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In choosing the band name \u201cYes\u201d in 1968, five young Brits aimed to personify the positive spirit of the ambitious music they wanted to make\u2014expansive, adventurous, and full of possibility.<\/p>\nIn choosing the band name \u201cYes\u201d in 1968, five young Brits aimed to personify the positive spirit of the ambitious music they wanted to make\u2014expansive, adventurous, and full of possibility.<\/p>\n
Over the course of more than five decades since, the band has persevered through myriad lineup changes while releasing somewhere in the neighborhood of 200 songs ranging in length from half a minute to 22, and ranging in style from bleeding-edge progressive rock to mainstream arena rock to mild-mannered adult contemporary. It\u2019s a rich catalog of songs of wildly divergent approaches (and quality) to explore and consider\u2014which is why we\u2019ve done exactly that.<\/p>\n
Before we begin, a few words about what is and isn\u2019t here.<\/p>\n
The base for this exercise is the studio albums the band has issued to date\u201420 full albums plus the studio material from three part studio, part live releases: Keys To Ascension<\/i> 1<\/i> and 2<\/i>, and From A Page<\/i>. Beyond that, the bonus tracks from the 1991 YesYears<\/i> boxed set are included because several of them are significant to the band\u2019s story. As for the remaining strays and empty-the-vaults studio jams tacked onto the 2002 In A Word<\/i> boxed set and the 2003 album reissues, sorry, but you have to draw a line somewhere and those leftovers-from-the-leftovers would just further clutter up the bottom end of this 176-track list. Similar reasoning kept out the almost-Yes music of Anderson Bruford Wakeman Howe<\/i>, even though some of it is quite good. No alternative or early versions of later released tracks are included here either, nor live versions, nor remixes, just the originally released studio versions. Finally, the three tracks found on the second disc of 2021\u2019s The Quest<\/i> are included because current bandleader Steve Howe has insisted they are not in fact bonus tracks, but rather part of that album (careful what you ask for). \u00a0<\/p>\n
The Yes family tree looks like a briar patch that was flooded with Miracle-Gro, but a dozen-plus band member names will inevitably come up below: co-founders Jon Anderson (lead vocals), Chris Squire (bass and vocals), Bill Bruford (drums), Tony Kaye (keyboards), and Peter Banks (guitar); early recruits Steve Howe (guitar), Rick Wakeman (keyboards), and Alan White (drums); and later additions Trevor Horn (lead vocals), Geoff Downes (keyboards), Trevor Rabin (guitars, keyboards and vocals), Billy Sherwood (guitar, bass and vocals), Oliver Wakeman (keyboards), Benoit David (lead vocals) and Jon Davison (lead vocals).<\/p>\n
Much like one of their 20-minute epics, the Yes catalog is presented here in seven interlocking segments, from\u2014in one particular writer-slash-fan\u2019s obviously subjective opinion\u2014worst to best:<\/p>\n
The Truly Awful
The Somewhat Embarrassing
The \u201cMeh\u201d
The Not Bad
The Pretty Good
The Very Good
The Great<\/b><\/p>\n
