Yes: The Yes Album : Music Reviews : Rolling Stone

Album Reviews

With one notable exception, Yes' configuration has remained stable since the first of its three albums was released two years ago. Singer John Anderson spearheaded Yes then and still does. But some time after Yes recorded its second album, Time and a Word, guitarist Peter Banks left the band to replace Mick Abrahams who had similarly abandoned Blodwyn Pig. Before anything much happened with the newly aligned Blodwyn, Kim Simmonds lured bassist Andy Pyle and drummer Ron Berg over to Savoy Brown. What Banks is doing now is anybody's guess. His replacement in Yes is Steve Howe, a guitarist of equal caliber who featured prominently on Yes' third record.

The Yes Album differs from its two predecessors in several respects. For the first time, everything the group performs is original material. Although Yes deserves praise for having matured to the point where it can supply enough of its own songs for an entire album, I personally miss hearing one or two versions of someone else's songs, like "I See You" and "No Opportunity Necessary, No Experienced Needed," which the group arranged and performed brilliantly on its first and second albums, respectively. In addition, the material consists of fewer short songs and more lengthy pieces. The only three-minute tracks on this record are "The Clap," Steve Howe's acoustic guitar quickie recorded at one of Yes' concerts in London, and "A Venture," a straightforward rocker sandwiched between a pair of longer compositions on the second side. Each of the album's four long tracks are carefully structured and allow for greater instrumental freedom than their shorter counterparts. Frequently, a particular melodic theme first stated by one musician is echoed by another, such as in "Yours Is No Disgrace" and "I've Seen All Good People." Organist Tony Kaye, guitarist Howe and bass player Chris Squire play as though of one mind, complementing each other's work as a knowledgeable band should. Squire in particular deserves to be singled out for his creative bass work throughout the entire album. Bill Bruford's tasteful drumming never falls in the way of the other musicians.

As for the vocals, Yes has an ear for harmony and takes full advantage of this asset. Squire and Howe supplement Anderson's delightful leads with harmonies in the upper register. On the first hearing, Yes' vocals may seem too perfectly matched to be enjoyable and this has presented the group with its chief obstacle toward mass acceptance. Because there is no deep voice to counter the sound of Yes' falsetto harmonies, some have refused to accept the group and its unusual vocal style. If Yes were to change its format by adding a singer who can contribute a lower voice, then the band would lose its distinctive identity. The high-pitched singing is what sets Yes apart from myriad other British bands who can also play their asses off, a qualification that has become all too commonplace now-adays.

Forget your inhibitions and take The Yes Album home with you. It may not cure the common cold, but you'll never get sick from hearing it.