Not badly done - Commercial prog rock

Having already Tormato and drama switched to radio and hittauglichen structures to new ways in the broadest sense went with 90125 definitively commercially, as can be demonstrated in the compositions of the album. The British acted now without Geoff Downes and Steve Howe continues in five-man crew, and brought for Tony Kaye and Trevor Rabin into the boat. Musically tried 90125 a bridge between the more progressive drama and the shallow, commercial BIG GENERATOR beat by still contained significant structures of progressive rock.
OWNER OF A LONELY HEART resounds as an opener, sharp riffing of Trevor Rabin, expressive vocals, an edgy drums the other instruments accompany, pull YES last time the full register of their prog skills that have created with this song a monument does not have to hide behind the high end Erstalben the band. Probably the best and most well-known song of commercialism Yes. It follows HOLD ON a cost of commerce Yes, first a consequence, with rocking guitars and a gooey, sugary chorus, backed by subtle keyboard sounds that interweave to form a beautiful, variable sound carpet. Even blues bonds are to hear here. Far Eastern sounds open IT CAN HAPPEN before join guitar and vocals and Tony Kaye nachlegt with accompanying keyboard sounds and after one minute and the percussion support the piece. Pop elements and structures are also not to be denied on this song. CHANGES then goes back into the complex hittaugliche direction, as previously described in HOLD ON, only much more nuanced, emotional and (some). Keyboard wizard Tony Kaye presents perhaps his best performance as a red thread through the song. Some tempi change refine these and round it off expertly. CINEMA opened with a furious, abwechslunsreichen, but much too short geratenen Solo, to which also the guitar, drums and keyboard journeyman. An instrumental, good Intermezzo. With Jon Anderson's vocals LEAVE IT is introduced. Abstract Pop deposits run through the piece, picturesque support of keyboards and guitar. A honey-sweet song in the style of the band Judas Priest TURBO three years later, the vacuous passing ripples on the listener's ear and only one filler is. The fleet OUR SONG follows. Variable Prog rugs, a feeble chorus, for a total of musically well thought out, in the implementation but partly weak. CITY OF LOVE then, is a punchier Stampfer, which is similar to Jethro Tull's Beastie (The Broadsword and the Beast), with fat guitar arrangements, great vocals of Anderson and discreetly held keyboard parts in the background. HEARTS will be opened as the last song on the album with playful keyboard sounds and picturesque vocals, which is developing into a soulful piece, now accompanied by electric guitar and drums. The cover completes the overall impression from rock solid. BUY!