| Yes - Open Your Eyes (Limited Edition Surround Sound) |
| Album |
| Artist/Composer |
Yes |
| Length |
55:52 |
| Format |
CD |
| Genre |
Rock |
| Index |
16 |
| Collection Status |
In Collection |
| Packaging |
Jewel Case |
|
| Track List |
|
| 01 |
New State Of Mind |
05:59 |
| 02 |
Open Your Eyes |
05:14 |
| 03 |
Universal Garden |
06:17 |
| 04 |
No Way We Can Lose |
04:57 |
| 05 |
Fortune Seller |
05:01 |
| 06 |
Man In The Moon |
04:41 |
| 07 |
Wonderlove |
06:08 |
| 08 |
From The Balcony |
02:43 |
| 09 |
Love Shine |
04:39 |
| 10 |
Somehow, Someday |
04:47 |
| 11 |
The Solution |
05:26 |
|
|
| Details |
| Spars |
DDD |
| Rare |
No |
| Sound |
Stereo |
|
| Notes |
| Open Your Eyes (Limited Edition Surround Sound)\n1998 Beyond Music, Inc.\n\nOriginally Released November 25, 1997\nLimited Edition Surround Version Released May 5, 1998\nJapanese Mini LP CD Edition Released December 24, 2002\nAMG EXPERT REVIEW: Many Yes fans really dislike this album. However, it is a disc, as much of the classics in the group's catalog are, that is not fully appreciated on the first few listenings. You really need to give this one the time to sink in. The faithful in Yes' fandom had very high hopes for this release, as it was the first full studio album after Steve Howe re-joined the group. Many were anticipating another Close to the Edge. The disc certainly does not live up to that standard. It actually works better serving as a bridge between the classic Yes sound of the '70s and the more pop-oriented Trevor Rabin-era material. It also seems at times to carry on in the direction begun with such albums as Tormato and Drama. There are some fine songs in the set, but there are also a few pieces that are worthy of the contempt of the diehards. There are at least a couple of standout tracks here that would, having been released on a different album, probably have become Yes classics and fan favorites. The title track is one of those that seems to merge the '70s and '80s Yes styles, but it also has leanings in the direction of Chris Squire's solo release, Fish out of Water. That Squire styling is really natural since the song was originally intended for a new solo album from the bassist. Among the other tracks that are highlights here are "Universal Garden" (a very intriguing number that seems to combine the classic Yes sound with some tendencies toward Jon Anderson's solo work), "Fortune Seller," and "Wonderlove" (one that feels a lot like an extension of the band's work just prior to their 1980 split). On the other end of the spectrum come "No Way We Can Lose" (essentially a new attempt at the reggae-ish Rabin-era cut "Saving My Heart") and "Man on the Moon" (a trite pop ditty with very weak lyrics). The rest of the album fits more toward the middle ground in terms of quality. There are two versions of the disc out there: the first standard release and a surround-sound edition (the first album ever released in that format). If you have a surround-sound system, or intend to get one, you should try to pay the extra money for that version. The sound of the CD really envelops you, and it becomes an expansive experience when played in that format. The only thing missing from that version is the hidden track at the end of the original release. Since that track was really not much more than an extended piece of atmosphere, it is not really a loss. -- Gary Hill\n\nAmazon.com Editorial Review\nAfter some extremely confusing personnel shakeups, the 1997 Yes configuration--including classic members Jon Anderson, Steve Howe, Chris Squire, and Alan White, plus new keyboardist Billy Sherwood--emerged with this surprisingly strong effort that manages to maintain Yes's familiar prog-rock sound without making the band sound like a museum piece. New numbers like "New State of Mind," "Open Your Eyes," and "Fortune Seller" blend the band's progressive inclinations with solidly crafted melodies that place them among the band's catchiest creations. --Scott Schinder \n\nAmazon.com Customer Review\nOpen Your Eyes & Ears To This Fine Yes Disc!, October 23, 2001\nReviewer: Alan Caylow (USA) \nThere seems to be a school of thought somewhere in Yes' fanbase that *only* the band's long, extended pieces of music matter. Whenever the band simplify things a bit and do a whole album of shorter pieces, some Yes fans actually cry foul. Personally, I