Union (Yes album)

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"Elias would come in and tell me to make the tracks sound like 90125 ... Anderson would come in later and tell me to make them sound as far from 90125 as possible."

—Jim Crichton on producer Jonathan Elias and singer Jon Anderson. [24]

Wakeman criticised Elias for allowing the edits and overdubs, [19] and the two addressed each other's issues in different publications of Keyboard magazine. Elias "never questioned Rick's technical ability" and stressed that Union was not an album of "major opuses" and felt Wakeman had "lost his edge". [16] Elias ranked his time with Haun as his best experience during the making of the album. [18] Howe called Haun an "average guitarist" and compared his changes to "having an abortion". Elias maintained the view that he and Anderson agreed that outside musicians were needed and described Howe's reaction as merely "bruised ego from someone who is a very good guitar player in his own right." [20] Howe included the original backing tracks of "Dangerous" and "Without Hope You Cannot Start the Day" on his 2017 compilation Anthology 2: Groups & Collaborations. [25]

Cover

Roger Dean was hired to design the art for the album. After the release of Big Generator, Dean was asked by Phil Carson to design a new band logo, and came up with a square design, but it was not used due to Anderson forming ABWH. When it came to Union, Dean decided to use the Yes logo he designed in 1972, the square design appearing in the corner and on the subsequent Yesyears cover. [26] It would also later appear on the covers of The Ladder and House of Yes: Live from House of Blues .

Songs

By ABWH

"I Would Have Waited Forever" features Howe playing a guitar riff that he also used on "Sensitive Chaos" from his solo album Turbulence (1991). [27] Haun later revealed that Howe plays a short, recurring thread and the ending solo, but all other electric, acoustic, and effect overdubs were in fact played by him, and that Arista wanted a guitar riff similar to that of "Starship Trooper" from The Yes Album (1971). [23] Elias thought the track best represented "both early and later Yes styles". [28]

Although Howe wrote the opening guitar riff to "Shock to the System", Haun re-recorded the part for "sonic reasons" and devised the other riffs as well, leaving no other parts that Howe had originally played. Some bass parts from Levin were also redone on his guitar during his time away from the studio. Haun described one of his riffs as reminiscent to "The Gates of Delirium" from Relayer (1974). [23]

"Masquerade" is an acoustic guitar instrumental written and performed by Howe. He recorded the track in fifteen minutes at his home studio using a two-channel Revox deck, "away from all the arguments and politics" that came with making the album. [10] He recorded other acoustic tracks on a Spanish guitar for the album, including one titled "Baby Georgia", but Arista decided to use "Masquerade", a track Howe ironically almost decided against sending because he thought it was not as strong as the others. [29]

"Without Hope (You Cannot Start the Day)" originated from Elias, who recorded a basic outline of the track in one afternoon and sent the tape to Wakeman to add keyboards. [29] Elias and Anderson felt dissatisfied with Wakeman's contribution; they had wished for something "simple and gentle" but instead got a part that to Elias "sounded like a Rachmaninoff piano concerto", and hence recorded a new piano part. [30] Howe does not play on the track. [23]

"Silent Talking" is a song that Howe wrote that originally connected with an instrumental called "Seven Castles". Howe thought it contained some of his better guitar playing on the album, but felt Anderson came in too soon with his vocals in the second half, after his solo began. [30] Haun replaced what Howe had put down for the main guitar riff "because there were timing discrepancies", so he tried to get as close to Howe's sound as possible. Other riffs from Howe were kept on the track, and can be heard due to a slightly different guitar tone that Haun used. [23]

"Angkor Wat", named after the Cambodian temple of the same name, was written by Elias, Anderson and Wakeman. During Wakeman's final day of recording, Elias asked Wakeman to record some atmospheric keyboard sounds that were then layered and formed into a track. [31] The track concludes with a poem recited in Cambodian. [3]

"Evensong" is a bass and percussion duet between Levin and Bruford and is named after an evening prayer service held in English churches. [31]

Anderson said about “Take The Water To The Mountain”, "It's a simple song, really. Take the water back to the mountains and give the mountains the energy they need. It's a reference to our ancient knowledge. About halfway through the track, the music becomes very ancient sounding and very rhythmic.”