Finally, most quotes in the text below are taken from my reviews of these albums<\/a>. Drumroll, please…<\/p>\n 176. \u201cMan In The Moon,\u201d Open Your Eyes<\/i>:<\/b> You know that spouse\/sibling\/friend you\u2019ve always wanted to convince to like your favorite prog band? Yeah, don\u2019t play this for them.<\/p>\n 175. \u201cMystery Tour,\u201d The Quest<\/i>:<\/b> I love the Beatles too, but this song is more sophomoric than an actual busload of second-years.<\/p>\n 174. \u201cStep Beyond,\u201d Heaven & Earth<\/i>:<\/b> If the thudding rhythm section and blithering-nonsense lyric don\u2019t get you, the car-alarm synth might.<\/p>\n 173. \u201cDamaged World,\u201d The Quest<\/i>:<\/b> As a vocalist, Steve Howe is a heck of a guitar player.<\/p>\n 172. \u201cThe Game,\u201d Heaven & Earth<\/i>:<\/b> Yes plays sing-songy electro-pop; please don\u2019t.<\/p>\n 171. \u201cIt Was All We Knew,\u201d Heaven & Earth<\/i>:<\/b> Sometimes you hear a song and just ask \u201cWhy?\u201d<\/p>\n 170. \u201cI Am Waiting,\u201d Talk<\/i>:<\/b> \u201cWhat this band really needs is more songs that sound like Journey rejects.\u201d<\/p>\n 169. \u201cWalls,\u201d Talk<\/i>:<\/b> The word \u201cinsipid\u201d rendered in musical form.<\/p>\n 168. \u201cTo Ascend,\u201d Heaven & Earth<\/i>:<\/b> Easy Listening Yes is not something I recall anyone asking for.<\/p>\n 166(t). \u201cDangerous (Look In The Light Of What You\u2019re Searching For),\u201d \u201cHolding On,\u201d Union<\/i>:<\/b> In which Jon Anderson and co-producer Jonathan Elias replace the rest of the band with session musicians and hope no one notices. (We did.)<\/p>\n 165. \u201cLight Of The Ages,\u201d Heaven & Earth<\/i>:<\/b> Remember that guy who sold bottles of air? They weighed more than this song.<\/p>\n 164. \u201cArriving UFO,\u201d Tormato<\/i>:<\/b> Coming soon on Netflix: a six-part docudrama explaining how this song ever made it onto an album.<\/p>\n 163. \u201cClear Days,\u201d Time And A Word<\/i>:<\/b> In case you ever wondered if there was a ballad so airy that even Jon Anderson couldn\u2019t hit the high notes.<\/p>\n 162. \u201cThe Man You Always Wanted Me to Be,\u201d Fly From Here<\/i>:<\/b> In which Yes records an advertising jingle for a self-help book, or something.<\/p>\n 161. \u201cBig Generator,\u201d Big Generator<\/i>:<\/b> OMFG, WTAF.<\/p>\n The Somewhat Embarrassing<\/p>\n 160. \u201cThe Ancient (Giants Under The Sun),\u201d Tales From Topographic Oceans<\/i>:<\/b> A frequently atonal epic-length train wreck that only escapes the previous category by virtue of the startlingly lovely and completely out of place \u201cLeaves Of Green\u201d segment.<\/p>\n 159. \u201cIn A World Of Our Own,\u201d Heaven & Earth<\/i>:<\/b> A world between sleep and waking, perhaps?<\/p>\n 158. \u201cLife On A Film Set,\u201d Fly From Here<\/i>:<\/b> \u201cRiding a tiger\u201d has never sounded less exciting.<\/p>\n 157. \u201cMusic To My Ears,\u201d The Quest<\/i>:<\/b> Slumbery and disposable, with a discordant bridge that feels spliced in.<\/p>\n 156. \u201cAlmost Like Love,\u201d Big Generator<\/i>:<\/b> Hey kids: too many cups of coffee are not good for you.<\/p>\n 155. \u201cAbilene,\u201d YesYears<\/i>:<\/b> If you\u2019re thinking the sound of horses neighing is not how a good Yes song typically begins, you\u2019re not wrong.<\/p>\n 154. \u201cSomehow\u2026 Someday,\u201d Open Your Eyes<\/i>:<\/b> I\u2019ve\u2026 got\u2026 nothing. (And apparently neither did they.)<\/p>\n 152(t). \u201cAngkor Wat,\u201d \u201cTake The Water To The Mountain,\u201d Union<\/i>:<\/b> For all practical purposes Anderson solo tracks, both lack any fire or impact.<\/p>\n 151. \u201cBelieve Again,\u201d Heaven And Earth<\/i>:<\/b> Not-terrible verses jump the melodic tracks at the chorus.<\/p>\n 150. \u201cHour Of Need,\u201d Fly From Here<\/i>:<\/b> Strains hard to echo airy acoustic numbers from years gone by, but no sale here.