Yes: Talk CD Track Listing

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Yes Talk (1994)
Originally Released March 22, 1994\nCollector's Edition (on Spitfire Records) with ''The Calling (Special Version)'' and in-depth sleeve notes released March 19, 2002\n\nAMG EXPERT REVIEW: The tenth lineup of Yes features Jon Anderson, Trevor Rabin, Tony Kaye, Chris Squire, and Alan White. Talk makes some effort to get away from the group's indulgent art rock pretensions, at least to the extent of using a spare, spacious production full of closely miked drums and sharp guitars. (No wonder, since guitarist Trevor Rabin produced the record.) Rabin and Anderson are the main composers, and they fail to come up with really distinctive songs, which may help explain why this album had a lower chart peak than any new Yes album since 1972 and a shorter chart run than any Yes album except the compilation album Classic Yes. In other words, a disaster. -- William Ruhlmann\n\n\nAMAZON.COM CUSTOMER REVIEW\nRabin was bad for Yes, November 24, 2005\nReviewer: Black Juju 64 "Cooper obsessor"\nIronically Rabin gave Yes fame, but some of the music created by these guys with Czar Rabin was horrible. The only song worthy to be called a Yes song is the last long song. BUT, the other songs are pretty much Rabin disposable. A friend of mine went berzerk when this album came out and called it Yes's best. Totally absurd. In fact Yes had been teenie bopper seekers up to this point. Thank goodness this was their last with Rabin. \n\nThe Ladder is much much better, here we have Yes as an antithesis of who they really are.\n\n\nAMAZON.COM CUSTOMER REVIEW\nA kind of return to form for Yes, September 17, 2005\nReviewer: todd "3-LOCKBOX" (WA USA)\nThis is a very maligned album for this line up. Certainly, Trevor Rabin is all over this one, since he co-wrote most of the songs, produced it, mixed it, added some digital percussion and reportedly re-recorded some of the other members parts as well (alledgedly). So in essence its a Rabin solo project. I could be put-out by that, except that its the second best 'Rabin era' YES-west album ( #1 would be 90125). \n\nThe songs on this CD are no different than the songs on other YES-west albums. There are a few duds. No, its not that they suck, its just that they bog down the rest of the songs in that they seem to have the same mechanical feel that some of the songs off the Big Generator album do. The good songs, like The Calling, I Am Waiting, and their best epic-length song since the album Going For The One, Endless Dream, find this line-up at its most cohesive in years. State Of Play, a decent song, with Rabin's guitar up-front and in your face, is a tad out of place, while Real Love sounds like it could've been cut from the Big Generator album and Walls is dispensible. \n\nMy favorite track is the superb I Am Waiting, with its melodic, soft verses and its soaring chorus, repleat with Rabin's best showing at the guitar is as good as anything Jon Anderson has written in 25 years. \n\nThis album is every bit as good as the much acclaimed Keys Studio album. Recommended.\n\n\nAMAZON.COM CUSTOMER REVIEW\nUnderrated gem, July 8, 2005\nReviewer: John Wyant (Romsey, UK)\nWhen this first came out, it passed me by somewhat. I had heard 'Walls' on the radio, and was really impressed, so I was slightly disappointed that the other tracks weren't quite up to that standard. I listened to it a couple of times, and relegated it to the 'OK, but it's not "Fragile"' pile. \n\nIronically (given the industry's attitude to these sort of things), it was hearing a 'live recording' of the accompanying tour that made me re-assess the original album. The simple fact was that, played live, these tracks easily held their own against the rest of the back catalogue. Re-listening to the studio versions, I was very pleasantly surprised by what I heard. \n\n'The Calling' starts things off nicely, with its uplifting chorus and stop-start bridge. 'I am Waiting' has the usual trick of having quiet verses with a powerful chorus. 'Real Love' is just extraordinary - I am finding it really difficult to compare it to anything else - and it contains probably one of the heaviest guitar solos in any Yes song. \n\nAnd so it goes on, until we reach the magnum opus 'Endless Dream'. Anyone who claims that Trevor Rabin doesn't understand prog rock obviously hasn't heard this track. Complex time signatures, excellent musicianship, recurring themes, dramatic mood changes - they're all here, and in spades. \n\nSo if, like me, you had side-lined this album, give it another go - throw off any pre-conceptions, even pretend it's not Yes, if you really have to, but accept that this album has some great music which any Yes-fan can, and indeed, should, enjoy. \n\n\nAMAZON.COM CUSTOMER REVIEW\nRabin's Best Solo Album, May 19, 2005\nReviewer: Kirk Lott "a strange and unusual person" (adrift on the seas of life)\nYes is often controversial. There's