okay tour souvenir, 9012Live: The Solos can hardly claim to be a proper album. ~ Paul Collins

Rock - Released November 25, 2003 | Eagle Rock


Progressive Rock - Released January 14, 2003 | Rhino Atlantic

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. Much of Time and a Word relies on bold, highly animated performances by Bill Bruford, Chris Squire, and Tony Kaye. 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. "No Opportunity Necessary, No Experience Needed" was a bold opening, a highly amplified, frenzied adaptation of the Richie Havens song, melded with Jerome Moross's title music from the movie The Big Country. 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. "Everydays" is highlighted by Anderson's ethereal vocals and Kaye's dueting with the orchestra. 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. "Astral Traveller," as a title, anticipates the themes of future group work, though they still don't have the dexterity to pull off the tempo changes they're trying for. 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. ~ Bruce Eder

Rock - Released September 10, 2001 | Eagle Rock