<\/p>\n 149. \u201cLove Shine,\u201d Open Your Eyes<\/i>:<\/b> When \u201cbouncy and chirpy\u201d are the best things you can say about a song\u2026<\/p>\n 147(t). \u201cReal Love\u201d \/ \u201cState Of Play,\u201d Talk<\/i>:<\/b> Like I said before<\/a>: \u201cflabby\u2026 pompous\u2026 wanker.\u201d<\/p>\n 146. \u201cDare To Know,\u201d The Quest<\/i>:<\/b> Three-part harmonies are the only thing that lifts this mostly tedious track out of the doldrums.<\/p>\n 145. \u201cI’m Running,\u201d Big Generator<\/i>:<\/b> \u201cHey, let\u2019s cram every single idea we come up with in the next five minutes into one song and use a random word generator for the lyric.\u201d<\/p>\n 144. \u201cThe Solution,\u201d Open Your Eyes<\/i>:<\/b> When the 16-minute ambient coda is more intriguing than the actual song\u2026<\/p>\n 143. \u201cWithout Hope, You Cannot Start The Day,\u201d Union<\/i>:<\/b> Quiet then thumping, it may or may not have any actual members of Yes on it beyond Anderson and, in a couple of places, Howe.<\/p>\n 142. \u201cNo Way We Can Lose,\u201d Open Your Eyes<\/i>:<\/b> Anthems to optimism should not plod.<\/p>\n 141. \u201cDon\u2019t Go,\u201d Magnification<\/i>:<\/b> In their defense, how many times has an attempt by middle-aged proggers to write a radio single actually gone well?<\/p>\n 140. \u201cLeave Well Alone,\u201d The Quest<\/i>:<\/b> A mildly intriguing opening minute of light prog-funk that never leads anywhere.<\/p>\n 139. \u201cSilent Talking,\u201d Union<\/i>:<\/b> Same old Union <\/i>story; this one at least has a decent Howe riff at its core.<\/p>\n 138. \u201cFinally,\u201d The Ladder<\/i>:<\/b> Three minutes of Big Generator<\/i> lite abruptly cross-cuts to a wispy two-minute ballad. Wha?<\/p>\n 137. \u201cThe Messenger,\u201d Open Your Eyes<\/i>:<\/b> At least Squire has some fun on this otherwise forgettable tribute to Bob Marley.<\/p>\n 136. \u201cFuture Memories,\u201d The Quest<\/i>:<\/b> A haunted acoustic ballad with pinpoint slide accents; pretty but plain.<\/p>\n 135. \u201cSaving My Heart,\u201d Union<\/i>:<\/b> Imagine, if you will, a Rabin song featuring reggae verses and a chorus where he tries to out-twee Anderson. (Or better yet, don\u2019t.)<\/p>\n 134. \u201cWonderlove,\u201d Open Your Eyes<\/i>:<\/b> A Charlie Brown Christmas<\/i> tree of a song whose spindly branches are weighted down with every gimmick \u201980s Yes ever tried.<\/p>\n 133. \u201cA Living Island,\u201d The Quest<\/i>:<\/b> Sounds like a co-write with Christopher Cross, except not that good.<\/p>\n 132. \u201cCircus Of Heaven,\u201d Tormato<\/i>:<\/b> Contender for The Most Twee Song Ever Released by an Alleged Rock Band.<\/p>\n 131. \u201cHoly Lamb,\u201d Big Generator<\/i>:<\/b> See above, but with Rabin Power Chords\u2122.<\/p>\n 130. \u201cMinus The Man,\u201d The Quest<\/i>:<\/b> Lilting yet lifeless.<\/p>\n 129. \u201cSoft As A Dove,\u201d Magnification<\/i>:<\/b> \u201cMadrigal\u201d with an orchestra, anyone? (Anyone?)<\/p>\n 128. \u201cLove Conquers All,\u201d YesYears<\/i>:<\/b> A strong vocal arrangement featuring Rabin, Sherwood and Squire isn\u2019t enough to rescue this \u201csaccharin wankfest<\/a>.\u201d<\/p>\n 127. \u201cTo Be Alive (Hep Yadda),\u201d The Ladder<\/i>:<\/b> \u201cIt doesn\u2019t get much better than this\u2026\u201d (Haha, just kidding; it definitely does.)<\/p>\n 126. \u201cSubway Walls,\u201d Heaven & Earth<\/i>:<\/b> The only track on this album that shows any life whatsoever is still an awkward jumble of poorly-stitched-together ideas.<\/p>\n 125. \u201cFinal Eyes,\u201d Big Generator<\/i>:<\/b> YesWest at its Westest; half Rabin crunch, half Anderson fairy dust.