Any band that has existed for as long as Yes has usually produced a number of great albums, a few good ones, some average ones, and no doubt a few clunkers along the way. And so during early 1994, to channel Tennyson, Trevor Rabin led Yes into the valley of death and released Talk.
Just three years previous, Yes had consisted of eight musicians. Rick Wakeman, Bill Bruford, and Steve Howe had left, leaving a line-up of Jon Anderson, Tony Kaye, Chris Squire, Alan White, and the aforementioned Trevor Rabin.
Rabin and Anderson co-wrote all of the tracks with some help from Squire on two tracks and Roger Hodgson of Supertramp on one. Rabin wanted to return the band to the polished rock of 90125 and Big Generator, while Anderson wanted to return the band to their classic progressive roots. What emerged was an unsatisfactory hybrid that probably traveled closer to Rabin’s vision, but ultimately proved unsatisfactory to both styles. It was a commercial failure by Yes standards, not even reaching gold record status for sales. The accompanying tour, likewise failed to fill halls that prior incarnations of Yes, including their Union Tour, had filled to capacity.
Rabin was the main culprit, as in addition to his writing chores he produced the album and played an array of instruments, including electric & acoustic guitars, keyboards, plus programming, and even provided some lead vocals.
“The Calling,” which led off the original album, is at least listenable. It was constructed in the “Owner Of A Lonely Heart” vein, and while it did not have its polish and appeal, at least it was a good try. The song is built upon a guitar riff which may not be memorable enough for a truly outstanding seven-minute song. Tony Kaye makes his only outstanding contribution on this track.
Article comments
1 - Bob Rowland
I'm sorry, with all respect to your music knowledge, etc., you are dead wrong about this album. Not all the tracks are gems, but most are very good, and Talk, along with its instrumental surroundings, is a fantastic song! The arrangement, polyrhythms, vocals, lyrics, and mix of straight rock instruments with synth bass and keys are absolutely brilliant. I agree that Rabin is heavy handed and puts himself forward too much in this album, but Jon Anderson's influence makes it all beautiful. Just my opinion based on 37 years as a professional musician and composer. Thanks.