I’ve been going through Yes’s divisive (to prog fans) late 70s-80s catalogue, even Big Generator which I’m only finally listening to for the first time after 15 years of being a fan.
Say what you will about Yes’s turn to pop, and the beginning of “over-produced” music, that world class production by Trevor Horn which defined the 80s is what elevated Yes over other contemporary prog or ex-prog acts IMO (Genesis, and even, I’m sorry to say, Rush).
And I don’t mean because it made their sound catchy and radio friendly, but because it brought out the unquestionably outstanding skills of the band, and the tracks would’ve sounded sick even if it was a rehash of a 2 hour long 70s prog brick. Slick production isn’t always the commercially bland conformist evil thing some people make it out to be…
I’ve been going through Yes’s divisive (to prog fans) late 70s-80s catalogue, even Big Generator which I’m only finally listening to for the first time after 15 years of being a fan.
Say what you will about Yes’s turn to pop, and the beginning of “over-produced” music, that world class production by Trevor Horn which defined the 80s is what elevated Yes over other contemporary prog or ex-prog acts IMO (Genesis, and even, I’m sorry to say, Rush).
And I don’t mean because it made their sound catchy and radio friendly, but because it brought out the unquestionably outstanding skills of the band, and the tracks would’ve sounded sick even if it was a rehash of a 2 hour long 70s prog brick. Slick production isn’t always the commercially bland conformist evil thing some people make it out to be…
/unrelated rant over.
Can’t argue anything there. Prog rock bands NEED someone who knows what they’re doing behind the mixing boards. I love the 90125 album.
I used to hate it, but that’s changed now - renewed appreciation for Hearts and Leave It. And Cinema is of course a masterpiece