<\/p>\n 124. \u201cIt Will Be A Good Day (The River),\u201d The Ladder<\/i>:<\/b> \u201cHey Jon.\u201d \u201cYeah Steve?\u201d \u201cLet\u2019s write a ballad that sounds like an Asia B-side.\u201d \u201cUhhh\u2026 oh sure, why not.\u201d<\/p>\n 123. \u201cShock To The System,\u201d Union<\/i>:<\/b> In which Steve Howe tries to chord-crunch like Rabin (if that\u2019s even him; it might not be).<\/p>\n 122. \u201cMoney,\u201d YesYears<\/i>: <\/b>A White Album<\/i>-esque lark that at least shows the band has a sense of humor.<\/p>\n 121. \u201cMake It Easy,\u201d YesYears<\/i>:<\/b> A Rabin solo song that Yes happens to play on; its snappy central riff and pulsing momentum can\u2019t quite extinguish the strong odor of Loverboy.<\/p>\n The \u201cMeh\u201d<\/p>\n <\/b>Over the years the band has released numerous instrumentals. A few are notable; many others felt either too familiar or too inconsequential to have much impact. Here fall several of the latter group:<\/p>\n 120. \u201cEvensong,\u201d Union<\/i>:<\/b> A 51-second lullaby for proggers. 111. \u201cWhere Will You Be,\u201d Talk<\/i>:<\/b> \u201cPleasant fluff\u201d is not what you\u2019re typically hoping for from Yes.<\/p>\n 110. \u201cIf Only You Knew,\u201d The Ladder<\/i>:<\/b> In which Yes attempts a power ballad; it\u2019s actually not as terrible as that might sound\u2014just completely unnecessary.<\/p>\n 109. \u201cThe Remembering (High The Memory),\u201d Tales From Topographic Oceans<\/i>:<\/b> The \u201cmagic mint tea\u201d had definitely kicked in; a handful of good ideas drowning in a meandering stew.<\/p>\n 108. \u201cMan In A White Car,\u201d Drama<\/i>:<\/b> Blink and you\u2019ll miss this mysterious little bit of filler.<\/p>\n 107. \u201cTime Is Time,\u201d Magnification<\/i>:<\/b> A brief, folky Anderson coda that floats away on a breeze of strings.<\/p>\n 106. \u201cFrom The Turn Of A Card,\u201d From A Page<\/i>:<\/b> An Oliver Wakeman-Benoit David duet where the latter sings in his natural register for once; it\u2019s fine for what it is.<\/p>\n 105. \u201cYesterday And Today,\u201d Yes<\/i>:<\/b> The first in a decades-long string of airy Anderson folk tunes; gentle, pastoral, almost plaintive, it goes down easily but leaves little impression. <\/p>\n 104. \u201cMiracle Of Life,\u201d Union<\/i>:<\/b> A upbeat Rabin tune with momentum and not much else.<\/p>\n 103. \u201cNine Voices (Longwalker),\u201d The Ladder<\/i>:<\/b> Lightweight, \u201cYour Move\u201d-adjacent New Age filler.<\/p>\n 102. \u201cThen,\u201d Time And A Word<\/i>:<\/b> An Anderson tune whose beginning and ending vocal sections feel like disconnected fragments sandwiching an unrelated proggy jam in the middle.<\/p>\n 101. \u201cCan I?,\u201d The Ladder<\/i>:<\/b> More filler, this time a playful Anderson snippet, a world music chant that interpolates with callbacks to \u201cWe Have Heaven.\u201d<\/p>\n 100. \u201cThe Western Edge,\u201d The Quest<\/i>:<\/b> Mid-tempo AOR, elevated by a clever vocal arrangement.<\/p>\n 99. \u201cThe Prophet,\u201d Time And A Word<\/i>:<\/b> A Kaye showcase early on, this number exposes how much this lineup struggled trying to incorporate an orchestra; every time the strings come in they feel like intruders.<\/p>\n 98. \u201cSister Sleeping Soul,\u201d The Quest<\/i>:<\/b> An appealing hook rescues this otherwise rather pedestrian folk-prog number. <\/p>\n 97. \u201cEndless Dream,\u201d Talk<\/i>:<\/b> In which Johnny Power Chords tries really really hard to write an epic and delivers an incoherent jumble that \u201cends up sounding like a parody of Yes<\/a>.