Changes - Yes - 90125
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Archived from the original on 4 January The Morning Call. Allentown, Pennsylvania. Retrieved 15 April — via Newspapers. The Los Angeles Times. Retrieved 6 March Hung Medien. Retrieved 23 February Monday 28 October Tuesday 29 October Wednesday 30 October Thursday 31 October Changes - Yes - 90125 Friday 1 November Saturday 2 November Sunday 3 November Monday 4 November Tuesday 5 November Wednesday 6 November Thursday 7 November Friday 8 November Saturday 9 November Sunday 10 November Monday 11 November Tuesday 12 November Wednesday 13 November Thursday 14 November Friday 15 November Saturday 16 November Sunday 17 November Monday 18 November Tuesday 19 November Wednesday 20 November Thursday 21 November Friday 22 November Saturday 23 November Sunday 24 November Monday 25 November Tuesday 26 November Wednesday 27 November Thursday 28 November Friday 29 November Saturday 30 November Sunday 1 December Monday 2 December Tuesday 3 December Wednesday 4 December Thursday 5 December Friday 6 December Saturday 7 December Sunday 8 December Monday 9 December Tuesday 10 December Wednesday 11 December Thursday 12 December Friday 13 December Changes - Yes - 90125 Saturday 14 December Sunday 15 December Monday 16 December Tuesday 17 December Wednesday 18 December Thursday 19 December Friday 20 December Seventeen musicians have been a part of the band's line-up in its history, which has consisted of singer Jon Davison, guitarist Steve Howe, bass guitarist Chris Squire, keyboardist Geoff Downes, and drummer Alan White since February Forgot your password?
Retrieve it. Get promoted. Powered by OnRad. Think you know music? Test your MusicIQ here! Dear I say it, but the beginning of "Leave It" is actually decent! It's like a world champion skier on a gold medal run, but then he trips and rolls dwon the hill in one of those big snowballs you see on cartoons.
Don't even bother with them. Crazy lyrics, more percussion mess-ups, just, well ugh. Are you a completionist? Well then keep this out of your collection. I mean come on, what kind of an original Changes - Yes - 90125 is your album's catalogue number?? As for Genesis, hords of new fans will enter the YesWorld pushing the sales of the Changes - Yes - 90125 to more than six 6 million albums sold between 83 and 85 this is their best selling album ever.
I incidently had a chat with a colleague yesterday about "". What he told me was exactly what was going on at the time : he had never liked the "old" YesFormula, but quite liked their new sound. So, a broad new market was opened for Yes, but I think that it is very hard to find lots of fans appreciating both YesPeriods with the same love.
Still, they managed to release a great hit-single out of this : "Owner Of A Lonely Heart" : with an almost hard-rock intro! The chorus is catchy, and definitely I quite like it. This will be the trademark of the NewYes but this song is above par in comparison with the majority of their production to come.
It switched Changes - Yes - 90125 between melodious passages and more AOR sounds. It would have been either an intro or a grand finale of a YesEpic some years ago. The "Chineese" sounds are well integrated into the track. Great vocal harmonies at last. The rythm is quite rocking at times but not disturbing to my ears at least.
It has a very commercial sound but the melody is Changes - Yes - 90125 alright. Bass playing is again very good but who has ever doubted about Chris's skills? The lows of the album are "Leave It" and "City Of Love" : believe me, there is only one thing to do : leave it and trash it! On the remastered and expanded version lots of bonus tracks will be featured.
The only one of the very few valuable tracks is "Make It Easy" again very much influenced by the Kansas sound and quite poppy but good.
I do not understand why Yes did Changes - Yes - 90125 include it on the original album instead of those two crappy songs I mentioned above. The absolute nadir of the bonus tracks is the incredibly Changes - Yes - 90125 remix of "Owner" : absolutely awful. At the end of the day, this album is not as bad as that there will be much worse to come. It is very much Rabin oriented. Three stars. The most famous song here, and perhaps in the entire discography, is Owner of a Lonely Heart.
This became Changes - Yes - 90125 radio fav because the good lord has a twisted sense of humor. Changes - Yes - 90125 whispers his vocals like he's hiding from someone. There's no springy bassline from Squire, no inventive keyboards, no complex drumming. It's the kind of song that's okay the first time you hear it but quickly becomes an atrocious listen.