think this is just plain silly. Although I love "Close To The Edge," "Gates Of Delerium," "The Revealing Science Of God" and other Yes epics, I can greatly appreciate the band's shorter tunes as well. There's plenty of great songs to be had on Yes' very first pair of albums, as well as 1978's "Tormato" (I remain defiant that that's a great album), 1980's "Drama," all of the Trevor Rabin-era albums (even the much-maligned "Union" has a few gems on it), and this album, 1997's "Open Your Eyes," which I think is one of the group's very best albums."Open Your Eyes" started out life as a solo album for bassist Chris Squire, but it quickly evolved into a full-fledged Yes album, with all the other members getting into the act & contributing parts. Keyboard wiz Rick Wakeman had left the group AGAIN (but this time for good), so the band brought newcomer Billy Sherwood into the fold. The end result is a joyous, upbeat Yes album that sounds uncannily like a Trevor Rabin production, only without Trevor Rabin. ALL of the songs, from "New State Of Mind" to "The Solution," are catchy, uplifting, and memorable. Jon Anderson & the gang's heavenly choir vocals are all perfectly intact, as well as their expert musical chops. The production on "Eyes" is clean & polished, the sound is big and booming. "Open Your Eyes" is also a GREAT Yes album to cruise in your car to. I dare you not to hum along & tap your feet with this music as you head down the highway!"Open Your Eyes" is a very underrated Yes album. The band no longer play anything from it in concert, and the disc hardly ever gets a mention when fans talk about their favorite Yes music. But *I* think that this is an awesome disc, and one of the band's finest accomplishments. "Open Your Eyes" is a Yes album that's always a pleasure for me to listen to, and a great disc to play when you need a good, solid, spiritual boost. Please open YOUR eyes & ears to this one. :-) \n\nAmazon.com Customer Review\nNEW STATE OF MIND, February 27, 2005\nReviewer: Jason M. Carzon (bowie, maryland United States) \nThis 1997 effort by proggo-giants Yes has got to be the most despised album they have released. Could it be the lack of direction, the absence of keyboard virtuoso Rick Wakeman, the stripped-down simpler aproach, the addition of new members Billy Sherwood and Igor Khoroshev, the lack of some mega-epic 20 minute rock symphony ala 'Close To The Edge', Jon's new-age cosmic jive lyrics? The above characteristics only partly define this album.\n\nHere's what happened: Yes were to release 'Keys To Ascension 2' as the next official album back in 1997. Workoholic Wakeman was reluctant to tour due to prior commitments. Since the tour was up in the air, the label decided to postpone the release of 'Keys' as well. Rick then left. Itching to tour, and with new management, Yes decided to wash their hands of the whole 'Keys' debacle and whip out a new album quickly to take on the road with them. And what quicker way than to raid the backlog of solo material Chris Squire was working on with longtime Yes associate Billy Sherwood. So what you have here mimics what happened with the 90125 album- in that it was a Trevor Rabin solo album which morphed into a Yes album. Kudos must be given to Yes for making good of a bad situation, and as lazy and slapped-together easy way out albums go, this isn't as bad as has been made out to be. It was a Squire/Sherwood 'Conspiracy' album and the other members had to wedge their bits in, and it often shows. Problem is, two weeks before OYE was released, the old record company opportunistically released the retro-prog rock 'Keys To Ascension 2' to capitalise on the 1997 tour. The two albums released just weeks apart were like night and day: 'Keys' being a blatant return to epic material of old- a new 'Relayer'- and OYE being something the complete opposite. Fans were confused.