- CD de audio (23 de julio de 2002)
- Número de discos: 1
- Formato: Audiolibro, CD
- Sello: US Import
- ASIN: B00008G71Q
- Disponible también en: CD de audio | Casete de audio | Disco de vinilo | Música MP3
- Valoración media de los clientes: 4.0 de un máximo de 5 estrellas Ver todas las opiniones (2 opiniones de clientes)
- Clasificación en los más vendidos de Amazon: nº92 en Música (Ver el Top 100 en Música)
Anderson Bruford Wakeman & Howe Audiolibro, CD
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Descripción del producto
Jon ANDERSON, Bill BRUFORD, Rick WAKEMAN & Steve HOWE Jon Anderson, Bill Bruford, Rick Wakeman & Steve Howe CD
Lista de canciones:
1. Themes I. Sound II. Second Attention III. Soul Warrior
2. Fist Of Fire
3. Brother Of Mine I. The Big Dream II. Nothing Can Come Between Us III. Long Lost Brother Of Mine
5. The Meeting
6. Quartet I. I Wanna Learn II. She Gives Me Love III. Who Was The First IV. I'm Alive
8. Order Of The Universe I. Order Theme II. Rock Gives Courage III. It's So Hard To Grow IV. The Universe
9. Let's Pretend
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Su único estudio es del 89 y supone lo mejor de Yes en años. Excelente rock sinfónico, alternando temas cortos y suites más o menos largas, complejos arreglos combinados con instrumentación mucho más moderna. Los teclados de Wakeman incorporan influencias de la world - music (ese ritmo caribeño en "Teakbois") y la batería de Bill Bruford añade componentes electrónicos (en mi opinión demasiados, suena excesivamente tecno). El grueso son composiciones de Howe-Anderson, mientras que Wakeman aporta un par de piezas. "Themes" es una buena apertura (esa batería...); "Fist of fire" es excelente, brilla Wakeman; "Brother of mine" es lo mejor del disco, magnífica composición de Howe, grandes coros. La antinuclear "Birthright" es más oscura. "The meeting" es lo más bonito de Wakeman en lustros, gran pieza. La cara B es más sosa, lo más potable el potente "Order of the Universe". Cierra una antigua pieza de Anderson/Vangelis, "Let's pretend" solucionada de forma acústica.Leer más ›
Musicalmente es un disco normalito, sin grandes temas pero con el sonido y la personalidad inconfundible de sus miembros.
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Singer Jon Anderson left the band in 1988, tired of tension with co-founder bassist Chris Squire, and power moves by guitarist Trevor Rabin. Rabin, while the newest member of Yes, was determined to seize control of the band, intent on spending the "political capital" he earned being the main writer of the 1983 #1 comeback hit, "Owner of a Lonely Heart."
Anderson then recruited three former Yes cohorts, reuniting 4/5 of the classic Yes line-up that recorded such early 70s milestones as "Fragile" and "Close to the Edge." He even tried to take back the Yes name, but this was blocked by Squire, the hold-out 1/5 of the classic line-up.
Thus Anderson's rival Yes was forced to trade under the band members' names, "Anderson Bruford Wakeman Howe." Their first and only album, a Yes album in all but name, is a very good, but not perfect, return to Yes' early 70s glory years.
On the plus side, while 80s Yes produced music with standard pop structure and length, ABWH returns to the template of 70s Yessongs. A number of tracks are mini-epics, up to 10 minutes in length. Further, they're adventurous and divided into different movements - you never know what's going to happen next.
Anderson's lyrics are once again mystical and spiritual. Finally, the expert guitar work of Steve Howe and prodigal keywords of Rick Wakeman bring back expert musicianship with a force.
On the downside, Squire's presence is sorely lacking. Many consider him the greatest and most innovative bassist ever, and while Tony Levin is an excellent replacement, he's no Chris Squire. Also, Anderson's vocals are sometimes shrill without Squire's great backing vocals to anchor them. Finally, Squire is a determined perfectionist, sort of a quality control expert; he could have focused the album into a classic.