By Yes

"Lift Me Up" was written by Rabin and Squire. The two used a dictionary to look for suitable rhyming words for the song's lyrics, which is how they came up with the word "imperial" in its chorus. According to Rabin, the song concerns a homeless person who enters a restaurant just to use the bathroom, only to have the people inside telling him he has to leave. "And he just looks up to the sky [and says] ... you know, help me out". [29] Rabin completed two different mixes of the track but Arista founder Clive Davis disliked them. After Squire suggested they bring in someone else, Paul Fox was hired and finished a mix with assistance from Ed Thacker that was used on the album. Rabin, feeling the original mix was superior, thought Fox and Thacker's work was "very good" but it suffered from them not having a clear idea of what Rabin had wanted. [29]

Rabin felt "Saving My Heart" was not suitable for a Yes album, a feeling he had also had for "Owner of a Lonely Heart". He originally planned to develop the track with Roger Hodgson before Anderson heard it and wished to work on it for Union. The song displays a distinct reggae influence. Rabin was unhappy with the song's final mix as it did not turn out the way he had wished. [30]

"Miracle of Life" is a track Rabin described as a protest song; the inspiration for its lyrics came from watching a news report on the slaughtering of dolphins in Denmark. Howe thought the track was "very good". [30]

"The More We Live – Let Go" is the first song that Squire and Sherwood wrote together. Sherwood and 1970s Yes producer Eddy Offord wanted Squire to re-record the bass parts that Sherwood had played on the demo, but Squire felt that Sherwood's playing suited the song perfectly and insisted it be kept. To Sherwood, the writing and recording process was so successful, he and Squire agreed to continue writing together from then on. [32] The pair also wrote "Love Conquers All", a track with Rabin on lead vocals and released on the Yesyears box set. [33]

Release

Union was released on 30 April 1991. [34] The album was a success on the charts, reaching its peak of number seven on the UK Albums Chart in May 1991 during a six-week stay. [35] In the United States, it debuted on the Billboard 200 chart at number 35, the week of 18 May 1991. [36] The album climbed on the following week, reaching its peak at number 15 on the week ending 25 May. [37] It was present on the chart for a total of 19 weeks. [38]

On 2 July 1991, Union was certified gold by the Recording Industry Association of America (RIAA) for shipment of 500,000 copies. [34]

In 1992, "Masquerade" received a Grammy Award nomination for Best Rock Instrumental Performance. Howe described the nomination for his track as "pure justice", following the difficulties in making the album. [10]

Yes released three singles from Union in 1991. "Lift Me Up" was the lead single, released in April 1991. It became one of the band's most successful singles, spending six weeks at number one from its third week on the Billboard Album Rock Tracks chart, later known as the Mainstream Rock Tracks chart. It was number one from the week of 4 May to 8 June 1991. [39] [40] It reached a peak of 86 on the Billboard Hot 100 singles chart. [41] The second single, "Saving My Heart", released in July 1991, reached a high of number nine on the Album Rock Tracks chart a month later. [42] "I Would Have Waited Forever" was the final single released. [43]

Tour

The Union Tour covered North America, Europe, and Japan from 9 April 1991 to 5 March 1992, billed as Yesshows '91: Around the World in 80 Dates. It was the first rock tour produced by Philadelphia-based Electric Factory Concerts in its history which also organised advertising and promotion. The partnership evolved following discussions between Anderson and EFC head Larry Magid, who learned that Anderson had enjoyed how the ABWH concert in Philadelphia was presented. [44] The tour featured the eight members playing on stage and some shows were performed in the round with a central revolving stage that the band had first used on their 1978 tour. [45]

Unlike the album, most of the group have reflected positively on the tour. Wakeman ranked it as the most fun he had on a tour. [46] Bruford, by contrast, said the tour was "ludicrous, really. For some of us, it was a very lucrative bit of fun; others needed it desperately." [47] A live CD and DVD from various dates was released in 2011 as Union Live .

Yes reverted to the 1983–1988 line-up for their next album, Talk .

Reception

Union
Yes - Union.png
Studio album by
Yes
Released30 April 1991
Recorded1989–1991
Studio
Genre
Length59:37 (LP)
65:00 (International CD)
69:29 (European, Japanese CD)
Label Arista
Producer
Yes chronology
Big Generator
(1987)
Union
(1991)
Yesyears
(1992)
Anderson Bruford Wakeman Howe chronology
Anderson Bruford Wakeman Howe
(1989)
Union
(1991)
An Evening of Yes Music Plus
(1993)
Professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar half.svgStar empty.svgStar empty.svg [48]
Entertainment Weekly D+ [49]
Rolling Stone Star full.svgStar full.svgStar empty.svgStar empty.svgStar empty.svg [50]
The Rolling Stone Album Guide Star full.svgStar full.svgStar empty.svgStar empty.svgStar empty.svg [51]