The rest of the songs can be used if you've swallowed poion and need to induce vomiting. While not as bad as Big Generator, can still get you Operetta - The Church - Future Past Perfect (DVD) for child endangerment if you play it to your kids.
The fire of the band is now Changes - Yes - 90125. Trevor Rabin proved himself IV.
Sarabande - Glenn Gould Plays Bach* - Glenn Gould Plays Bach (The Collectors Edition) playing classic songs live, Changes - Yes - 90125 he is wasted in the studio. Chris Squire abandoned the style that made him a god. Alan White might as well be a drum machine. This is where Jon Anderson begins his annoying trend of experimenting with his vocals in a way that isn't exploration, it's just awful.
I encourage fans of Yes to avoid this and Big Generator at all costs, and suicide-watch patients shouldn't be allowed to listen to this because it'll push them over the edge.
Of course the vocals are outstanding and there is some scorching guitar as well. Not a bad heavy sound to this one. The vocal melody before 3 minutes is cool bringing back the past. There is an Eastern Changes - Yes - 90125 at times and Squires' bass lines are fabulous. Mood changes aplenty as it Changes - Yes - 90125 get pretty atmospheric at times.
The chorus is uptempo while the verses are melancholic. Some screaming guitar, synths, and great What If We Fall In Love - April Wine - Power Play on this one.
So yeah it has it's highs and lows but overall this is Changes - Yes - 90125 recording I would recommend. I have to admit that when I saw the tour a good number of the fans Day Of My Birth - Hospice - Irreparableness to enjoy the new material. Perhaps they were happy to be seeing Yes in the flesh as these songs have NOT held up over time.
The Rabin years are Yes' biggest flaw. And I'll never forget the flip side when I saw Yes 10 years later. After about three new songs from Talk? A guy near me who waited patiently for a quiet moment after the applause died down suddenly screams, REALLY loud: "Play something from the 70s!!!! The next song was "And You and I. I suppose Changes - Yes - 90125 pop music its fair but this is supposed to be Yes. Insipid themes, awful 80s fashion and imagery, those terrible sugary choruses, and Owner of a Lonely Heart.
It's all one big WTF? Apparently Changes - Yes - 90125 figured that progressive rock was Changes - Yes - 90125 and rather than try to save it they would just go for the dollar signs. Because of that they produced music that is now stale and entirely forgettable. I'll give them the second star out of respect for the occasional glimpses On My Radio - Various - Super Eurobeat Vol.
182 stellar musicianship but that's the best I can do here. If you are new to Yes, take note. Avoid this album and Big Generator at all costs. What a schock it was for me back then when i saw this new album at my favorite music retailer back then in !!!! From the most beautiful artworks in the 70s, YES will do the opposite now trying to have the ugliest covers possible!! This is the album a lot of YESfans love to throw their anger at.
And i think we have to be fair to this album and just listen to it not waiting for a ''And you and i'' moment.
The prog bands, at least the ones that have survived were only given 2 options at the time by the recording companies: die or adapt; so tell me what do you do in this case?? Damn ,be honest!!! So this is new YES. So what do we have here? Yes there are some good songs on Yes they are catchy, yes you can sing them when walking the streets, the choruses are well predictable, but some of the songs are GOOD!!!
Jon anderson had to share vocals duties with him; not a problem he had to experience with Steve howe. So i am not bashing this album for the sake of bashing: 3 stars social review comments Review Permalink Posted Saturday, June 30, Review this album Report Review So, was not originally intended to be a Yes album as it sounds nothing like Yes, with the exception of Anderson's voice.
Thus, it seems unfair to compare it Les Flots Du Danube - Karl Feder Halter - Orgue Hammond Vol II earlier Yes works.
Rabin has a completely different guitar style from Howe and Squire takes a more relaxed approach to bass on this album. Instead of the complex bass riffs of the past, he basically imitates the typical bassist one would hear on an average AOR song. If one does compare this to previous Yes works, it easily ranks as the worst Yes album in their career up to that point.
