In 1973 one of the most controversial albums is published, not only of Yes, but of symphonic rock and music in general of all time. His previous work, "Close to the edge" set the bar so high that it seemed impossible to even approach him. If we add the handicap of the march of Bill Bruford to the ranks of King Crimson, with the consequent problem of looking for a battery of its quality, it certainly seemed quite complicated to release the next album, not only from the point of view in terms of composition, but also of coupling to the new member of the band, since Alan White would occupy.
Of course, the way to solve the problem could not be more risky: Alan White does not even have the name (he had previously worked on John Lennon's Plastic Ono Band, among others, nothing to do with progressive rock), nor the technique of Bruford, despite which we must recognize that he does a great job in "Tales from ...", probably with "Relayer", the best thing he has done in Yes. On the other hand, a double conceptual album with four long songs (one for each side of each vinyl) was released, based on the interpretation that the Yogi Paramhansa YOGANADA had on the philosophy of life, through a series of ancient writings in Sanskrit Indian or "vedas" dating back to 1500 BC and that Jon Anderson, in his spare time between concerts during his tour of Japan, discovered while reading the autobiography of the aforementioned Yoghi.
Everyone knows Jon Anderson's fondness for Eastern philosophies, so it is not surprising that he quickly began to compose the texts and that together with Steve Howe, they would compose in the marathon nightly hotel sessions, between concert and concert, the complicated music that shaped these texts.
The result? . Well, just that. A double dense album as few, with long and complicated passages, with some texts about the philosophy of life and the cosmos, that perhaps, for better or worse, they got a little out of hand, giving rise to one of the more complex and less commercial albums that one can imagine and that generated that fans of both Yes and the symphony in general, loved him or hated him in equal parts, at that time when it was published, the closest fans of the band doubted if buy the disc or not, and many did not.
Even within the same band, something similar happened, since, in the words of Wakeman himself, it was unbearable and boring to have to interpret any of these songs on his subsequent tour to promote the album. Curious at least, if we check the excellent work of the keyboardist in this album. Maybe it was Wakeman's excuse to leave the band and start his solo career. Many treat this pompous and grandiloquent work. Perhaps it is, but it contains many of the most beautiful passages written by Yes, especially as far as Wakeman is concerned, without a doubt his best work both outside and inside the band. Without a doubt, a fundamental album, especially for mellotron lovers.
An album that needs a few listeners to get into it. And it has a special magic. The first time I heard it, he told me absolutely nothing and even seemed boring. Subsequent listening you were gradually taking out the enormous potential that hides, until becoming for me, along with A "Close to the edge" and "Relayer" in one of my favorite albums of the band.
Of course it is not an album at all recommended to be introduced in the music of Yes for those who are not lovers of the group and are some scholars in the field, since it can cause an absolute rejection of their music. Certainly, at certain times it is difficult and long to digest. But for those who are more involved in the band's career and have listened to other albums, the reward of being able to extract those dense passages not only sound, but of light and color that this album hides, although sometimes it costs more than account to stay focused, is ... reincarnation ?.
I remember that when I listened to it on vinyl, it opened its magnificent cover of Roger Dean (impressive!) And I was dumbfounded contemplating that fantastic painting and listening at the same time to those disturbing passages full of keyboards of "The remembering", or in "The revealing science of god. " An experience like few others, in which the mysticism that Jon Anderson managed to give to this album, is spread at certain times, making us climb very high….
Let's open the book of life and immerse ourselves in this wonderful world from which, if we get through the first doors ... it will be very difficult to get out of it ....
Four tracks make up album one for each side of the four vinyl records:
1.-The Revealing Science of God (Dance of the dawn)
A long vocal introduction to several voices gives us the premises about the search for God. Complex theme, in which after the aforementioned vocal introduction, the whole band gives way, which for 20 minutes tries to solve the puzzle about the answers we seek. Throughout the whole theme there are different passages in which the whole group shines in unison. For me it is the best song on the album. Difficult to highlight someone, and even White does a more than correct job, in a subject that is not easy to capture percussion. Squire as always brilliant, like Howe, and a great Wakeman, all of them wrapping up the many parts sung by an inspired Anderson. The keyboards in this album sound different than "Close to the edge". Less organ and more moog curtains, mellotrons and synthesizers that envelop everything, giving each theme, especially this and the following, "The Remembering", beautiful atmospheres that were never surpassed, except in rare occasions, as in "Soon ”, The final part of“ The gates of delirium ”, or in“ Awaken ”.
2.- The remembering (High the memory)
Possibly one of the best works Wakeman did in Yes. Its impressive sound curtains create an unsurpassed atmosphere. Close your eyes and travel through the mind. Well, that's what the text is about, everything in our head and in our thoughts, and how those thoughts have developed over time ... A season full of colors and shapes, of lights and shadows, full of smells, happy sometimes ... disturbing others, skillfully mixed with certain folk touches, nothing casual, because this work as a whole is like a journey through civilizations, full of nuances and aromas of the most diverse. And when a smile is drawn on our face, again and always recurring on this subject, that imposing keyboard curtain appears again that immerses us again in restlessness or melancholy.
3.- The Ancient (Giants Ander the sun)
Without doubt the most experimental theme of the album, in which the guitars of Howe and the "tribal" percussions of White bear much of the weight of the subject. Another trip back in time, in which we are reminded of all the knowledge that our ancestors left us and that we must know how to cultivate and take advantage of. Strange subject, in which after a long introduction by Howe and White, a melancholic mellotron appears and multiple voices follow each other. Continuous changes of rhythm follow. Pure experimentation. The subject closes with Howe's excellent work with the Spanish guitar, accompanied by Anderson's texts. Despite this, for me the most irregular songs on the album.
4.- Ritual (Nous sommes du solei)
The theme that closes the double album is perhaps the most round and most accessible of all. In it Anderson sings us about the Ritual of life, about the struggle of good and evil. Cutting theme similar to the first, in which again the entire band returns to develop its full potential.
The part of the chorus sung in French ("Nous sommes du solei") is a real delight, and one of the most delicate passages interpreted by the group, with a mellotron that puts the creeps. A guitar-sitar part appears, which fits perfectly within the entire oriental framework that the plot of the album implies. And all this seasoned by a multitude of sung passages and choirs, wisely mixed with such a complex musical scheme. Suddenly some strange percussions appear, as if it were a tribal dance, with an extraordinary White, to which a powerful mellotron joins. It is the theme of this album that most times the band performed live, perhaps also for being the most accessible of the four.
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