even debate about which of the band's albums is most controversial, and "Talk" is certainly a leading contender. \n\nReleased in 1994 by the "90125" line-up (Anderson-Kaye-Rabin-Squire-White), the album was this line-up's closest to 70s-style prog. And for that reason, many Yes fans praise "Talk." In contrast, many simply reject anything associated with Rabin, the heavy-handed, jack-of-all-trades, master-of-none. \n\nAnd indeed, it's Rabin's ego that's the biggest problem with "Talk." Sure, he's multi-talented, but "Talk" is practically a solo album. He produced it, engineered it, played all guitars, and sang some lead vocals. He wrote almost all the music, digitally `fixed' the drums, seized all keyboard duties except the Hammond organ (Yes had heretofore always had a full-time keyword player), and apparently even played some uncredited bass. This left for very little room for contributions from Anderson, Kaye, Squire and White. \n\nBefore `Talk,' Yes was mostly a democratic affair, with strong input from five highly-talented musicians. If Rabin had simply synergized with the incredible talents of Anderson, Squire, et al, instead of trying to prove to the world that he could make a Yes album all by himself, "Talk" would have been great instead of just good. \n\nSo how's the album? Reasonably good, with a solid opening and closing, and an awful middle. \n\nThe opening "The Calling" is pleasant AOR-prog, with a spine-tingling instrumental middle and Hammond solo. "I Am Waiting" is hauntingly romantic, and features some wonderful Yes harmonies. \n\nClosing out the album, "Where Will You Be?" is classic, spaced-out Anderson at his celestial best. And "Silent Spring" is Rabin's relatively good attempt at a Yes epic. \n\nHowever, the three songs in the middle leave much to be desired. "True Love" is an ugly, lumbering grunge work out. "State of Play" is simplistic and discordant. "Walls," the all-time worst Yes single, is a complete disaster. Sung by Rabin and featuring a distinctly country vibe, it doesn't sound like Yes - and doesn't even sound like good country. It could have ended the band's career. \n\nWhile "Talk" isn't one of Yes' best albums, it's still a worthwhile addition to this band's catalogue and your collection. \n\n\nAMAZON.COM CUSTOMER REVIEW\nTalk, talk, listening, August 22, 2004\nReviewer: Tyler Pence "Juvenile product of the working class" (Dayton / Cincinnati area)\nWhen I revisited Talk (1994) recently, I realized I had to put my foot in my mouth, because I said that in my review of Anderson Bruford Wakeman Howe that Yes couldn't make a good album without Chris Squire, while they could without Jon Anderson (my proof: ABWH vs. Drama). Although I'll take the liner note's word that Chris Squire played bass on this album, it sure sounds like any session player could have replicated the basslines on Talk. Chris Squire is effectively invisible on this album. \n\nHowever, look past all that, and you're left with a pretty decent album. It certainly doesn't sound like Yes, though- everyone who said that it sounds like a Trevor Rabin solo effort (with special guest Jon Anderson) is right on the money. Overall, the songs are kind of unadventurous and pedestrian, but, aside from the sickeningly sweet "Walls," never bad. "Where Will You Be" is a good example- it's pleasant and well crafted, but ultimately unremarkable. "State of Play" sounds like the best song on Union- a compliment, but not much of one. \n\n"The Calling" is the album's best song. The lyrics are goofy (how'd someplace like Lenasia get name-checked?), but it's wonderfully upbeat and a perfect example of what Trevor Rabin has done right in all his albums with Yes- great guitar playing and keen pop-rock sensibility. "I Am Waiting" is a very beautiful, powerful love song and is probably the piece on Talk most reminiscent of other Yes albums- Steve Howe could do this song justice (indeed, there was a rumor they rehearsed "I Am Waiting" for their 35th Anniversary Tour only to toss it). \n\n"Real Love" is a dark and moody song that I've come to like a lot. Alan White really shines on this song- Talk may be one of the best Yes albums when it comes to drums. The token epic, "Endless Dream," meanders a little and could've done without the "Silent Spring" instrumental section, but it's memorable for Jon Anderson's gorgeous singing. \n\nAnd throughout the album, it seems that keyboardist Tony Kaye was actually given something to do- he has a solo in "The Calling" and embellishes "Real Love" just right, among other things. All after sitting on the sidelines for most of his tenure in this version of Yes (did you actually think that was him on "Owner of a Lonely Heart?"). \n\nTalk isn't nearly as good as Big Generator, but I think it's more or less equal in quality to 90125. I did, however, take a long, long time to warm up to this album. It's kind of tough to enjoy this as a Yes album, but it's still good.