Talk is the fourteenth studio album by English progressive rock band Yes. It was released on 21 March 1994 by Victory Music, and is their last studio album to feature guitarist Trevor Rabin and keyboardist Tony Kaye.
After Yes completed the Union Tour in 1992, record label manager and longtime Yes associate Phil Carson approached Rabin to record a new Yes album for Victory, his newly established independent label, with the band's most commercially successful line-up of Kaye, frontman Jon Anderson, bassist Chris Squire, and drummer Alan White. Rabin dedicated time to write songs with Anderson, as the singer had been kept away from the initial songwriting sessions in the past which caused internal friction. Talk is noted for being amongst the first albums to be digitally recorded and edited in its entirety without using traditional audio tape.
Talk fell short of commercial expectations upon release, reaching number 20 in the UK and number 33 in the US. Victory Music went bankrupt at the same time, which affected the album's potential for success. In addition, the album received mixed to poor reviews from critics. "The Calling" and "Walls" were released as singles that charted at No. 3 and 24 on the US Billboard Hot Mainstream Rock chart, respectively. Yes supported the album with a 1994 tour which featured future Yes member Billy Sherwood on additional guitars and keyboards. Rabin and Kaye left the group at its conclusion.
Background and writing
In March 1992, Yes completed their Union Tour which had eight band members on stage: singer Jon Anderson, bassist Chris Squire, guitarists Steve Howe and Trevor Rabin, drummers Bill Bruford and Alan White, and keyboardists Tony Kaye and Rick Wakeman. For the band's next project Phil Carson, a former Atlantic Records executive and longtime associate of the band, approached Rabin to produce a Yes album for Victory Music, his new independent label that he formed while he worked with JVC.[3] Carson wished for Rabin to make it with the 1983–88 line-up of Rabin, Anderson, Squire, White, and Kaye, the same group that made the most commercially successful Yes albums, 90125 (1983) and Big Generator (1987).[4] As Rabin and Wakeman had got on well during the Union Tour, Carson suggested Wakeman be involved as well.[4] Howe thought it was "silly" of Carson wanting to have Yes continue as a group minus Bruford and himself, and the pair resumed their solo careers after a brief period promoting Symphonic Music of Yes together (as "Yes").[5][4] By mid-1993, Wakeman withdrew his involvement as Carson and Yes manager Tony Dimitriades required him to cut all ties with his own management, which Wakeman was not prepared to do.[6]
With a recording deal secured, Rabin joined Anderson in a motel in San Clemente, California where Anderson had been staying, to write new material. During the next two or so weeks they came up with a group of songs either from scratch or ideas that they had both put down for potential development, using an acoustic guitar and two boomboxes for putting down what they came up with.[7][4] This occasion marked the first time Anderson had been involved in the songwriting for a Yes album from its initial stages since his return to the group in 1983, as his involvement on previous records came at the latter stages of production, which limited his input.[8] Rabin knew the importance of forming a strong musical bond with Anderson for Talk as on Big Generator, he felt "the frustration in Jon that, although he was involved, it was basically me writing the songs and Jon trying to work on top of them [...] So I realised, the best possible way is [...] I need to work really closely with him to provide him the best possible platform to sing on [...] which led to its being a better album for us".[4] Anderson noted that having such an instant collaboration with a songwriter in the band makes "a true Yes album", and recalled that the album's direction was set after four days of writing which was to include one long track.[9] Squire made a conscious decision to reduce his involvement in the songwriting to ensure Rabin and Anderson came up with strong enough material that they were happy with, although he is credited as a co-writer on "The Calling" and "Real Love".[10] Squire too, was "very happy" with the material on the album.[8] Among the early working titles of Talk were Blueprint and Crunching Numbers.[11][12]
The majority of Talk was recorded and mixed at Rabin's home studio in Hollywood, California which he named The Jacaranda Room.[a] Additional recording took place at A&M Recording Studios in Hollywood.[10] Rabin took charge of the album's production and opted for digital non-linear recording and editing over traditional tape, which allowed for audio tracks to be saved onto a hard drive in real time. He recalled: "Everyone thought I was nuts – but the band was great, very supportive", and they agreed to pursue it.[14] Rabin said that Kaye was particularly enthusiastic and supportive in making the album, and described his role like "almost as a kind of co-producer". Although Kaye is credited to just playing the Hammond organ, Rabin said "his input was a lot more".[15]