However, as a pop rock album, it's not bad. Hearts and Changes are really nicely done. But as a progressive rock effort, two stars is as high as Changes - Yes - 90125 will go. For collectors and fans only. Even Yes fans might want to avoid unless they are completionists.
The music of the album is pretty bad, though songs like, it can happen and Hold on are the only songs keeping me from rating this album so terribly. If you want this albums description in a sentence it would be: stereotypical eighties pop.
Trevor does have some nice moments, but his solo's are constantly cut short to maintain radio play time. Alan Whites drumming is very boring, strictly beats, but this is to be excpected since he started this trend since Going for the one. Chris Squire quits making intereting basslines, and Jon's voice is no longer the flowing harmonious river it once was. Tony Kaye is just a typical eighties keyboardist putting in random sounds at random times, I guess this is better than his terrible display of power on the Yes album, which out dose this album a million to one.
The songs are all the same except the first three, The overly poppy owner of a lonely heart, the very nice hold on, and the suprisingly artistic it can happen. The rest of the songs are completely useless, I have tried a couple of times to get into into the latter side of the album, but I cant even seem to get past cinema. I honestly do believe that big generator is a lot better than this one, but Drama was also very bad, so, I do not know where to place these two.
I was displeased at first, and I am unsatisfied now. A whopping Anderson's back! Now, many fans know Changes - Yes - 90125 Rabin would be a lead force in Yes's music for the next 13 years, and only maybe one of those Changes - Yes - 90125 was any good. Anyways, this was more of an adaptive move by Yes, change with the market Changes - Yes - 90125 survive. They did, so the plan must've worked, and we fans would later be rewarded with some great albums, but we had to put up with some bad ones along the way.
Let's get onto the songs, shall we? I've already registered my distaste for the first song, so I'll skip that one. HOLD ON is a decent rock song with some good melodies and general catchiness, but this is not good prog music. So, in the end, this is Changes - Yes - 90125 great 80's pop record, but as progressive It makes my heart feel lonely Decent album, and at least it kept the band alive so we culd still have Scatterbone Runes - Philip Riley - Visions And Voices around today.
Fans might enjoy it, 2 stars, people who want really good Changes - Yes - 90125 Yes should skip right to the Keys To Ascension albums. I was thirteen or fourteen years old, and my uncle had ''Changes'' playing in the car sterio. I remember enjoying the track immensely, and requesting him to play me some more stuff from the album.
He then backtracked and played me ''Owner of a Lonely Heart'', and I was hooked from that point on. Now, in retrospect, this is not a very good album by Yes standards, but you Changes - Yes - 90125 ask yourself- - if this were a completely different band that didn't have the name ''Yes'' attached to it, would you feel as dissapointed by it?
Now, am I defending it? Perhaps, but I still intend to give the record a fair and balanced review. I just want to urge anyone going into it for the first time to realize what the original True Believers - Various - King Of Sk8 - Extreme Skate Rock was behind the project.
Had Chris Squire and Trevor Rabin not given in to that power-hungry idiot Phil Carson, Cinema could have been Squire's equivalent to Howe's Asia project, and this release could Scarbo - Friedrich Gulda - The Complete Musician been appreciated as an entirely seperate device, rather than the 're-vamped' Yes that everyone of the old fans grew to despise.
But, in all of their wisdom, Cinema listened to Carson's suggestions, got Anderson and Kaye involved late in the game, and became Yes West. As I listen to this album, I find that I enjoy it, but not as a Yes project. I enjoy it as Cinema's debut release. When I file away this CD, I sometimes find myself temped to put it among the ''C''s in my Prog-related section of the shelf.
Because it is so different, and I can actually enjoy it as longas I don't look at it as a Yes record. That may be a strange way to interpret it, but for me, Beauty And The Bass (Stash Mix) - Vibe Tribe / Global Method - Sons Of The Eclipse EP is what works, and it also helps me find some enjoyement out of listening to that would be absent if I thought of it as the follow-up to ''Drama''.
With those aspects in mind, allow me to reviewCinema's debut LP. Luckily that happened, because it gives the album alot of it's appeal, not to mention saved Yes' life, serving as their biggest hit single to date.
