Big Generator

Performer: Yes
Distributor: WEA (Distributor)

Notes: Yes: Trevor Rabin (vocals, guitar, keyboards); Chris Squire (vocals, bass); Jon Anderson (vocals); Tony Kaye (keyboards); Alan White (drums, percussion). Additional personnel: James Zavala (harmonica, horns); Lee R. Thornberg, Nick Lane, Greg Smith (horns). Engineers: Paul De Villiers, Alan Goldberg. Producers: Trevor Rabin, Trevor Horn, Yes. Personnel: Jon Anderson (vocals); Trevor Rabin (guitar, keyboards, background vocals); Jimmy "Z" Zavala (harmonica, horns); Lee Thornberg, Greg Smith , Greg "Frosty" Smith, Lee Thornburg, Nick Lane, Trevor Horn (horns); Tony Kaye (keyboards); Chris Squire (bass guitar, background vocals); Alan White (drums, percussion); Kim Bullard (keyboard programming). Audio Mixer: Trevor Rabin. Recording information: Air Recording Studio, London, England; Lake Recording Studios, Caramati, It Atba; Lark Recording Studios, Caramati, Italy; Sar East & West Recording Studios, London, England; Sarm East & West Recording Studios, Air Recording Studi; Sarm East 7 Ewst Recording Studios, London, England; Southcombe Recording Studio, Los Angeles, CA; Southcombre Recording Studio, West Lake Audio, Sunset S; Sunset Sound, Hollywood, CA; Westlake Audio, Los Angeles, CA. The four-years-in-the-making follow-up to Yes' comeback album, 90125, Big Generator was also a million-selling hit, although not as successful as its predecessor, probably because the singles "Love Will Find a Way" (number 30) and "Rhythm of Love" (number 40) couldn't match "Owner of a Lonely Heart" from the previous LP, even if they were favorites on AOR radio at the time. Actually, it was the title track that was a carbon copy of "Owner," so maybe that was the problem. More likely, though, "Owner" was a one-shot (courtesy of producer Trevor Horn), and as Yes asserted itself more here, the band reverted more to its old style, making for some confusion. Nevertheless, this album was Yes' last major hit. ~ William Ruhlmann With 1987's BIG GENERATOR, Yes continued in the synthesizer-laden, production-heavy mode that had made the band's comeback album, 90125, such a success. While some diehard fans found this era of Yes to be in contrast to the band's previous classically influenced art rock, this incarnation of the band had plenty of the strong musicianship and fantastical imagination that had propelled the group to legendary status in the '70s. Indeed, producer Trevor Horn and the band succeeded in creating an intriguing sonic landscape that only Yes could conceive. At first listen, songs like the opening "Rhythm of Love," with its ethereal choir introduction and rocking riffs, may seem superficial, but the soaring vocals of Jon Anderson and the inventive orchestration of Rabin make it well worth the effort. Likewise, the disc's title track is the heaviest groove the group ever produced. The song also has enough unusual twists and turns to raise even the most stoic eyebrow. The mysterious "Shoot High Aim Low" and "Final Eyes" offer many stunning wonders that uphold the tradition of Yes' music beautifully. Finally, Anderson's superior performance on the closing "Holy Lamb" leaves listeners with plenty to relish.

The longest-running prog-rock group in the business, Yes flew on the strength of Jon Anderson's high, angelic voice and the group's instrumental virtuosity. The band began in England, rising from the ashes of pop-psych outfits like Tomorrow, Bodast, and Mabel Greer's Toyshop. Extending the technical facility of psychedelia and downplaying the trippiness, it helped forge the template for progressive rock and reigned as its most popular practitioners in the '70s. Over the years, Yes has weathered personnel changes, lawsuits, and changing public tastes while holding on to its original vision.

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