After a period of research, Rabin and his engineer and mixer Michael Jay linked four Apple Macintosh computers to a single IBM machine, each running the digital audio workstation software Digital Performer developed by Mark of the Unicorn, and saved onto Dynatec hard drives.[14][16] As they worked on the album, Rabin and Jay noted errors they encountered, or suggested new functions they needed to complete the recording process, to which the programmers would implement the desired changes and update the studio's software accordingly.[12][17] Anderson said that such teething problems with the software was why Talk took so long to finish.[18] Despite this setback, Rabin said that the ability to edit tracks digitally resulted in fewer takes from the band which kept the songs fresh.[14]
Rabin clarified that the album features live instrumentation from the band throughout, as the idea of recording onto a computer had some people incorrectly assume that it was computerised music.[19] He also noted that Squire became frustrated with the digital recording process and the problems it caused, but the bassist later said he preferred the sound of his bass from recording digitally over the digital tape he had used previously.[15][20][21] He played his Rickenbacker bass, a Tobias four-string bass, a custom made Mouradian bass, and Rabin's Casiodigital guitar fed through a synthesiser.[20] An initial hard drive with 5.5 GB of memory soon became insufficient as an estimated 27 microphones were used to capture White's drums in real time, which led to the decision to dedicate more tracks for the drums in the final mix, rather than condensing them. Until that point, each song was roughly 350 MB in size.[12] In its unedited form, the album took up over 34 GB of memory.[12][21] Production halted briefly following the Northridge, California earthquake in January 1994 in order to protect the equipment from subsequent tremors.[21] The album was mastered by Stephen Marcussen at Precision Mastering in Los Angeles.[10]
Artwork
The album's cover was designed by German-American graphic artist Peter Max.[10][19] Squire held some reservations about the design, despite the art having grown on him since he first saw it.[20] The album's sleeve contains the message "dedicated to all Yes fans",[10][22] along with the tongue-in-cheek warning: "P.S. 'Caution' Extreme Digital Dynamic Range", signifying that the album is a fully digital recording.[10] Early pressings contained a misprint in the credits which originally had all songs credited solely to Anderson and Rabin.[20]
Songs
"The Calling" developed and evolved around the song's introductory guitar riff. The song has been described as featuring a modern sound, with heavy focus on Rabin's guitars,[22] and a three-part vocal harmony featuring Anderson, Rabin and Squire.[23] Rabin did not wish to make the song have a "preaching" message, but as a call for people to get together with one another.[8] According to Anderson, the song's lyrics were inspired by the concept of "local history", the current three-thousand year window of history, outside of which mankind has little visibility or understanding.[24]
Rabin developed "I Am Waiting" with ease and little effort, taking him one day to put the music together. He remembered Anderson took an instant liking towards it, writing the lyrics and singing most of the vocals on the same day. Anderson singled out "I Am Waiting" as a favourite, described the song as "real pure music" because of the spontaneous way it was written.[23]
The music to "Real Love" was mainly written by Squire; Kaye described it as "pretty heavy".[25] The lyrics were partly inspired by Rabin's reading of A Brief History of Time by British physicist Stephen Hawking ("Far away in the depths of Hawking's mind...").[23]
"State of Play" originated from an incident where an emergency services vehicle passed Rabin with its siren on. He recalled about the sound of its siren: "I thought that's an amazing sound with the Doppler effect and everything as it goes by. That gave me the idea for the screeching kind of guitar sound in the beginning".[25] Speaking about its tune, Squire thought the track was a "conscious effort" from the band to combine a style of hip-hop "groove with heavy rock guitars".[25] White pointed out the singing from Anderson, Rabin, and Squire as particularly strong, with "great musicianship all round".[12]
"Walls" was the last track produced for the album.[25] Rabin co-wrote the song with Supertramp vocalist Roger Hodgson, who declined an offer to be Yes's lead singer following Anderson's departure in 1988 following the Big Generator tour.[26] The pair recorded a demo in 1990 which was included on Rabin's demo compilation album 90124, released in 2003.[27][28]
"Where Will You Be" is a song written by Rabin, originally as the signature tune to an Australian film.[25] He thought Anderson's lyrics were some of the best on Talk.[29] An instrumental version can be found on Rabin's 90124 demo album.[27]