It begins with Trevor Rabin's superb guitar power-playing, which already lets the listener know that what will follow will be nothing like anything a Yes fan has heard from them before. The drums sounds are awful, but that is to expected, since apparently the trend for bands in the 80s was to tune the drums as high as they could do, then only play on one of them, with an occasiol cymbal strike thrown in for good measure.
While this certainly takes quite a bit of getting used to, it is possible to do just that. Alan White as he proved on ''Relayer'' is an excellent drummer that could rival Bill Bruford on anything, as far as I am concerned, yet this over-simplifying of his instrument--and ultimately his role is the band-- takes a toll on the record.
The song itself is actually quite nice, though, with some great voce Changes - Yes - 90125 from Anderson, though he is clearly singing ''the hits'' now, as the melodic, ever-moving style of his voice is nowhere to be heard here.
There is a great breakdown in the song in which just the guitar is featured, playing the riffs repeatedly, and while I'm not a big fan of the distortionwhen it comes to a Yes album, Trevor Rabin is without a doubt a great guitar player. Much more modern and contemporary in style as opposed to Howe's classical training, but he shouldn't be scoffed at, and even though he has been considered the ''Yes-wrecker'' by many, I hope that my singling out of Phil ''Moneybags'' Carson has laid that assumption to rest, as Rabin really never set out to do anything wrong to Yes.
Nothing on this album lyrically is worth anyone's time of day as far as I am concerned, and I attribute that to the sloppy way in which this album was done. I mean, here is Trevor Rabin trying to do something completely different with Cinema, but because he happens to be working on the project with a couple of ex-Yes members, the pressure to reform Yes is placed upon his shoulders long after the original songwriting took place. After coming it at this late of a stage, Jon Anderson could only do so much with the already-existing material, and as a result the typically intelligent lyrics and voice work of Yes is gone on A typical pop song if I ever heard one.
Feel like I am listening to any number of long-forgotten top 40 one-hit wonders from the same era. How Jon Anderson and Chris Squire, the two founding members of Yes, stood for half the stuff on this record is beyond me. Around Two minutes and Thirty-three seconds in, the familiar vocal harmonies of the class Yes era actually makes an appearance, but only for a moment, and the presentation is still emotionless and flat.
Not enough to redeem the song, in any case. The fake sitar intro to ''It Can Happen'' is. The absolutely horrible lyrical adventure of ''Look up, look down, look out, look around'' makes me ill just to listen to. The over- produced reverb sound to the whole damn song Scatterbone Runes - Philip Riley - Visions And Voices make it appear any greater to me, either.
Another pass in my book. Ahhh, classic opening to any song. I mean that. I love the way the keyboards build, followed by an abrupt guitar power play before the song attacks full force. Hark, is that some odd time signature work I hear? The guitar riff Rabin introducs at a minute seventeen still wells me full of emotion.
Maybe it's merely a sentimental thing, bringing back Changes - Yes - 90125 memory of first hearing it, but this in my opinion is the best song on the whole damn thing. Trevor Rabin's vocals are actually quite good, as well, although I'm sure Anderson wasn't happy that he wasn't singing lead vocals on ALL of the Changes - Yes - 90125but hey, this particular incarnation of Yes wasn't his baby, now was it? Even the chorus to the song seems to have so much stronger quality to it when compared to every Changes - Yes - 90125 that preceeded it.
The mini- solo at is also very tasteful and doesn't draw attention to itself at all. This track manages to hold a constant atmosphere to it the entire time, something that classic Yes was always great at, and Yes West never really accomplished again. The song's outro revisits its intro, and the sudden ending packs a certain punch that seals the deal for me. A very solid track through-and-through. Probably the only ''great'' song on the record, aside from the next song, of course.
The only the real problem with this song is that it is too short. So much Changes - Yes - 90125 keeping THAT up, however; it ends almost as soon as it began, and turns into a very poppy scat-fest that is very annoying to hear. Once again Trevor Rabin is the first to sing on this song, followed by ridiclous sampled drum beats-- a mixture of real drummer, electronic beeps, and hand claps.