\u201d<\/p>\n 96. \u201cMadrigal,\u201d Tormato<\/i>:<\/b> \u201cHey, you know that Renaissance feel we tried last year on \u2018Turn Of The Century\u2019? Let\u2019s try that again.\u201d<\/p>\n 95. \u201cCity Of Love,\u201d 90125<\/i>:<\/b> A brawny, thumping Rabin solo tune that Yes happens to play on.<\/p>\n 94. \u201cFrom The Balcony,\u201d Open Your Eyes<\/i>:<\/b> \u201cLeaves Of Green\u201d part two, anyone?<\/p>\n 93. \u201cLift Me Up,\u201d Union<\/i>:<\/b> Anderson adds incidental vocals to a Rabin solo tune that sounds like Billy Squier fronting Invisible Touch<\/i>-era Genesis.<\/p>\n 92. \u201cEverydays,\u201d Time And A Word<\/i>:<\/b> Yes transforms a Stephen Stills song into a lounge jazz number.\u00a0A driving mid-song jam leads to an adventurous Banks solo, but overall it\u2019s a muddle.<\/p>\n 91. \u201cCan You Imagine,\u201d Magnification<\/i>:<\/b> A decent Squire solo tune with Yes and an orchestra accompanying.<\/p>\n 90. \u201cInto The Lens,\u201d Drama<\/i>:<\/b> In which Trevor Horn wants very badly to be a camera.<\/p>\n 89. \u201cA Venture,\u201d The Yes Album<\/i>:<\/b> The least consequential song of the entire Yes Album<\/i>-to-Going For The One<\/i> \u201cmain sequence,\u201d it has a nice bounce to it, but not much else.<\/p>\n 88. \u201cOnward,\u201d Tormato<\/i>:<\/b> Pretty, if insubstantial.<\/p>\n 87. \u201cThat, That Is,\u201d Keys To Ascension<\/i>:<\/b> Nineteen minutes of cascading, at times intriguing Howe and Anderson bits where many of the patchwork seams have failed (and one of the worst song titles ever).<\/p>\n 86. \u201cFuture Times \/ Rejoice,\u201d Tormato<\/i>:<\/b> There\u2019s probably a decent four-minute song lurking in the debris of this underproduced 6:46 heap of ideas.<\/p>\n 85. \u201cThe Calling,\u201d Talk<\/i>:<\/b> Being the least bad song on an album full of them is not the compliment some might wish it was; a melodic rocker that desperately wants to soar but never manages to get off the ground.<\/p>\n 84. \u201cBe The One,\u201d Keys To Ascension<\/i>:<\/b> A warm-up for better songs to come on KTA 2<\/i>, with some quality instrumental bits overlaid with a hazy New Age lyric.<\/p>\n The Not Bad<\/p>\n 83. \u201cWe Agree,\u201d Magnification<\/i>:<\/b> I agree that some judicious edits could have improved this overlong track.<\/p>\n 82. \u201cInto The Storm,\u201d Fly From Here<\/i>:<\/b> Frothy and playful, leaning into the harmonized pop side of the band\u2019s multiple musical personalities, though it never really goes anywhere. <\/p>\n 81. \u201cI Would Have Waited Forever,\u201d Union<\/i>:<\/b> Tries hard in places, but only the layered vocal arrangement and Howe\u2019s urgent central riff raise this above filler.<\/p>\n 80. \u201cNew State Of Mind,\u201d Open Your Eyes<\/i>:<\/b> An \u201980s-style rocker with solid dynamics and harmonies.<\/p>\n 79. \u201cThe Ice Bridge,\u201d The Quest<\/i>:<\/b> Asia keyboard tones aside, there\u2019s sufficient drive and complexity to make this the strongest track of the Jon Davison era.<\/p>\n 78. \u201cSpirit Of Survival,\u201d Magnification<\/i>:<\/b> Some strong instrumental bits tucked in between the lines of Anderson\u2019s never-ending lyric.<\/p>\n 77. \u201cRun Through The Light,\u201d Drama<\/i>:<\/b> An airy, somewhat lurching tune featuring zippy Howe solos.<\/p>\n 76. \u201cUniversal Garden,\u201d Open Your Eyes<\/i>:<\/b> A moderately successful attempt at marrying the band\u2019s \u201970s and \u201980s styles, though the seams are still apparent.