Yes – 90125

One of the most triumphant and sadly all too ephemeral career revivals in music history, “90125” is notable for being the first official Yes studio album since their 1981 split. Having gone through several formations, the band were not household names at the time of their most recent breakup, nor were they experiencing what could be termed as commercial success. “90125” was not only responsible for familiarizing the uninitiated with the band, but also their reformation. Initially titled Cinema, the project - and intended new band of Chris Squire and Alan White - grew to include two talented Trevors: jobbing musician Rabin and Buggles frontman Horn. South African-born session guitarist Rabin and synth whizz-cum-producer Horn were the unlikely pair charged with getting Squire and White’s project off the ground. Squire and White’s brainchild was no more, even if they were still involved rather inconspicuously in the capacity of bassist and drummer respectively, with Rabin overseeing proceedings ably assisted by Horn. Upon the late arrival of founding members Jon Anderson and Tony Kaye, who exited during the recording process as a result of his restricted creative input and general dissatisfaction with Rabin and Horn, Cinema changed their name to Yes and “90125” was given further stimulus and utility. Evidently, the ensuing recordings contrasted greatly with all previous incarnations of Yes, featuring at once melodic and mellow compositions even recognised as potential hits in demo form. Between Rabin’s rock-based songcraft, Horn’s instinct for immediacy, Anderson’s distinctively soaring vocals and mystical contributions and Kaye’s (or is it Rabin’s?) shimmering synth work, discernible remnants of acknowledged Yes remained in the mix, albeit in a rapidly engaging and incessantly listenable configuration.

Prior to the band rehearsals, “90125” was developed by Horn and Rabin as purposely straightforward and commercially viable rock with electronic flourishes, courtesy of drum machines and sequenced keyboards. In spite of various quibbles over the pop-oriented arrangements of several songs, the remaining members set aside their reservations to make the necessary adjustments to the Yes formula that, unbeknownst to them, would satisfy the cynicism, consumerism and short attention spans of the burgeoning MTV generation - a cultural force that primarily helped to promote catchy, attractively packaged pithy pop songs in a rock context, which is what Horn and Rabin concertedly realized. And self-evidently, they succeeded. Owing to the majority of the album’s contents stemming from newcomer Rabin’s incredibly accomplished demos, the ultra-modern Yes formation were able to concentrate their energies on reinterpreting his contributions without sacrificing cogency and the band’s core sound. In lieu of challenging improvisations and elaborate compositional techniques were densely dynamic productions replete with thoroughly pleasing yet restrained bass lines and basic drum beats, prominent keyboard parts and near-virtuoso guitar solos executed with contrasting tones, giving the impression of intricacy and versatility. Rabin and Horn’s direct approach to the production and the enmeshment and proficiency of all involved engendered the symphonic yet radio-friendly quality of the singles, one of which, “Owner of a Lonely Heart”, was a monster hit all over the world in 1983, thus broadening the band’s audience and earning them numerous plaudits. From the oft-sampled, surprisingly heavy but no less pop-oriented crossover smash "Owner of a Lonely Heart,” harmony-laden MTV hit "Leave It,” sublimely dynamic “It Can Happen” and prog-leaning lone group effort "Hearts" the album is comprised of punchy, rhythmic yet instrumentally controlled presentations. Even the seemingly throwaway live instrumental recording “Cinema” is crucial to the pacing of the album as well as reconciling its bombastic first side and the minimalistic second side. Unthinkable though it was for fans of their five-minute solos and fantasy-themed narratives, emphasizing digestibility and momentum inevitably occasioned a Yes album with universal appeal. As much as the multi-part suites, pageantry and pomp are part of the history of Yes, such codes and conventions registered as outmoded and arcane by 1983, with AOR emerging as the streamlined, infinitely more accessible successor to the unviable progressive format, featuring strong chorus hooks and a pronounced American rock sensibility whilst retaining a semblance of grandiosity and unconventionality.

“90125” contained a surfeit of conspicuously anthemic, arena-ready hooks, melodies and harmonies delivered with intensity and vitality by veterans Anderson, Squire and White. Decidedly unconcerned with artistic value, the Rabin-led incarnation of Yes took the well-established stadium rock model to another level, transcending its trappings and comfortably fitting into the musical landscape of the time, absorbing elements of disparate genres; from classical music to new wave and of course, progressive rock. It may be anathema to some critics, but the Rabin-led incarnation of Yes was the band operating at the peak of their powers, embracing (some members rather reluctantly) new musical trends and utilizing their collective experience and awareness of the industry and its pliable procedures. “90125” was the culmination of that metamorphosis; the spellbinding sound of a polymorphous company of consummate artists once again in reinvention mode, only in this instance, such drastic modifications would generate untold moments of magic and take them to unprecedented heights.

Rating: 5/5

Hearts is a classic of the "Afro Cosmic" sound played at 45 rpm

The planned catalogue number and title was 90104 at first, but due to an error in the internal numbering system of Atlantic, it was changed to 90125. 90104 was assigned to this release: Ilhan Mimaroglu - Musiques Noires.