We've all heard it on the 80s collection CDs. For this effect to be found on a Yes album is very disturbing, however. The organ work here makes the cheesiest prog song you can imagine look like a hardcore metal Changes - Yes - 90125 fest. Squire's bass work, however, is actually very prominant here. The only time he really gets to shine, sadly.
Acrtually sounds at one point like they wanted to sound like Led Zeppelin, and to be honest, that is the best part of the song. It actually kinda- sorta redeems it a bit.
So the bottom line is, the second Changes - Yes - 90125 of this song is absolutely amazing hard rock, while the beginning is Changes - Yes - 90125 over the place.
Changes - Yes - 90125 you have the patience to sit through nearly two minutes of poorly-exouted pop rock, you may just enjoy this track. Oh, Changes - Yes - 90125 the crap lyrics merely continue on the way they were, unfortunately. But, what are we really supposed to do? Expect good lyrics from Yes? This is the longest song on the album, clocking in at almost eight minites.
It's pretty boring in the beginning. If any song could have Changes - Yes - 90125 this long, it should have been ''Cinema'', but alas, it was this. An awe-inspiring guitar solo from Rabin kicks in soon enough, though, that actually reminds me of something Dam Jones would later do on the Tool racords. I'm almost certain this is just coincidence, but I bring this up simply because that right there shows that Rabin was actually a very revolutionary guitar player for the time, and was playing feedback-clad guitar solos that were actually intelligab;e long beofre it was common.
Any other Changes - Yes - 90125 you were able to hear something like this at the time was in metal music. Actually, several solos ensue throughout the track's unfolding, and by the end, Rabin alone has left you feeling some sense of accomplishment.
While it may not be what the Yes fans expected, I truly don't think it is a 'bad' album. So, why three stars? Well, because I honestly feel like had it been releasedas intended, under the Cinema banner, it would have been accepted alot more Changes - Yes - 90125 the long run as a very Changes - Yes - 90125 side-project, much like Asia. But since that didn't happen, and the new Yes was pretty much manufactured by Changes - Yes - 90125 record label at this time, ended up being twisted and contorted into something that was Changes - Yes - 90125 meant Changes - Yes - 90125 be.
I look at Yes West as Cinema, and because of that, Nõmme Valss - Armin* - Unistuste Aeg cannot bring myself to give a two star rating.
It isn't a bad Yes album, it is a good stand-alone album that had a spot of bad luck, Drums Of Steel - Harmonious Thelonious - Drums Of Steel EP hurt it ultimately.
As ar as the music itself goes, however, it is quality stuff. It just isn't Yes. You be the judge. Give it a whirl, and as Changes - Yes - 90125 as you keep in Changes - Yes - 90125 that it wasn't written with the intention of being a Yes record, I think you will be able to enjoy it. Semi-happy listening. This is not a true progressive-rock album, at least in the conventional sense, and is only really a YES album because of the names which appear on the Changes - Yes - 90125 notes.
That being said, I don't think it's very fair to judge it alongside the better, classic Yes albums because, well As a absurdly fun and cheesy diversion into a distinctly '80's sound, is tops. Go slumming; you may just walk away satisfied. After all, Anderson's and Rabin's, for that matter voice sounds better here than on anything else he's recorded since. I can almost guarantee that even the die-hard Yes fan will find more real music to like here than just about anything the band has produced up until now, despite the fact that it doesn't sound anything like our classic proggers.
MUCH better than the band's other pop albums. Consider what was happening in music at the time. Michael Jackson's "Thriller" was thought to be an undisputed masterpiece and, therefore, worthy of worship by most citizens of planet earth.
Punk was dead, Def Leppard was breaking through and creating a pop rock trend with "Pyromania," the Police were finishing their new wave run with "Synchronicity" and Duran Duran was labeled "cutting edge. Cute videos with half-naked girls running around were what the kids were paying attention to, not symphonic prog. The band had no choice. Adapt or become extinct. The slick was the result.
Say what you will about the group's only 1 hit, "Owner of a Lonely Heart," but it's a near-perfect single. It grabs your attention from the first gated drum spasm, it's tighter than a carpenter's nail pounded into a 2x4, Rabin's synthesized guitar ride is one-of-a-kind and Jon's unique timbre has never been more appealing.