The album received mixed reviews from critics. Chuck Eddy gave it two stars out of five for Rolling Stone , calling it "an eclectic miscarriage that almost isn't even worth laughing about", and wished the album had more memorable hooks, riffs, and concise lyrics. [50] Q magazine issued a review from Robert Sandall, who thought Union "veers alarmingly between ... neurotically jumpy overarrangements and competing time signatures" from ABWH and "heads-down riffing" from the Yes members. Sandall picked out "Lift Me Up" as one of the few "strong, anthemic tunes" that remain "unscathed" from the collision of such varied styles, which makes Union "one of the least ridiculous Yes albums in recent memory". [52] Dave DiMartino of Entertainment Weekly rated the album with a D+, and called it a "stunningly wicked parody of an outlandish concept", pointing out its "complete and utter unlistenability". [49] In The Washington Post , Gil Grifin noted that "musically and conceptually", the band are "reaching for its glorious past" which resulted in an album not entirely appealing. Though "Lift Me Up", "The More We Live – Let Go" and "Saving My Heart" are picked as more favourable tracks, Grifin concludes with "the aloofness of 'Union' is often sleep-inducing". [53]

Union received two and a half stars out of five in a retrospective review by Bruce Eder for AllMusic. Eder thought it was always difficult for the album to live up to expectations given the amount of musical talent involved. Nevertheless, he judged its songs "reasonably solid", and cites the harmonies in "I Would Have Waited Forever" from Anderson and Squire and Howe's "Masquerade" as highlights. But he thought "Lift Me Up" is a "forced exercise in heaviness" and "Without Hope (You Cannot Start the Day)" a "composed-by-numbers" track. [48] In his book The Music's All that Matters: A History of Progressive Rock, Paul Stump commented that "the music of Union, an unhappy testament to hubris, conceit and corporate expediency, unintentionally embodies all the crimes that had been (often mistakenly) laid at the band's door hitherto." He argued that the concept was flawed from the beginning, saying it was unrealistic to expect the band members to cooperatively produce an album of quality and subtlety given the history of strife between them. [47] The music portal Ultimate Classic Rock ranked Union worst in its list of Yes albums. [54]

Most of the band have negative opinions on the album. Wakeman stated he was dissatisfied with the production, commenting that most of his contributions were so altered in the final result that he could not recognise them, adding that he called the album Onion because "it made me cry every time I heard it". Rabin thought it lacked a linking thread and ranked 90125 and Big Generator as better. [17] [28] "I don't hate Union as much as Rick," he stated in 2016, "but it was a peculiar record. It was instigated by Clive Davis and made largely in isolation by the musicians and Jon, so the title is misleading. To me, Union is more of a failed project than a real album." [55] Bruford remains very critical: "It was probably not only the most dishonest title that I've ever had the privilege of playing drums underneath, but the single worst album I've ever recorded." [56]

Track listing

Note: "Angkor Wat" and "Give & Take" are not included on the vinyl LP version. [57]

Union track listing
No.TitleWriter(s)Producer(s)Length
1."I Would Have Waited Forever" Jon Anderson, Steve Howe, Jonathan Elias Jonathan Elias6:32
2."Shock to the System"Anderson, Howe, EliasElias5:08
3."Masquerade"HoweHowe2:16
4."Lift Me Up" Trevor Rabin, Chris Squire Rabin6:29
5."Without Hope You Cannot Start the Day"Anderson, EliasElias5:16
6."Saving My Heart"RabinRabin4:38
7."Miracle of Life"Rabin, Mark Mancina Rabin, Mancina, Eddy Offord 7:30
8."Silent Talking"Anderson, Howe, Rick Wakeman, Bill Bruford, EliasElias3:57
9."The More We Live – Let Go"Squire, Billy Sherwood Offord, Sherwood (co)4:53
10."Angkor Wat"Anderson, Wakeman, EliasElias5:23
11."Dangerous (Look in the Light of What You're Searching For)"Anderson, EliasElias3:37
12."Holding On"Anderson, Elias, HoweElias5:23
13."Evensong" Tony Levin, BrufordElias0:50
14."Take the Water to the Mountain"AndersonElias3:11
European and Japanese editions [3]
No.TitleWriter(s)Length
15."Give & Take"Anderson, Howe, Elias4:29

Personnel

Yes

Additional personnel

Technical personnel

Charts

Chart performance for Union
Chart (1991)Peak
position
Canada Top Albums/CDs ( RPM ) [58] 15
Dutch Albums (Album Top 100) [59] 17
Finnish Albums (The Official Finnish Charts) [60] 21
German Albums (Offizielle Top 100) [61] 15
Hungarian Albums (MAHASZ) [62] 37
Japanese Albums (Oricon) [63] 11
Swedish Albums (Sverigetopplistan) [64] 32
Swiss Albums (Schweizer Hitparade) [65] 16
UK Albums (OCC) [66] 7
US Billboard 200 [67] 15

Certifications

Union certifications
RegionCertification Certified units/sales
United States (RIAA) [68] Gold500,000^

^ Shipments figures based on certification alone.

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Bibliography