"Endless Dream" is a fifteen-minute track divided into three parts, "Silent Spring", "Talk", and "Endless Dream". The repeating piano riff at the beginning of "Silent Spring" came from a longer piece that Rabin intended to use as part of a film score, but chose to use it for the song instead. The piece then moves into a 5/4 time signature.[29] A "dreamy" instrumental section on "Talk" was originally a piece Rabin wrote for orchestra titled "October", but was repurposed in a "more synthetic" way on the album proper. Anderson said the song is "as good as anything" the band has done and noted its "remarkable" structure in the "Endless Dream" section, rating it on par with "Close to the Edge" and "Awaken", two long Yes tracks from the 1970s.[29] White also praised the track highly.[12]
Release
On 16 March 1994, Yes held a Talk premiere party radio broadcast hosted by Bob Coburn at the Hard Rock in Hollywood, California. This was followed by a release party broadcast on 21 March. The album was a mild commercial success, reaching No. 20 in the UK and No. 33 in the US, their lowest charting album in the US since The Yes Album in 1971. Anderson and Rabin blamed the bankruptcy of the Victory label which caused a lack of promotion.[30] Two tracks were released as singles—"The Calling" and "Walls"; peaking at No. 3 and 24 respectively on Billboard'sHot Mainstream Rock Tracks chart. Carson spoke of the album following its release: "[It] was probably one of the best albums they have ever done ... But of course it was totally at the wrong time. It sold around 300,000 around the world but nothing like that it should have."[3][31]
In November 1994,[32] Yes released Yes Active, a CD-ROM containing the album and various interactive bonus material including interviews and band performances.[33]
Talk was reissued as a Collector's Edition in April 2002 by Spitfire Records, which included "Endless Dream" as a single track, a version of "The Calling" titled "The Calling (Special Version)", and a set of sleeve notes by journalist and Yes biographer Chris Welch.[34] In 2006, Talk was released as part of the Yes album compilation box set Essentially Yes (2006) on Eagle Records.[35]
The album was re-issued in 2024 as a 4-disc set for its 30th anniversary. In addition to a remaster, it includes single edits, alternate mixes, demos and a previously unreleased 1994 concert in Canandaigua.[36]
Talk received a mostly negative response from critics. Rolling Stone rated it two stars out of five.[39] Critic J. D. Considine reviewed the album in Musician with "Shut up." Rabin spoke of his review: "I laughed at first ... But then I thought a review like that doesn't do anybody any good. We all get negative reviews of albums, and if the criticism is negative, and if it's constructive criticism, often it's something you can feed off".[41] Tom Sinclair of Entertainment Weekly gave the album a C− and criticised "the annoying castrati vocals, the bombastic arena-rock flourishes, the cloying New Age sentiments" and "the sterile classicism".[38]
In a retrospective review, Steven McDonald of AllMusic rated Talk three stars out of five, and praised the "new attitude powering the band, and a few surprises hidden away in the songs". According to him, "this album is fun and extremely well done" and it "has some really nifty songs that stick in the mind, from the opening 'The Calling' to the closing 16-minute 'Endless Dream'".[37]
Tour
Talk was supported with the 77-date tour of North and South America and Japan, between 18 June and 11 October 1994.[42][unreliable source?][43] It featured American musician Billy Sherwood on additional guitars, keyboards, and bass on certain dates.[44] Sherwood would later become a full-time member of Yes from 1997 to 2000,[45] and from 2015 to the present.[46] Rabin supervised[14] the development of Concertsonics, a quadraphonic sound system that allowed people seated in selected seats to hear the concert's soundboard mix with headphones and personal radio by tuning into a specific FM frequency. Rabin was pleased with the band's performances, describing the tour as his "most satisfying" with the band.[47] The tour included a performance of "Walls" on Late Show with David Letterman on 20 June 1994. According to Rabin, host David Letterman "was driving one day and 'The Calling' ... came on the radio. He stopped the car and apparently called his producer to get the album".[41]
Following the tour, however, disagreements and dissatisfactions forced another change in the band. 1990s Yes manager Jon Brewer has stated that Squire had not ultimately appreciated the Talk production process: "(he) didn't like that. He didn't think it was what Yes was all about; he was very much against a computerised, digital sound at that time. So Trevor and Chris moved away from one another for quite a while."[48] For his part, Rabin felt that he had achieved his highest ambitions with Talk and lamented its disappointing reception, feeling that this was due to the fact that it "just wasn't what people wanted to hear at the time." Having remarked at the conclusion of the tour "I think I'm done", Rabin quit the band and returned to Los Angeles, where he shifted his focus to composing for films.[49] Kaye also left Yes to pursue other projects.[50][51] The remaining band members would reunite with Steve Howe and Rick Wakeman, shift back towards the 1970s Yes sound, and proceed with the Keys to Ascension project.