There are five solid songs on the album: three groups efforts and two quasi-duets. "Quartet" is the best of the group songs, a magical, serendipitous journey, which opens with acoustic guitar and climaxes in a heavenly orchestral swirl. Reminiscent of the Yes classic "And You and I," it easily sits along the band's all-time best.
"Brother of Mine" is a solid, muscular prog excursion, with expert musicianship and multiple segments. The opening track "Themes" is exciting and adventurous; the four Yes men are having fun experimenting with musical variations.
The piano-drive "The Meeting" is delightful and etheral, while the acoustic guitar/vocal "Let's Pretend" is pure brief, magic, floating like a butterfly in summer.
On the downside, certainly the worst track on the album is heavy-handed, ugly "Fist of Fire." Thankfully it's short. "Birthright" is a leftover from Howe's mediocre GTR band, and should have stayed as such. "Teakbois" is ok, but do we really need calypso from Yes?
It's a shame Squire wasn't part of ABWH. ABWH could have been called Yes, and with his input, the album could have joined the all -time Yes classics of the '71-'77 era. Nonetheless, it's a very solid album of progressive rock, and well worth adding to your collection.
One year later when I had become a big fan of both seventies Yes music and the eighties part I borrowed the CD from my friend's dad, listening to it more seriously. I realized it was an album you should listen to pretty loud to appreciate while it has a lot of ingrediens of different sounds and arrangements that you miss otherwise. At the same time as it's complicated music, it's not complicated to prove the skills of the musicians but to make the music sound very "much" music in terms of many notes of music hitting you ears frequently. At the same time that the music has a fresh approach it has a lot of ingredients that make Yes music from the seventies so special and good. It's pompous, creative, emotional, beutiful, interesting, powerful, it has a new approach and the musical skills of the members from the seventies Yes. Can it be better?
They say music can heal illness, and I think the music that Anderson and company gives us here is a good example of that. The music always makes me think about sunlighted fields of grass with a blue heaven and it makes me feel delighted and happy and in love (especially Quartet). So as you can see it's an album that means very much to me and that I feel a personal connection to. Maybe you will get it as well..
Recommended if you like the seventies Yes and don't discard everything of the music that was delivered in 80's music as crap ;).
For anyone who got lured into Yes in 1983 through 90125, and dug up the even better history of classic Yes albums, the period 1983 to 1989 would equal as The Great Music Depression (generally speaking).
Prog-rock albums were just so hard to find. Vinyl versions were mostly out of print, and only a marginal number of prog albums had been converted to CD format. Everything on radio (let alone the internet that wasn't WWW yet) was dominated by Bon Jovi - Bananarama - Whitney Houston types. In short, it was the hardest period to find anything good - let alone prog', past or present at that time. It was in this context of sissy 80s glam rock oppression (Big Generator wasn't that inspiring either) - that suddenly ABWH was released. It was the greatest liberating moment after such a decade of boredom.
ABWH sounded fresh considering that the members hadn't played together for 17 years, and also fresh in terms of hearing classic 'prog' structures played with current technology. Sure, there are moments on the album that would sound dated today (particularly Rick's array of plastic-sounding Korg digital keyboards, and Bill's dabbling in Simmons drums), but overall the musical quality shone through - one aspect that Trevor Rabin's Yes sorely lacked on 1987s Big Generator (Big Generator just sounded too dull and repetitive).
Gave it 4 stars for lacking Squire's irreplaceable backing vocals.(Tony Levin on bass/stick is OK, though)
Many posts have sufficiently reviewed the tracks - so nuff said.
Chris Squire. I wish he was on this recording, but did anyone listen to the BIG GENERATOR bass work that CS did? Barely bass on that recording. So, the absent bass player wanted to keep on NOT playing bass in the Trevor Rabin configuration of YES. I love Chris Squire (and if you check out the Bass Playing on the new YES release MAGNIFICATION, you really can see how he can still play) but he was absent in the 80's. No wonder JA went out to find some folks to play with.
Most of the negative reviews are pretty amusing... people will say... 'this is not a YES recording' or the classic statement... 'This cd has a couple of good tracks like 'birthright Fist of Fire and Brother of Mine but the other tracks are horrid.'
