With one notable exception, Yes' configuration has remained stable since the first of its three albums was released two years ago. Singer John Anderson spearheaded Yes then and still does. But some time after Yes recorded its second album, Time and a Word, guitarist Peter Banks left the band to replace Mick Abrahams who had similarly abandoned Blodwyn Pig. Before anything much happened with the newly aligned Blodwyn, Kim Simmonds lured bassist Andy Pyle and drummer Ron Berg over to Savoy Brown. What Banks is doing now is anybody's guess. His replacement is Steve Howe, a guitarist of equal caliber who featured prominently on Yes' third record.

The Yes Album differs from its two predecessors in several respects. For the first time, everything the group performs is original material. Although Yes deserves praise for having matured to the point where it can supply enough of its own songs for an entire album, I personally miss hearing one of two versions of someone else's songs, like "I See You" and "No Opportunity Necessary, No Experience Needed," which the group arranged and performed brilliantly on its first and second albums, respectively. In addition, the material consists of fewer short songs and more lengthy pieces. The only three-minute tracks on this record are "The Clap," Steve Howe's acoustic guitar quickie recorded at one of Yes' concerts in London, and "A Venture," a straightforward rocker sandwiched between a pair of longer compositions on the second side. Each of the album's four long trackes are carefully structured and allow for greater instrumental freedom than their shorter counterparts. Frequently, a particular melodic theme first stated by one musician is echoed by another, such as in "Yours Is No Disgrace" and "I've Seen All Good People." Organist Tony Kaye, guitarist Steve Howe and bass player Chris Squire play as though of one mind, complementing each other's work as a knowledgeable band should. Squire in particular deserves to be singled out for his creative bass work throughout the album. Bill Bruford's tasteful drumming never falls in the way of the other musicians.

As for the vocals, Yes has an ear for harmony and takes full advantage of this asset. Squire and Howe supplement Anderson's delightful leads with harmonies in the upper register. On the first hearing, Yes' vocals may seem too perfectly matched to be enjoyable and this has presented the group with its chief obstacle toward mass acceptance because there is no deep voice to counter the sound of Yes' falsetto harmonies, some have refused to accept the group and its unusual vocal style. If Yes were to change its format by adding a singer who can contribute a lower voice, then the band would lose its distinctive identity. The high-pitched singing is what sets Yes apart from myriad other British bands who can also play their asses off, a qualification that has become all too commonplace nowadays.

Forget your inhibitions and take The Yes Album home with you. It may not cure the common cold, but you'll never get sick from hearing it.

- John Koegel, Rolling Stone, 7-22-71.

Bonus Reviews!

Yes is a strong rock group in the UK and favors on this album some extended works -- "Starship Trooper" and "Good People." Yes is a quintet that sounds fuller because they play everything from acoustic guitar ("The Clap," a live recording) to Moog. Good all around progressive group -- more than a definite maybe for Yes.

- Billboard, 1971.

Jon Anderson, who delivers the inane Con III lyrics with prissy expertise, and Tony Kaye, whose keyboards run the gamut from vague to overweening, are the bad guys. Bill Bruford, who rocks the rather fancy tempos and signatures, and Chris Squire, best when he gets a good interlock going with Bruford, are the neutrals. And new guitarist Steve Howe makes the record worth hearing if not owning. His commentary throughout "Yours Is No Disgrace," his live acoustic solo "The Clap," and his duet with himself on "Würm" (that's German for "worm," in case you're interested) make the first side almost interesting, and he's at the heart of the album's one great cut, "I've Seen All Good People," where all their arty eclecticism comes together for 6:47. B-

- Robert Christgau, Christgau's Record Guide, 1981.

The Yes Album was the first to rely entirely on original band compositions -- the cosmic themes and impenetrable lyrics however came hand in hand. However, virtuoso performances by Squire and Howe on bass and lead guitar pushed the band into the limelight from cult obscurity.

Despite an overall lack of focus in the sound the Compact Disc makes the best out of these Advision Studio tapes -- Steve Howe's live Lyceum Theatre track still sounds boxy but from CD you can hear the guitarist beating out the rhythm with his foot on the stage! As with the later Close to the Edge CD, no attempt has been made to index the "movements" of the two suites of music "Starship Trooper" and "I've Seen All Good People." The sound quality of this CD may well come as a surprise; cymbals for instance no longer produce a dull sizzle but ring clearly, harmony and multi-tracked vocals are neatly laid out in space. Recommended as the original and best.

- David Prakel, Rock 'n' Roll on Compact Disc, 1987.

This is the album that first gave shape to the established Yes sound, built around science-fiction concepts, folk melodies, and soaring organ, guitar, and vocal showpieces. "Your Move" actually got some airplay as a single, and "Starship Troopers" became a much-loved part of the band's set. * * * *

- Bruce Eder, The All-Music Guide to Rock, 1995.

The Yes Album is crammed with inventive, dynamic rock that borrows from jazz, English folk and myriad other forms. It's notable especially for the long-form rockers "Starship Trooper" and "Yours Is No Disgrace." * * * 1/2

- Simon Glickman, Musichound Rock: The Essential Album Guide, 1996.

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