\n\nIn total contrast to the 6 to 20 minute prog-rock of 'Keys', OYE is a stripped-down affair. The material is simpler, quirkier, and the production is more powerful. Some say this album is 'pop', but unlike albums like 1983's '90125', the songs here aren't really that terribly accesible either as some claim. Too weird, no stand-out 'single' as such. If 'Keys' was using 'Relayer' or 'Going For The One' as a lauching pad, OPEN YOUR EYES draws its plans from not 90125 or any Trevor Rabin era album, but more so like the first album YES(1969) or Time & A Word(1970). There is a Beatles-ish vibe and quirkiness here, and the emphasis here seems to be more on vocal harmonies than instrumental overkill. The addition of Billy Sherwood(keyboards and 2nd guitar) brings an urgency to Yes and a more guitar presence, but still there is a feel of a band in transition, and the album appears to be partly going in a new direction and partly going through the motions. The trax:\n\nNEW STATE OF MIND - a plodding rocker with big choruses. Kinda Yes meets Led Zep in a way. A bit repetitious but drives along.\n\nOPEN YOUR EYES - the title track was supposed to be the 'hit' single from the album but I never once heard it on radio. It's a rocking guitar-based track which could have been a minor hit like GTR or ABWH 'Brother Of Mine'. Steve Howe's solos were probably slopped on without him getting to know the track well, but they fit so you can't tell. A good modern Yes track.\n\nUNIVERSAL GARDEN - is a more traditional Yes-sounding track with plenty of cosmic synths, percussion and harmonies. The opening sounds like Howe and Sherwood trading licks on acoustic guitars which I'm suprised has escaped mention by Yes enthusiasts. In fact the two guitars sound like what Howe and Rabin would have sounded like together in some imaginary post-UNION version of Yes.\n\nNO WAY WE CAN LOSE - is a more simpler and upbeat track similar to 'Saving My Heart' from 1991's UNION album. Again, emphasis on vocal harmonies continues the Beatles comparisons.\n\nFORTUNE SELLER - another rocker track which features Rick's replacement, Russian keyboardist Igor Khoroshev, providing a 'Roundabout'-like organ solo. Don't get the lyrics at the end though(1-800-??).\n\nMAN IN THE MOON - a repetitious Squire/Sherwood Conspiracy track with Jon and Steve half-hearted performances kinda stello-taped on. Most fans hate this track, but it is rather catchy.\n\nWONDERLOVE - this one is rather weird, it has a mystical feel to it but it's not your usual cosmic Yes. It's simpler but it's not 'pop' either. It works on some primal level, I don't really understand what the band were going for on this track but I rather like it.\n\nFROM THE BALCONY - a folky contrast to the rest of the album, it's just Steve on acoustic and Jon providing vocals. A nice, simple, naked song.\n\nLOVE SHINE - this is filler, obviously. Kinda funky, not unpleasant but not particularly necessary either.\n\nSOMEHOW, SOMEDAY - more filler, this is actually a Jon Anderson solo song 'Boundaries' which is meshed with a 'City Of Love'-type rhythm. The song sounds like it doesn't fit together too well, like half the song can't keep up with the other.\n\nTHE SOLUTION - the album ends with a rocker not too unlike 'Tempus Fugit'. How this escaped the Yes enthusiasts is also puzzling. A good rock track, Steve's guitars do recall some of his playing on Drama.\n\nUNCREDITED TRACK - the rest of the disc has one of those secret hidden bonus tracks. Nothing much here, just a pleasant ambient/nature background with some vocal harmony bursts scattered around(all disembodied choruses from the album's songs).\n\nReally, not a terrible album at all. Not up to YES' usual standards either. Some of Yes' half-baked moments have produced interesting results, and this album is one such moment. Remember, this was originally recorded as a Conspiracy album, and Yes took a shortcut by adding enough material to make it an official Yes album while securing a new member in Billy Sherwood as well. A lot could have been better had the band had more time. The circumstances gave us a rushed effort that is strange, forced and confused. But there are a few gems here, you just have to dig a little to find them. The sound quality is very good too. Best tracks for me were the title track, UNIVERSAL GARDEN, WONDERLOVE, SOLUTION and NO WAY WE CAN LOSE. I give it 3 and a half stars, you should give it a chance.