Podcast Summary: Political Beats – Episode 136: Brad Birzer / Yes [Part 2]

Release Date: July 1, 2024

Hosts: Scott Bertram and Jeff Blair
Guest: Brad Birzer, alongside Christian Schneider

Introduction

In Episode 136 of Political Beats, hosts Scott Bertram and Jeff Blair engage in an in-depth conversation with Brad Birzer, the Russell Amos Kirk Chair in American Studies at Hillsdale College, and Christian Schneider. The episode delves into the progressive rock band Yes, exploring their musical evolution from the mid-1970s through the early 1990s.

Relayer: A Jazz-Infused Turn

Timestamp: [04:18] – [10:32]

Brad Birzer initiates the discussion by examining Yes's 1974 album, Relayer. Following the ambitious Tales of Topographic Oceans, the band sought to rejuvenate their sound amidst declining morale and creative challenges.

• Tour Struggles and Lineup Changes: "Rick Wakeman... really reaches his limit playing this thing every single night" ([05:46]) leads to his departure and the introduction of Patrick Moraz, a Swiss keyboardist whose jazzier approach significantly influenced the album's direction.

• Musical Analysis: Birzer praises Relayer's complexity, highlighting tracks like "Soundchaser" as "the single most impressive piece of avant-garde composition that Yes ever did" ([05:46]). Despite its lack of mainstream singles, the album is lauded for its artistic ambition and Roger Dean's evocative artwork.

Jeff Blair adds his perspective, noting the album's technical prowess but acknowledges its lesser melodic appeal compared to earlier works: "It's likely... the least melodic thing that they've done" ([10:50]).

Christian Schneider echoes admiration for Relayer, emphasizing its organic flow and the seamless integration of jazz elements: "I absolutely love Gates of Delirium. I love every part of it" ([21:59]).

Going for the One: A Near Masterpiece

Timestamp: [34:03] – [42:05]

Transitioning to Going for the One (1977), Birzer describes it as a near masterpiece for Yes, bridging the gap between the experimental Relayer and more accessible sounds.

• Musical Highlights: The album features a blend of intricate compositions and radio-friendly singles. Birzer highlights "Wondrous Stories" as "a wonderful song that encouraged Rick Wakeman to rejoin the band" ([37:41]).

• Production and Collaboration: The return of Rick Wakeman is credited with enriching the album's sonic landscape. Birzer admires the fusion of Wakeman's church organ with Chris Squire's bass lines, creating a "pumping bass from Squire underneath fusing with a church organ" ([34:03]).

Notable Quotes:

• Birzer on the album's humor and lyricism: "As I said, this is the time when I realized Yes has a sense of humor" ([34:03]).
• Jeff Blair underscores the album's standout tracks: "Parallels is one of the best, best songs of this Yes era" ([40:11]).

Drama: The Fusion Experiment and Fallout

Timestamp: [42:05] – [69:03]

Drama (1980) marks a significant shift for Yes, featuring a new lineup with Trevor Horn and Trevor Rabin after John Anderson and Patrick Moraz's departures.

• Album Overview: The duo of Horn (vocals) and Rabin (guitar) aimed to blend progressive rock with new wave influences, resulting in a bold, albeit controversial, musical direction.

• Critical Reception: Initially panned for its departure from classic Yes sounds and Trevor Horn's distinctive vocals, Drama has undergone a retrospective reassessment. Birzer passionately defends the album as "one of the two greatest Yes albums ever made" ([65:51]).

• Touring Challenges: The accompanying tour was fraught with difficulties, including vocal mismatches and internal tensions, leading to the band's temporary collapse.

Notable Quotes:

• Birzer on Drama's production: "It is a brilliant fusion. It is exactly what it was intended to be" ([65:51]).
• Schneider praises the album's lyrical depth and vocal arrangements: "The contrast between Anderson's voice and the choruses is really innovative" ([72:55]).