\n\n\nAMAZON.COM CUSTOMER REVIEW\nWhen it's good, it's good....when it's bad....it's sickening, February 7, 2004\nReviewer: K. GOFF (Coplay, PA USA)\nActually, I give this a 3.5...I've seen this album ripped in the press, and I think that's a tad unfair. \nI rate Yes albums one of two ways...there are some albums where most or all songs are masterpieces (Close to the Edge, Going for the One, Fragile), and then there are those albums where half the songs are wonderful and show incredible promise for the album as a whole, and half the songs are just plain embarrassing! \n\nTalk falls into the the latter category. There are songs here that I have played over and over again (Calling, Real Love, State of Play, and the first half of Endless Dream) and consider them every bit as good as the top-rated material on 90125. \n\nBut then there's the other half of the album. "I am Waiting" isn't horrible, but it's very much overdone. "Walls" and "Where will you be" are weak. The 2nd half of "Endless Dream" is a letdown. I believe someone from Yes referred to Endless Dream as the 'Awaken' of the 1990's. For the first 6-7 minutes, maybe...but certainly not as a whole.\n\nWhile stylistically different, this album reminds me of Tormato, which had a handful of awesome songs and then some 'throw-ins'. \n\nIf you're looking to pick up a couple of reallly good songs, get this album. But if you're looking for a return to the glory days, you'll be a bit disappointed.\n\n\nAMAZON.COM CUSTOMER REVIEW\nDecent recording but least Yes-like album ever, May 8, 2003\nReviewer: Chris (Marlborough, MA USA)\nIf one looks at this as a Trevor Rabin solo release with guest musicians from the Rabin-era version of Yes, that is how to most accurately describe this release in my opinion. With 90125 and Big Generator, there was clearly some input from other members, particularly Jon Anderson and Chris Squire. Jon Anderson and Chris Squire may have helped write some of the 'Talk' songs but there is almost no evidence of Chris Squire's signature bass and Jon Anderson's vocals are less out front than on the the other Rabin-era Yes recordings. Also, Tony Kaye is credited on Hammond organ but you'd be hard-pressed to hear an organ on most of 'Talk'. Trevor Rabin plays all the other keyboards. Only Alan White's drumming is the same as usual. As far as the music goes, aside from it not really being Yes as most of us know it, it's quite good, challenging at times but in my mind doesn't stand out as one of the highlights when compared with the remainder of Yes' catalog.\n\n\nAMAZON.COM CUSTOMER REVIEW\nYes? No, it doesn't seem to be, December 5, 2002\nReviewer: Mael (Oz)\nWell, all I can say is this: If you're a Trevor Rabin fan, you'll probably like this disc. If you're a Yes fan, on the other hand -- especially a Chris Squire fan -- I'd stay away from it.\nThere have been rumors surrounding this one for years, all of them having to do with how much the other band members contributed. I've read accounts that say Tony Kaye barely plays keyboards on this. And one of the more extreme rumors that has been around for years is that Chris Squire writes and contributes vocals -- but not bass guitar, or at least not much. According to these stories, Rabin wiped most of Squire's bass tracks and re-did them himself, mostly on keyboard.\n\nIs it true? I can't say for sure, but I sure as hell don't hear as much of the trademark Squire bass sound on this disc as, say, oh, any other disc in the Yes catalogue.\n\nAnd Rabin left the band after this. There was a time gap there, but some explained that away by saying Squire didn't listen to the album for a long time and wasn't aware of what (allegedly) had happened. Interesting note, though: Squire, at that point, had been the only member of Yes to appear on every single album. According to some sources, he owned the name by that point.\n\nDid Squire basically give Rabin his walking papers after this disc?\n\nUnfortunately, there are more questions than answers here. But my ears give me one good answer: This is a pretty but sterile, intriguing but overproduced album. If you're interested in the Anderson/Kaye/Rabin/Squire/White version of YES, check out 90125 or Big Generator instead, and that way you won't have to worry yourself with all the loose talk about TALK.\n\n\nAMAZON.COM CUSTOMER REVIEW\nVastly Misunderstood Masterpiece, August 1, 2002\nReviewer: Howie "tomas" (United States)\nThe only explanation I can think of for the childishly negative reviews posted here is that the "reviewers" don't undestand what is happening on this album - nor do they understand what was happening in Yes at the time.\nYes had just come off a vastly successful 8-piece world tour supporting the disappointing UNION album. That album was an overblown mess (except for the Yes-West stuff), and deservedly received scorn from the fans, *and* the band. Yet the tour was triumphant - generating alot of excitement and "buzz" in the fan base.