b o b

When I saw this album had been added to the Ground and Sky site, I expected the worst. So imagine my surprise when I saw that it had gotten two largely positive reviews. And now here's a third... I genuinely like this album a lot. When it came out in the early 80s, I didn't know prog from a hole in the ground, and I thought this was one of the oddest albums I had ever heard - it didn't sound like any other pop I was hearing on the radio, yet it was immediately accessible. The section starting with the shifting intro to "Changes" and continuing through the ripping instrumental "Cinema" and the extreme vocals of "Leave It" still qualifies as one of the best blocks of music I've heard on any album, pop, prog or otherwise. "Hold On" and "It Can Happen" are also great songs. Even the oft-damned "Owner of a Lonely Heart" isn't bad (come on, that's a catchy bass line - hell, if Zappa liked it enough to incorporate it into "Bamboozled By Love", who are we to argue? ;-) The last third of the album isn't as strong as the first two thirds, but it's still pretty good. I'm not as fond of "Hearts" as many Yes fans seem to be, but it's not bad. "Our Song" and "City of Love" usually don't stick around in my memory long, but they're fun while they last. Overall, I don't think the band has any reason to be ashamed of this disc. In a perfect world, Squire would have stuck to the original plan of calling the band that did this album "Cinema" and saved us a generation of fans complaining about how YesWest sucks, and how Trevor Rabin isn't fit to shine Steve Howe's shoes. But as it played out, this became another pop/prog Yes album - one that's certainly a lot better than the pop/prog of Tormato or Open Your Eyes (how's that for damning with faint praise?) review by Bob Eichler — undated —

s e a n

Yes' Cinderella store has been told more eloquently elsewhere, but to make a long story short the band was more or less toast by 1982. Chris Squire and Trevor Rabin formed a band called Cinema and got a much of material together (much written by Rabin). Jon Anderson added his vocals at the last minute, "Owner of a Lonely Heart" was a great big hit and all of a sudden Yes was being taken seriously again. As the album that launched YesWest (the term Internet Yes fans give the poppy incarnation of the band because many of them now lived in America) this has taken a fair bit of flak over the years, but in actual fact it's a fairly good pop/rock album. Of course there is the catchy hit single "Owner of a Lonely Heart", but I also admit to several guilty pleasures in "Hold On", "Changes" and "Leave It" (particularly with the cool mostly 7/4 instrumental lead-up of "Cinema"). And following the universal law that any rock song with a sitar is COOL, even "It Can Happen" manages to tickle my fancy. None of these are of interest in terms of compositional complexity, Mellotrons or what-have-you, and indeed I would say any discussion of them in a progressive context is almost absurd, but for the style it is written in this is good music. The album loses some steam towards the end and I wouldn't consider any of the last three tracks to be particularly good, even if the stereotypical prog fan should like "Hearts" for being over seven minutes long. Whatever else one might think of this album, the band certainly deserves credit for pulling this rabbit out of the hat at a time everyone thought they were killed and buried. review by Sean McFee — undated —

j o e

When I was 12, I picked up a copy of 90125 for my older brother. This was destined to be the album responsible for turning me onto Yes, and thus onto prog, and really, back onto popular music in general! I can't believe it, but it's true. Reminds me of that junk bonds guy whose criminal activity inadvertently revolutionized America's economic system. Anyway, fifteen years later, 90125 is now generally dismissed as a dated relic or a horrific AOR soul-sale on the part of a once-great band. Listening to it now, over a decade and a half later, whats my verdict? I'd have to be crazy not to admit that it is indeed a period piece of the early 80s, and I cackle that a long time ago in a galaxy far, far away I once thought "City of Love" was a good song. Yet, taken on its own terms, I still view 90125 overall with fondness. Musically speaking, almost every song on this album has at least a little something to offer. "It Can Happen" has its sitar and catchy Beatles chorus. "Leave It" has its out-of-the-ballpark vocal arrangement, which still manages to bring a smile to my face after all these years. "Hold On" has its wobbily, droll final verse and "Cinema" its throbbing, mysterious pulse. These little touches are what make the album still work for me. "Hearts" is one of YesWest's finest moments, at certain spots (however briefly) nearing the spirit of the Yes of old. And deep down, I even think "Owner of a Lonely Heart" and "Changes" are decent tunes, though their radio overkill make it impossible for me to listen to them without getting sick. In short, I think 90125 often gives a spark of imaginative integration of pop with prog, and is a worthy companion to other proggified pop albums in the same vein from that particular time, like The Police's Synchronicity or Rush's Grace Under Pressure. review by Joe McGlinchey — undated —

e r i c

I am not afraid to say that I really like this one. It may not be the Yes of old days, but this is an excellent disc, that I enjoy all the way through. Trevor Rabin is an excellent guitarist/musician and his presence was a breath of fresh air which bands need from time to time. The guitar synth solo of "Owner of a Lonely Heart" was different way back then, and the song was simple yet catchy. "Changes" and "Hold On" were excellent rock numbers with some progressive moments but overall great songs. "Leave It" which also received a lot of airplay was very different from anything you were hearing on radio or anywhere else for that matter. This was produced by Trevor Horn who replaced Jon Anderson on the Drama CD, and his production is flawless. For the heavy prog fan, this may not have enough for you, but if you are willing to listen, you will hear some great music. review by Eric Porter — undated —