Yes are an English progressive rock band formed in London in 1968 by lead singer Jon Anderson, bassist Chris Squire, guitarist Peter Banks, keyboardist Tony Kaye, and drummer Bill Bruford. The band has undergone numerous lineup changes throughout their history, during which 20 musicians have been full-time members. Since February 2023, the band has consisted of guitarist Steve Howe, keyboardist Geoff Downes, bassist Billy Sherwood, singer Jon Davison, and drummer Jay Schellen. Yes have explored several musical styles over the years and are most notably regarded as progressive rock pioneers.
Anthony John Selvidge, known professionally as Tony Kaye, is an English keyboardist, best known as a founding member of the progressive rock band Yes. Born into a musical family, Kaye was classically trained and intended to become a concert pianist before he developed an interest in jazz and contemporary rock and pop music. He joined several groups throughout the 1960s, including the Federals, Johnny Taylor's Star Combo, Jimmy Winston & His Reflections, and Bittersweet.
Trevor Charles Rabin is a South African musician, songwriter, and film composer. Born into a musical family and raised in Johannesburg, Rabin took up the piano and guitar at an early age and became a session musician, playing and producing with a variety of artists. In 1972, he joined the rock band Rabbitt, which enjoyed considerable success in South Africa, and released his first solo album, Beginnings. In 1978, Rabin moved to London to further his career, working as a solo artist and a producer for various artists including Manfred Mann's Earth Band.
90125 is the eleventh studio album by the English progressive rock band Yes, released on 7 November 1983 by Atco Records. After Yes disbanded in 1981, following the Drama (1980) tour, bassist Chris Squire, drummer Alan White and Trevor Rabin formed Cinema, and began recording an album with original Yes keyboardist Tony Kaye, who had been fired in 1971. They adopted a more commercial and pop-oriented musical direction as the result of their new material, much of which derived from Rabin's demos. During the mixing stage, former Yes singer Jon Anderson, who had left in 1980, accepted an invitation to return and record the co-lead vocals, and subsequently Cinema became the new lineup of Yes.
Union is the thirteenth studio album by English progressive rock band Yes, released on 30 April 1991 by Arista Records. Production began following the amalgamation of two bands that featured previous and then-current members of Yes: Anderson Bruford Wakeman Howe (ABWH), consisting of vocalist Jon Anderson, drummer Bill Bruford, keyboardist Rick Wakeman and guitarist Steve Howe, and Yes, at that time comprising bassist and vocalist Chris Squire, guitarist and vocalist Trevor Rabin, keyboardist Tony Kaye and drummer Alan White. The eight musicians signed with Arista and a combination of unfinished tracks by both groups were selected for Union. The album's sessions were problematic from the start, including disagreements between some of the musicians regarding the "merger" of the two bands, strained relations during the recording process, and decisions by the production team of Anderson and producer Jonathan Elias to bring in session musicians to re-record parts that Wakeman and Howe had originally completed.
Anderson Bruford Wakeman Howe (ABWH) were an English progressive rock band active from 1988 to 1990 that comprised four past members of the English progressive rock band Yes. Singer Jon Anderson left Yes as he felt increasingly constrained by their commercial and pop-oriented direction in the 1980s. He began an album with other members from the band's 1970s era: guitarist Steve Howe, keyboardist Rick Wakeman, and drummer Bill Bruford, plus bassist Tony Levin.