Look folks. If indeed the only three good tracks were BIRTHRIGHT FIST OF FIRE AND BROTHER OF MINE this album would be great anyway. Rick Wakeman getting bashed about for the wonderful recording of THE MEETING is totally baffling.
Yes fans are neurotic, but the inability to enjoy a good recording because someone is not in it that you like or you think it is not CLOSE TO THE EDGE PART SIX is pretty interesting.
Yes is a soap opera, every line up is a new season. Watching people getting booted out of this band has provided me with a lifetime of enjoyment, music aside.
The third track is the longest on the CD. While "Brother of Mine" has elements of traditional progressive Yes, the third part of this song, "Long Lost Brother of Mine," has portions where the song sounds like it belongs to the soundtrack of the Disney movie "Brother Bear." I like the opening portions, "The Big Dream," which is the best part of this track, and the middle portion, "Nothing Can Come Between Us," but the third part has too many non-Yes elements to be a winner.
The beginning of "Birthright" reminds me a lot of the Yes CD "Union." The song then changes to a unique Yes style. This song is a great combination of lyrics and instruments, and is one of my favorites from this CD. The song is also political, documenting the explosion of an atomic bomb by the British government in 1954 at Woomera. Many aborigine people were not contacted prior to the explosion. The instruments have their turn in this song, with guitars and drums taking the lead early on, and Wakeman's synthesizers blasting to the forefront in the final third of the song. The aboriginal flavor added to the end of the song by the drums is excellent. This song is a winner.
"The Meeting" is a beautiful, uncharacteristic Yes song that worked for me. This song is pretty, staid, and lovely. I know the song really fits poorly on this CD, but I still enjoy this song. The bulk of the music focuses on a piano, with some synthesizer in the background, but the piano is such a lovely instrument when played as it is in this song that the piano alone makes this song a very good song.
Yet another song with a style similar to that of "The Meeting" is "Quartet." Once again the music is quiet and mellow, with occasional moments that sound similar to traditional Yes. I was also reminded at points of the music that Jon Anderson sang for the soundtrack of "Legend." There are references to Yes's songs, such as "Long Distance Runaround" and "Gates of Delirium." However, the song seems like a retrospective rather than self-congratulatory. At the time I reviewed this CD I was feeling somewhat mellow, and this elegant song struck a chord with me (no pun intended).
The next song falls flat. "Teakbois" is the first Jamaican flavored song I recall having heard from Jon Anderson, or Rick Wakeman, or Steve Howe, or Bill Bruford. I hope it is the last. There were places in the song where I was wondering if the music was part of the Disney Main Street Electrical Parade, or part of a CD by members of Yes. This song is the weakest on the CD. However, I did like the lyric, which was repeated a little too often, that went "some of you didn't get it." I think that holds true for many of the people who dismiss Yes.
While the following song, "Order of the Universe," also has moments that I describe as Disneyesque, this song also has some good moments. Overall the song is interesting with similarities to several eras of Yes. The song is somewhat better than most of the songs on this CD, but less than the better songs in Yes's portfolio.
This CD ends with another lovely song, "Let's Pretend." Perhaps this song should be the song of all our lives. Often we take things, including reviewing and reviews, far too seriously. While this music stays away from the cutting edge music of Yes's past, it is such a pretty little song that it is easy to like. Yes is best when they are singing of the more ephemeral subjects of life, and pretending smacks of fantasy and the X-Files and late night B-science fiction movies. Sometimes I need music like this to remind me that life should be fun.
I have mixed feelings about this CD. There is stuff on it that I like. There is stuff on it that I think is too derivative. On the other hand, these four gentlemen decided that they had a musical statement to make independent of Yes, and it was their musical right to try to recover some measure of the style of early Yes.
Every day that goes by makes me more wistful of days gone by when music was better. Of course, it is not true; music today is just that, it is today's music. Twenty years from now my children will be wistful for music of today, and wonder why the quality is not as good as it was. So when Anderson, Bruford, Wakeman and Howe make a good attempt to regain what they thought made Yes unique from twenty years earlier, let's pretend they made it.