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Product Description
Amazon.co.uk Review
After breaking up at the dawn of the 1980s, Yes made a surprise comeback with this 1983 effort. This album (named after its catalogue number) featured a retooled band line-up, with guitarist Trevor Rabin and original keyboardist Tony Kaye joining long-time members Jon Anderson, Chris Squire, and Alan White. It also unveiled a newly streamlined sound, courtesy of British avant-pop producer Trevor Horn, who'd briefly replaced frontman Anderson on the pre-break-up album Drama. The new approach made these English prog-rock vets sound contemporary at the height of the MTV explosion, spawning memorably catchy hits like "Owner of a Lonely Heart", "Leave It", and "It Can Happen". --Scott Schinder
Product Description
Digitally remastered Rhino ssue w/6 Bonus tracks. Feat Owner of a Lonely Heart, and includes remixes
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Most Helpful Customer Reviews
14 of 14 people found the following review helpful
Format:Audio CD
There was an air of horror among many Yes-fans when this album first came out. Gone was the epic, indeed quasi-symphonic, sound of old - this was a band who, through Trevor Horn's production and new guitarist Trevor Rabin's heavier tendencies, was embracing the future. What's more, the future worked!
The glossy sheen of these songs still sounds fantastic, and "Owner of a Lonely Heart" is a great pop song (calm down all you prog fans to whom the word 'pop' is anathema!), but Yes hadn't entirely abandoned their penchant for the grandiose, as many of the other tracks testify.
The sleeve notes make it plain that this was almost a Chris Squire/Trevor Rabin project until Jon Anderson was lured back to the fold, and the Cinema version of "It Can Happen" gives a hint of what this group might have sounded like.
My only (slight) problem with this re-release is that it omits the opportunity to include some other remixes that were issued at the time (I've got them on a cassette single and I'd like to get them on CD before the tape wears out!).
The glossy sheen of these songs still sounds fantastic, and "Owner of a Lonely Heart" is a great pop song (calm down all you prog fans to whom the word 'pop' is anathema!), but Yes hadn't entirely abandoned their penchant for the grandiose, as many of the other tracks testify.
The sleeve notes make it plain that this was almost a Chris Squire/Trevor Rabin project until Jon Anderson was lured back to the fold, and the Cinema version of "It Can Happen" gives a hint of what this group might have sounded like.
My only (slight) problem with this re-release is that it omits the opportunity to include some other remixes that were issued at the time (I've got them on a cassette single and I'd like to get them on CD before the tape wears out!).
12 of 12 people found the following review helpful
Format:Audio CD
After the Drama album and tour of 1980, Jon Anderson replacement Trevor Horn went into music production and guitarist Steve Howe eloped with keyboardist Geoff Downes to form the hugely successful Asia. That left bassist Chris Squire and drummer Alan White to pick up the pieces.
Although they never admitted that Yes had split up, there was no doubt that it was over. However, along came guitarist/keyboardist/songwriter/producer Trevor Rabin, followed by original Yes keyboard player, Tony Kaye. They formed a group called Cinema which looked set to record with Trevor Horn as producer, and then Jon Anderson, who had got to hear some of the Cinema music, decided he wanted to sing on it, and a new look eighties version of Yes was born.
There is more to 90125 than meets the eye. To say it's a commercial sell out is quite untrue.
'Owner Of A Lonely Heart' may have chart/radio friendly appeal, but the vocals and bass playing are distinctly Yes. It also benefits from some exciting Trevor Rabin guitarwork. It works as almost a 'Roundabout' for the eighties.
'Hold On' is typical 1980's arena rock, but the vocal harmonies are unmistakably Yes.
'It Can Happen' is a traditional Yes number with a Steve Howe esque sitar/guitar sound and a memorable melody.
'Changes' has some complex instrumental passages, hammered home with some powerful drumming, and good vocal interplay between Anderson and Rabin.
'Cinema' is a good instrumental workout which I feel should have opened the album, and this leads into the poppy 'Leave It'. I must admit I'm not a fan of this track, but having said that, it works as almost a 1980s version of 'Your Move' from The Yes Album.
'Our Song' is a fairly forgettable track despite some useful keyboards from Kaye, but next track 'City Of Love' is a real show stopper with some unfamiliar hard rock style vocals from Anderson.
Album closer 'Hearts' is the longest track on the album and is arguably the best track on 90125. The vocals and lyrics are typically Yes-like and the instrumental section is quite superb with hard rock guitar, wrapped around Tony Kaye's classy hammond organ solo, reminiscent of the first three albums that he played on.
The production is probably the best and most innovative of all Yes records, and the modern cover and band logo indicate a fresh approach for a newer band, more relevant to changing musical tastes.
The music on 90125 may be more accessible than any previous Yes record, but the individual performances from the band members are excellent throughout. Special mention has to go to Trevor Rabin who plays as if Steve Howe had never existed. In fact his impact on this album is a similar one to Howe's on The Yes Album. He takes the bull by the horns and gives it everything on guitar. His songwriting is also first class. Rick Wakeman has always admitted that he would have loved to have played in this incarnation of the band, so that has to count for something.
Yes had to make this album if there was any chance of the band continuing to make music in the future. As a Yes record, it is a pivotal one in their history. Taken on it's own, it's a simply cracking album.
Although they never admitted that Yes had split up, there was no doubt that it was over. However, along came guitarist/keyboardist/songwriter/producer Trevor Rabin, followed by original Yes keyboard player, Tony Kaye. They formed a group called Cinema which looked set to record with Trevor Horn as producer, and then Jon Anderson, who had got to hear some of the Cinema music, decided he wanted to sing on it, and a new look eighties version of Yes was born.
There is more to 90125 than meets the eye. To say it's a commercial sell out is quite untrue.