90125: The 80s Revival and Mainstream Success

Timestamp: [69:03] – [101:42]

90125 (1983) revitalizes Yes by reuniting the core members with Trevor Rabin, steering the band towards a more polished, radio-friendly sound without abandoning their progressive roots.

• Production Excellence: Under Trevor Horn's production, the album achieves a focused and concise sound. Jeff Blair lauds the meticulous arrangement of "Owner of a Lonely Heart," citing its "number one song" status as a testament to the album's craftsmanship ([99:07]).

• Musical Evolution: Blaire emphasizes the seamless integration of Rabin's songwriting with classic Yes elements, creating hits like "It Can Happen" and "Hold On," which blend memorable hooks with sophisticated arrangements.

• Legacy: 90125 is celebrated for its ability to balance commercial appeal with artistic integrity, producing enduring hits while maintaining the band's identity.

Notable Quotes:

• Jeff Blair on the album's standout tracks: "It's such a wonderful piece of arrangement and production" ([100:17]).
• Brad Birzer on "Owner of a Lonely Heart": "It's a brilliant line read by Anderson. It's almost a mystery how something like that could chart" ([102:58]).

Big Generator and Union: Decline and Fragmentation

Timestamp: [101:42] – [162:03]

Post-90125, Yes encountered creative and interpersonal challenges with albums like Big Generator (1987) and Union (1991).

• Big Generator: Criticized for its overproduction and departure from the cohesive sound of 90125, the album struggled to capture the same level of success. Hosts express frustration over its generic approach and perceived lack of innovation.

  • Quotes:
    • Jeff Blair: "It's so overproduced. Nothing lands. It sounds like it could have been produced by any band in Los Angeles" ([117:56]).
    • Brad Birzer: "It is [Big Generator] a truly bad album" ([123:35]).

• Union: A forced amalgamation of multiple Yes lineups, Union is regarded as a chaotic project that failed to resonate with fans or critics alike. The collaboration between Trevor Rabin and former members led to a disjointed and unremarkable release.

  • Quotes:
    • Jeff Blair: "It's a mess. The production doesn't help anything at all" ([129:11]).
    • Brad Birzer: "It's like they took two bad flavors and combined them in the hopes of making ice cream" ([125:25]).

Later Years and Legacy

Timestamp: [162:03] – [end]

The podcast concludes by reflecting on Yes's later works and their enduring legacy. The hosts and guest acknowledge the band's significant influence on progressive rock despite the fluctuating quality of their later albums. They emphasize the importance of core members like Chris Squire and Alan White in maintaining the band's identity amid numerous lineup changes.

Recommendations:

• Brad Birzer: Recommends Drama and 90125 as essential listens within this era, highlighting tracks like "Soundchaser," "Onward," and the revitalized "Owner of a Lonely Heart."
• Christian Schneider: Suggests focusing on standout tracks such as "Gates of Delirium," "Silent Wings of Freedom," and "Machine Messiah," as well as appreciating the ambitious Fly From Here in its reissued form.

Conclusion

Episode 136 of Political Beats offers a comprehensive exploration of Yes's tumultuous journey through the 1970s to the early 1990s. With insightful analysis from Brad Birzer and Christian Schneider, listeners gain a nuanced understanding of the band's creative peaks and valleys. The episode underscores the enduring appeal of Yes's music, advocating for a reassessment of albums like Drama and 90125 while critically examining the missteps of Big Generator and Union.

Notable Quotes:

• Brad Birzer on Drama's importance: "I adore it. I think it is a masterpiece" ([65:51]).
• Jeff Blair on 90125's craftsmanship: "It's just a wonderful piece of arrangement and production" ([100:17]).
• Christian Schneider on Relayer: "I absolutely love Gates of Delirium. I love every part of it" ([21:59]).

For more insightful discussions on the intersection of politics and music, subscribe to Political Beats on Apple Podcasts or visit National Review's podcast page. Support the show via Patreon to access exclusive content and help keep the program ad-free.