\n\nAmazon.com Customer Review\nGee, only about 1,000,000 times better than Maginifaction!!!, March 28, 2004\nReviewer: Karl Meischen (San Francisco)\nFirst and foremost, I would like to state that I LOVE this album. Secondly, let me state that Tales and Relayer are my absolute favorites, with 90125 and Drama close seconds, and after that pretty much everything between 1971-1983 (with the exception of Tormato) is flawless!!! How ANYONE could EVER say that the embarrassing dreck that followed after this album was even COMMENDABLE, let alone LISTENABLE, really, really confuses me. I assume that it is due to Steve and Rick (who wasn't even involved) dismissing this record, which is odd considering Steve is ONE THOUSAND PERCENT more recognizable on this album than the two unfortunate follow-ups. His playing is just gorgeous on the solos of tracks like "Open Your Eyes," "Universal Garden," and "The Solution." "Fortune Seller" is a nice, dense 5 minute mini-gem. THE VOCALS!!!! The vocals on this album are HUGE in the mix, and have the best vocal sound (if not overall vocals, since that album would be 90125--listen to "Leave It" and "It Can Happen" on the newly remastered version and deny that this is true!) on ANY Yes album. The vocals just jump out of the speakers. Plus, most of this album was culled from an aborted Chris Squire solo album, who IS Yes (listen to Fish Out Of Water and Drama and deny that THIS is true!). Sure, there's a clunker in "From The Balcony," Jon's bland solo tune, and the shameless "City Of Love" rip-off "Somehow Someday" (Rabin must have been FURIOUS after all of Steve's smug criticisms to hear Steve himself playing [in unison with Sherwood] one of HIS riffs!) isn't doing this album any favors. On the merits of the other 9 tracks however, this album just might be the most solid album since Big Generator, another oft-berated, misunderstood, underappreciated gem, and it's all the better for being so!! Sure, it's not Topographic Oceans. It's not Close To The Edge. It's not Relayer. It's not Going For The One, 90125, The Yes Album, Fragile, etc. etc. but THAT'S NOT THE POINT. This was the one last gasp of greatness for Yes outside of playing live. The following two albums would sound like Jon's current wardrobe: flourescent and awkward. BOTH of the past two records are drippy, happy-go-lucky, TERRIBLE glorified Jon solo albums, with little originality or passion or really ANYTHING Yes like about them at ALL, save the lone track "Homeworld." Magnification was NOT a return to form; it was a permanent residence in adult contemporary ballads with terrible production (the worst on any Yes record ever, even worse than Union[!!]), disturbing molester vocals from Mr. Anderson, whom I don't EVER want to hear sing "what happens when I touch you there," and the most uninspired playing I have EVER heard on a Yes record, not to mention the worst lyrics ever on one either. Stick with Open Your Eyes. Although the vocals sound astounding, the songs might not knock you over the head on first listen. Three listens in however, you're hooked. Mr. Squire, take a bow.\n\nHalf.com etails\nProducer:\tYes\n\nAlbum Notes\nYes: Steve Howe (vocals, guitar, steel guitar, mandolin, banjo); Billy Sherwood (vocals, guitar, keyboards); Chris Squire (vocals, bass, harmonica); Alan White (vocals, drums, percussion); Jon Anderson (vocals).\n\nAdditional personnel: Igor Khoroshev, Steve Porcaro (keyboards).\n\nThis OPEN YOUR EYES is a limited edition CD which debuts the surround sound process SAIL pioneered by Seattle Audio Imaging Labs, Inc.\n\nYes is a finely tuned machine that keeps on running like an antique car in mint condition. There is no reason for the band to change the signature features that make it what it is and make it great. On OPEN YOUR EYES classical guitars give way to sudden explosions of virtuoso electric solos; synthesizers soar off into the stratosphere and a dizzying array of incongruous elements all fall into line to create a symbiotic and unified sound.\n\nBut the jewels in the Yes crown are the ethereal vocals; the synchronized dissonant and concordant harmonies that at once conjure Gregorian chant, space travel, and the heavenly firmament itself. If the Sistine Chapel ceiling could sing out at you, it would probably sound like Yes. For fans, the pristine pedestal on which the band perches will remain soundly unshaken; OPEN YOUR EYES is exactly what they do best, just more of it. The lyrical theme is predominantly enlightenment, tolerance and abiding, unmarred hope. It's the alternative to alternative...disciplined, earnest and magical. For non-initiates OPEN YOUR EYES is a perfect eye-opener into the distinctive world of YES. |
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