'Owner Of A Lonely Heart' may have chart/radio friendly appeal, but the vocals and bass playing are distinctly Yes. It also benefits from some exciting Trevor Rabin guitarwork. It works as almost a 'Roundabout' for the eighties.
'Hold On' is typical 1980's arena rock, but the vocal harmonies are unmistakably Yes.
'It Can Happen' is a traditional Yes number with a Steve Howe esque sitar/guitar sound and a memorable melody.
'Changes' has some complex instrumental passages, hammered home with some powerful drumming, and good vocal interplay between Anderson and Rabin.
'Cinema' is a good instrumental workout which I feel should have opened the album, and this leads into the poppy 'Leave It'. I must admit I'm not a fan of this track, but having said that, it works as almost a 1980s version of 'Your Move' from The Yes Album.
'Our Song' is a fairly forgettable track despite some useful keyboards from Kaye, but next track 'City Of Love' is a real show stopper with some unfamiliar hard rock style vocals from Anderson.
Album closer 'Hearts' is the longest track on the album and is arguably the best track on 90125. The vocals and lyrics are typically Yes-like and the instrumental section is quite superb with hard rock guitar, wrapped around Tony Kaye's classy hammond organ solo, reminiscent of the first three albums that he played on.
The production is probably the best and most innovative of all Yes records, and the modern cover and band logo indicate a fresh approach for a newer band, more relevant to changing musical tastes.
The music on 90125 may be more accessible than any previous Yes record, but the individual performances from the band members are excellent throughout. Special mention has to go to Trevor Rabin who plays as if Steve Howe had never existed. In fact his impact on this album is a similar one to Howe's on The Yes Album. He takes the bull by the horns and gives it everything on guitar. His songwriting is also first class. Rick Wakeman has always admitted that he would have loved to have played in this incarnation of the band, so that has to count for something.
Yes had to make this album if there was any chance of the band continuing to make music in the future. As a Yes record, it is a pivotal one in their history. Taken on it's own, it's a simply cracking album.
22 of 23 people found the following review helpful
Format:Audio CD
An absolute gem of an album, proving that, irrespective of the vagaries of fashion, talent will out. Yes descended into something of a chaotic state after "Tormato" with all manner of splinter groups, super groups and solo projects taking place. "Drama" was little more than a holding exercise, but with the recruitment of Trevor Horn (ex-Buggles) on production duties, Yes were leading the field yet again.
There are no duff tracks (altho' "Changes" and "Hold On" are a little AOR for my liking), and "Owner of a Lonely Heart", "It Can Happen", "Our Song" and "Hearts" are absolutely breathtaking - power pop combined with stunning musicianship and fantastic arrangements. It wipes the floor with any of the 5-minute-wonder rubbish that passes as rock these days.
The album was recorded in 1983, but it sounds space-aged even today, thanks to the genius of Trevor Horn. The remaster is just fantastic - I've just listened to it on a rubbishy £30 Matsui stereo and it STILL sounds miles better than the original CD issue. Generous provision of extra tracks and informative sleevenotes too.
Anyone who wants to understand why Yes are SO much more than "prog rock dinosaurs" (GOD I hate that phrase) - BUY THIS ALBUM!
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Most Recent Customer Reviews
An 80s Masterwork
Yes had defined much of the Progressive and Mainstream rock music of the 1970s with brilliant albums such as 'Fragile' 'Close To The Edge' and 'Going For The One' but by the early... Read more
Published 8 months ago by P. Ronayne
Still brilliant after all these years.
I bought this to preserve the life of my vinyl.
The basic album remains fabulous and a classic, but the extras are not too great and should have been omitted.
The basic album remains fabulous and a classic, but the extras are not too great and should have been omitted.
Published 19 months ago by C. M. Mckenna
Yes meet Miami Vice!
I remember hearing 'Leave It' on Noel Edmond's Swap Shop. It was only a snippet but it stuck in my head for years. It didn't sound like anything else I'd heard up to then. Read more
Published on 6 April 2010 by B. Attenborrow
Rating only for the RHINO Remastered/Expanded version - music fine -...
Have just spotted that a review on one particular itemn is applied to all versions of the item.
My very low rating and following review applies only to the Remastered/Expanded... Read more
My very low rating and following review applies only to the Remastered/Expanded... Read more
Published on 9 Feb 2010 by JB eclectic
What 'Drama' should have been
The first thing to say about this is that Trevor Horn finally shows where his talent is - production. Read more
Published on 10 Jan 2008 by AnOldGoat
CLASSIC
First off i admit that initially i did not like this album, like many other fans of classic yes I believed that yes had become a pop band. Read more
Published on 4 Nov 2006 by Aqualung
big, big, BIG, B I G, sound!!
Love this and pleased to get remastered version; music made for digital age
Some dubious inclusions including a rather unnecessary extended remix of OoaLH, lacklustre ICH and... Read more
Published on 3 Feb 2006 by Hill Walker
A pretty good pop/rock album, but not Yes
Owner of lonely heart is a great song, made even better by Jon Anderson singing it rather than Rabin. Read more
Published on 22 Aug 2005 by T. J. Stickland
A few good songs, but it's not Yes at their best.
Owner of a lonely heart is a very good pop/rock song that is given that extra something by Jon Anderson's voice and the way the song lifts towards the end. Read more
Published on 22 Aug 2005 by T. J. Stickland
Bought out of curiosity.
DAMN, DAMN and again DAMN!!!
I saw this new reissue as a second time around remaster.
The first remasters came out in 1994 or thereabouts. Read more
I saw this new reissue as a second time around remaster.
The first remasters came out in 1994 or thereabouts. Read more
Published on 12 May 2004 by S. T. Garratt
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