\n\nAfter the tour, there were promises made of Yes continuing as an eight-piece, but those plans slowly faded, so Yes-West decided to carry on. Yet the fan base, hopelessly confused and polarized by this point (and this hasn't changed in the intervening years, only gotten worse with terrible albums like THE LADDER and MAGNIFICATION), was giving the band contradictory advice.\n\nRabin, being the visionary he is, follows no muse but his own, so he proceeded to shut out the noise of the nadering nabobs, regoup Yes, and plunge ahead. The result is TALK, a mesmerizing and fulfilling album that blends the best of 80s Yes with the best of 70s Yes.\n\nUnfortunately for the band, Rabin left and no one stepped in to take the helm. The polarized fan base began having an undue influence on band decisions, and a series of schizophrenic and wildly unsuccessful albums followed. This succeeded in doing two things: shrinking the fan base to a short list of hardcores (witness the low turnout at Yes concerts since TALK), and stripping the band of any credibility in the music business (witness their inability to put out a record on anything *but* obscure, slum-lord labels like Beyond and Purple Pyramid - both of whom are now out of business).\n\nTALK may well represent the last of the truly *great* Yes albums. And this, I think, is what sticks in the Rabin-Bashers' craws: that Trevor, working closely with Jon Anderson, could come up with something so sublime and perfect, something so poweful and compelling.\n\nIt's a thrill to see this album available once again. Immerse yourself in it's sonic clarity and rejoice.\n\n\n\nAMAZON.COM CUSTOMER REVIEW\nOK, I'll talk., June 7, 2002\nReviewer: "kidamadeus" (Warner-Robins, Georgia United States)\nI remember reading a two-word review of this CD in Spin magazine when it first came out. The reviewer's comments? "Shut up." I swear, that was the entire review! That same reviewer is probably writing glowing page-long reviews of Christina Agulara now. \nWhile TALK is not as bad as all that, it is far from being a classic Yes recording. "State of Play" and the three-part suite "Endless Dream" are among the better Yes songs of the 90's. But therein is the problem: Yes music has not been great through this decade. Most of the output from this period just seems to lack ambition. \n\nGranted, even weak Yes music is still far superior to much of the slop that has been released by the one-mega-hit-wonders who have since disappeared into obscurity. It is really a shame that groups like Yes are generally avoided by radio these days, but that is another story. \n\nAnyway, if you want good late model Yes, check out The Ladder or Magnification...both are better than this. \n\nNow, I'll shut up.\n\n\nAMAZON.COM CUSTOMER REVIEW\nPraise from a YesWhole, May 7, 2002\nReviewer: "skroehr2" (Leavenworth, KS USA)\nYes has been my favorite band and has produced my favorite music since about 1970. I wanted to premise this review by letting you know that I was deeply into the classic Yes, most notably Close to the Edge through Relayer. Many Yes fans in my age group never progressed from those magical times, and I believe they expected 70's opus's to be the order of day for all of time. I've been fortunate to understand what Yes is doing with each turn. In my humble opinion, they have one botched work in their awesome 30 plus year career. That was the commercially forced and money driven "Union" project. Even that has it's moments. But for those of us who love Yes for making magic out of the music of the moment, and finding where it can go, Talk is simply an unequivicable masterpiece. Yes, Trevor Rabin is all over the place on this album, but it was like a personal vision for him that only Yes could portray. His honest and obvious collaborations on this album with Jon Anderson are amazing. If you listen closely, it's about as tightly executed as you could hope for from any band. Jon's vocals are astounding. And as a swan song from the world of Rock before retiring into filmscore land, Trevor couldn't have done better than this album. Because of an absolutely awful record label and virtually no promotion by their management and the ill timing of the whole project, this gem died on the vine. It's been re-released and I advise that you immediately buy this one and Relayer. Two totally different albums by nearly different bands, but between those two albums, you get the very best of what Yes has to offer, and really has ALWAYS had to offer. Hell get em' all, (except Union).\n\n\nHalf.com Details \nProducer: Trevor Rabin \n\nAlbum Notes\nYes: Trevor Rabin (vocals, guitar, keyboards, programming); Jon Anderson (vocals); Tony Kaye (Hammond organ, keyboards); Chris Squire (bass, background vocals); Alan White (drums).\nIncludes liner notes by Chris Welch.
This rock cd contains 9 tracks and runs 55min 4sec.
Freedb: 880ce609
Buy: from Amazon.com

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