At the time I was still left with a bad taste in my mouth after the messy hi-tech overkill of 'Big Generator' so other than another typical but gorgeous Roger Dean sleeve, I didn't expect much from the line-up. Surprise! This album is huge in both sound and scope and stands shoulder to shoulder with any classic early Yes album.
Turning back the clock to the magical year of 1982, the impetus for Jon's third solo effort 'Animation' was the birth of his daughter and a new found freedom away from the progressive juggernaut that was Yes.
An interesting musical venture for fans of Yes reared its head in the mid 80's. A venture of difference I would suggest. Nikki Squire, then wife of Yes bassist Chris Squire came out from behind the shadows of spouse and motherhood duties to front her own band Esquire - cut from the same cloth as Yes.
As can be imagined, the Yes sound underwent its first significant change with the inclusion of Trevor Horn and Geoff Downes, no doubt helped by their success as The Buggles, and their earlier exposure worldwide due to 1979's smash hit 'Video Killed The Radio Star' and 1980' subsequent album 'The Age Of Plastic'.
Well, what hasn't been said about this album? The British progressive supergroup Yes drop their 70's pretensions and head down the hi-tech freeway toward 80's synth pop/rock stardom, with this rather tasty slab of 80's memorabilia.
I'll admit it, the two Yes albums from the mid 80's are a couple of favourites. Reintroducing the same line-up from the stellar '70125' period, the 'Big Generator' sessions would prove to be a nightmare to fulfil to the end product.
I have a feeling this will appeal mainly to those who stand at the lighter edge of melodic rock. Commendable that Frontiers like to do something different with their roster, and Yes certainly fulfil that request.