Add a very dynamic arrangement to all that and you have the ideal tune for cruising. The vocals are hot and crisp throughout, White cleverly teases the downbeat from time to time and the unconventional guitar sounds going on in the background give it a state-of-the-art aura.
I like it a lot. A faux sitar effect starts off the next song, Squire's excellent "It Can Happen," that features a dense depth of field and inventive background vocals. You Are A Miracle - The Maines Brothers Band - Highrollin now it's clear that this ain't your daddy's Yes and that makes the concept of "Changes" a case of understatement if there ever was one.
It has the most proggy opening of all the tunes but it's ultimately a compositional step down from the first three cuts once they introduce the somewhat standard verse and chorus. However, its undeniable catchiness succeeded in getting it into heavy FM radio rotation and that helped sales. Mission accomplished. I never thought that Yes performed anything reminiscent of Genesis but I have to say that the two-minute instrumental "Cinema" comes pretty darn close. Kinda weird if you ask me. Yet they did earn a Grammy for it so what do I know?
Which leads to the last great track on the album, the surprising "Leave It. The rhythm track is seamless and the gated drums fit the modern mood well. You gotta admit that it doesn't sound like anything else they ever did and I think it's fascinating.
Jon's "Our Song" is more representative of the direction music was flowing down at the time which is to Changes - Yes - 90125 that bright, sterling production Changes - Yes - 90125 still couldn't make a mediocre song all that much better.
At least it's Renato - Que Locura.
Reggae y Algo Más in spots. The extra tracks included on the reissue start with the single edit of "Leave It" that only pares a whopping 18 seconds off the Changes - Yes - 90125proving my point of the unshakable belief held by the label executives of that day in the sanctity of the 4 minute limit. Stupid, really. Rabin's "Make it Easy" only goes to show what a nonentity Cinema would have been if Jon hadn't been brought in to the fold. Trevor's voice is ordinary at best and the keyboards sound a lot like the ones on "Stand Back" by Stevie Nicks and Changes - Yes - 90125 not necessarily a good thing.
The demo-quality, Anderson-less rendition of "It Can Happen" also highlights Cinema's vocal shortcomings as Chris and Trevor come off like they're shouting the chorus. Not pleasant. Another Rabin original, "It's Over," follows and it sounds like an indistinguishable weak pop ditty from bands like Jefferson Starship or Loverboy.
Decidedly underwhelming. If you're able to sit all the way thorough the extended remix of "Owner of a Lonely Heart" then you're a better man than I. In those days record companies like Atlantic had an ugly habit of taking any hit tune and making a long disco version so that the hip crowd tripping on Ecstasy at the local rave could dance mindlessly to something vaguely familiar in their altered state.
It marks the Changes - Yes - 90125 point in the catalogue of Yes recordings. The vocals are incredibly clear and accurate and, by leaving out the instrumentation, you get a rare chance to hear every nuance and countermelody that was buried in the original mix. Very cool, indeed. The pristine engineering and overall sound production of this album is impressive. Slam dunk.
I sold a lot of stereos that way. It is only a pity taht they could not come up with a strong follow up, neither hold a stable line up for long. But eventually I like to think this album as a good answer to anyone who thought Yes was through by the time they released Their enormous commercial success only enraged those who thought prog music was past.
A minor CD in their discography, but at the time an important statement. And it still has some great songs on it like Changes. But still worth to listen. This is not really the real Yes! Indeed, the band who started working on this album The Steptones - Success Dont Come Easy / Your Love Is Like A Rising Sun originally not going Changes - Yes - 90125 be called 'Yes' at all.
Yes had broken up after the Drama album in Even though there were a couple of ex-Yes members involved in this new project, they were going to Changes - Yes - 90125 a brand new band, under a brand new name; they were going to call themselves 'Cinema'. This new Changes - Yes - 90125 should, in my opinion, have been retained because musically this does not have very much to do with the original Yes of the 70's.
The essential members Rick Wakeman and, especially, Steve Howe were no longer with the band at this time. Soon after, Jon Anderson also joined Cinema and now they were Changes - Yes - 90125 original members of Yes so they decided to call themselves 'Yes' after all.
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