Keys to Ascension is the fourth live and fifteenth studio album by English progressive rock band Yes, released as a double album in October 1996 on Essential Records. In 1995, guitarist Trevor Rabin and keyboardist Tony Kaye left the group which marked the return of former members Steve Howe and Rick Wakeman, thus reuniting them with vocalist Jon Anderson, bassist Chris Squire, and drummer Alan White, a line-up that had last performed in 1979. The group relocated to San Luis Obispo, California to make a new album and to promote their reunion with three shows at the Fremont Theater, in March 1996. Keys to Ascension features half of the live set from the 1996 shows and two new studio tracks which marked a return to Yes writing longform pieces.
Big Generator is the twelfth studio album by English progressive rock band Yes, released on 28 September 1987 by Atco Records, their last album of new music for the label. After touring in support of their previous album, 90125 (1983), which saw the band move from progressive rock towards a pop-oriented and commercially accessible direction, Yes started work on a follow-up in 1985 with producer Trevor Horn. It was a laborious album to make; recording began at Carimate, Italy, but internal and creative differences resulted in production to resume in London, where Horn ended his time with the band due to continuing problems. The album was completed in Los Angeles in 1987 by Trevor Rabin and producer Paul DeVilliers.
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"Love Will Find a Way" is a song by the progressive rock band Yes, from their 1987 album Big Generator. It was released as the first single from that album, reaching number 30 on the Billboard Hot 100 chart in late 1987. It also topped the U.S. Mainstream Rock chart, holding onto the number one spot for three weeks.
"Lift Me Up" is a song by the progressive rock band Yes. It was the first single released from their 1991 album Union. It reached the number-one spot on the Billboard Album Rock Tracks chart in May 1991, and stayed in this position for six weeks. It also charted on the Billboard Hot 100, their last single to do so.
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"The Calling" is a song by the progressive rock band Yes, from their 1994 album Talk. It was a rock radio hit for the band, reaching number 3 on Billboard's Hot Mainstream Rock Tracks chart.
"Wonderous Stories" is a song by the English progressive rock band Yes, released in September 1977 as the first single from their eighth studio album, Going for the One. It was written by lead vocalist Jon Anderson, who gained inspiration for the song one morning during his stay in Montreux, Switzerland where the band recorded the album. The song reached number seven on the UK singles chart and remains the band's highest-charting single in the country.
References
Notes
↑ In Rabin's native South Africa, Jacaranda is a type of flowering tree.[13]
↑ Hodgson, Roger (10 June 2014). "Roger Hodgson - Walls (with Trevor Rabin)". SoundCloud. Retrieved 4 February 2022. This energetic and empowering song, "Walls", released on Yes' album "Talk" and Trevor Rabin's "90124" is a result of the collaboration between Roger Hodgson, legendary singer-songwriter and co-founder of Supertramp, and Trevor Rabin, best known as a guitarist, vocalist and songwriter for the British progressive rock band Yes from 1982–1994, then as a film composer.
↑ "Yes Open Their US Tour In Binghamton (1994)". 18 June 2024. June 18, 1994 – English band Yes ... launch the US leg of their "Talk " tour at Broome County Veterans Memorial Arena in Binghamton, NY
↑ Sherwood, Billy. "YES 50 - Billy Sherwood full interview (2019)" (Interview). 7:30-8:29. All of a sudden, I get a call from Trevor Rabin who asked me: "Do you know we've just finished this album, Talk? We want you to come out on the road. There's a bunch of guitar parts extra, there's some keyboard parts you can play. [...] So we did that, and one of my favorite memories of that whole period [...] was the beginning of [...] Endless Dream. [...] Chris [Squire] was really adamant about doing a double-bass thing [...] So we went out there and did it.
↑ "Talk". yesworld.com. Retrieved 16 February 2022. After a lengthy 'Talk' tour, Trevor's time with YES came to an end and he began to concentrate on composing music for movies, including the 1998 blockbusters 'Armageddon' and 'Enemy Of The State'.
↑ Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1sted.). Helsinki: Kustannusosakeyhtiö Otava. p.166. ISBN978-951-1-21053-5.
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