<\/p>\n 75. \u201cIn The Presence Of,\u201d Magnification<\/i>:<\/b> Some engaging bits and a strong finish, but with a cloying core melody and (again) not enough room for the instrumentalists to stretch out.<\/p>\n 74. \u201cThe Gift Of Love,\u201d From A Page<\/i>:<\/b> A 10-minute suite from the 2008-11 Benoit David-Oliver Wakeman lineup; some intriguing moments though it ends up a bit underwhelming.<\/p>\n 73. \u201cOur Song,\u201d 90125<\/i>:<\/b> As warm and fuzzy as \u201cHearts,\u201d but this time about the joy of making music.<\/p>\n 72. \u201cSweetness,\u201d Yes<\/i>:<\/b> Another gentle ballad with Anderson cooing romantically, executing a gradual build; they\u2019ve made plenty better and plenty worse. <\/p>\n 71. \u201cGive Love Each Day,\u201d Magnification<\/i>:<\/b> Interesting shifts in tone and tempo and good incorporation of the orchestra.<\/p>\n 70. \u201cWords On A Page,\u201d From A Page<\/i>:<\/b> That rare bird, a prog ballad that works, thanks to Oliver Wakeman\u2019s rippling piano, a gently lilting core melody, and Howe\u2019s sky-hugging solo.<\/p>\n 69. \u201cWe Have Heaven,\u201d Fragile<\/i>:<\/b> A trifle, but a witty, entertaining one.<\/p>\n 68. \u201cNo Opportunity Necessary, No Experience Needed,\u201d Time And A Word<\/i>:<\/b> Lively early Yes that rides a wave of energy for the first half, whereupon the orchestra disappears, only to return two minutes later playing a Western movie score. Ambitious but chaotic.<\/p>\n 67. \u201cRelease, Release,\u201d Tormato<\/i>:<\/b> A punchy rock number whose impact is undercut by a silly chorus and cringey fake crowd noise on the bridge.<\/p>\n 66. \u201cFly From Here,\u201d Fly From Here<\/i>:<\/b> The 30-years later answer to \u201cWhat if they\u2019d recorded an epic for Drama<\/i>?\u201d features dense layers of keys from Downes, angular Howe riffage, throbbing Squire bass, and crisp Horn production. Not one of their best, but a credible attempt. <\/p>\n 65. \u201cLeave It,\u201d 90125<\/i>:<\/b> A.k.a. Fun With Multitracked Vocals.<\/p>\n 64. \u201cCans And Brahms,\u201d Fragile<\/i>: <\/b>Rick Wakeman at his Wakeman-est.<\/p>\n 63. \u201cSurvival,\u201d Yes<\/i>:<\/b> Their first suite (though not labeled as such), with a heavy opening giving way to a plaintive middle section with rich harmonies, before the opening motif returns for a powerful finish.<\/p>\n 62. \u201cSweet Dreams,\u201d Time And A Word<\/i>:<\/b> Rudimentary compared to what was to come, but energetic and harmony-rich.<\/p>\n 61. \u201cLooking Around,\u201d Yes<\/i>:<\/b> A driving pop-rock tune with a late-Beatles feel, strong vocal arrangement, shifting time signatures and propulsive Squire bass. <\/p>\n
The Truly Awful<\/p>\n
119. \u201cFive Per Cent For Nothing,\u201d Fragile<\/i>:<\/b> In which rascally Bill Bruford takes the piss for 35 whole seconds.
117(t). \u201cVevey Pt. 1,\u201d \u201cVevey Pt. 2,\u201d YesYears<\/i>:<\/b> Anderson and Wakeman enjoy a peaceful interlude with the church organ and harp used on \u201cAwaken.\u201d
116. \u201cMontreux\u2019s Theme,\u201d YesYears<\/i>:<\/b> There might have been a song in there if they\u2019d ever developed this one.
115. \u201cSolitaire,\u201d Fly From Here<\/i>:<\/b> Steve Howe can play some acoustic guitar.
114. \u201cMasquerade,\u201d Union<\/i>:<\/b> See above, but with more energy.
113. \u201cAmazing Grace,\u201d YesYears<\/i>:<\/b> Chris Squire can play some bass guitar.
112. \u201cSign Language,\u201d Keys To Ascension 2<\/i>:<\/b> A meandering but enjoyable Howe-Wakeman duet.<\/p>\n