This box set is a class act. The whole thing comes in something that resembles a book. Five CDs contain lots of classic Yes and some songs that were never before officially released. The book that comes with is quite nice, too. It should be mentioned that the inclusion of Anderson Bruford Wakeman and Howe material might seem a bit odd, considering how hard the Chris Squire version of the band fought to keep ABW and H from using the name Yes, now these songs are released under that banner. Still, the material is very much Yes music, so it should be here. Collectors will love the inclusion of the lost sessions from the time before Rick Wakeman and Jon Anderson left post Tormato. While some better notes on the songs would have been nice, this is a great set and a great package. Since I’ve reviewed most of the songs previously on their original albums, I’ve adapted the track by track reviews here from those for the sake of consistency.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2011  Volume 1 at lulu.com/strangesound.

A Beatles cover, Yes starts this with a free form jam that at times is quite frantic and hard edged. They eventually drop to the main melody line, throwing in the familiar "Day Tripper" riff for good measure. Yes' take on this one is both reverent and experimental, showing that a true pop classic can be taken to new experimental heights. It gets a bit weird at times. This came from Yes’ self-titled debut.

A mellow balladic cut, this is also from the first album. It is a bit more rock and roll and run of the mill than most older Yes, but still holds up remarkably well. Chris Squire's bass work adds a lot of character to this one.

One of the highlights of the first Yes album, this begins with some almost funky guitar that gives way to another free form jam that the band seemed so fond of in those days. This eventually works through, then gives way to a balladic segment that serves as the bulk of the piece. During the lyrics Anderson sing, "the beginning of things to come,” and these words seem truly prophetic on this cut. This is a definite strong point, and has weathered the years quite well.

Although this one is a bit more familiar to Yes fans, than much of the material on Time and A Word, its fairly straightforward Beatlesish song structure is just not that special. Although catchy, this is one of the weaker tracks on that disc, gaining much of its appeal, I believe, from the repetition awarded it from its presence on Yesterdays.

This is another of the better-known cuts from the Time and a Word album. It is a fairly strong fast paced early prog cut with definite psychedelic leanings. The instrumental break on this one features some of the most classic Yes oriented instrumentation on that whole album, and the build up that follows, along with its guitar solo, are spectacular. This one is truly awesome, and Squire, Banks and Bruford all are on fire at different points in this number.

Coming from The Yes Album, staccato pattern starts this, quickly joined by Tony Kaye's organ playing melody over top. After this segment, the band bursts into a fast paced jam, Steve Howe soloing all over it. They move this one forward in this way for a time, then drop back to just keys. The first verse is sung with just those organ chords as backing, then Howe screams out on his strings, and the band push the jam back to where it was earlier. This mode is the order of the day for a time; instruments laid over top at different points, 'til they drop it back to a walking bass line for the next verse. Squire holds the piece with Howe providing ornamentation for a time until the band returns to the staccato section. They create a new instrumental segment from this until Howe solos again, this time punctuated at points by the entire group. They then move this into a soaring instrumental segment, moving the track to new heights. This extended jam shows elements of the sound that come to fruition on Fragile. Howe cuts loose with some his most tasty riffing ever on this cut. After a long time working through this, they drop it back to just organ, then a new mellow melody takes over, providing both the transition and resolution to the earlier frenzy. They build this new melody line forward recreating it for a time until Howe takes over again, then the band rejoin for a reprise of the earlier quick modes. This one really is a showcase for Steve Howe's guitar work and a real smoker.

This acoustic guitar solo is recorded live. It’s a bouncy number that’s just plain fun. Yet, it’s also quite intricate. Although, it’s listed as being from The Yes Album, this recording seems a bit different, or at least extended in terms of the spoken introduction.

One of my personal all-time favorite Yes pieces, this one has to take a bit of time to grow on you, but when it does - wow! It is a great example of how this band are able to take a considerably complex, syncopated song structure and create a compelling and accessible song with it. I have always loved segments where the guitar solos and screams throughout the vocal lines, and this one is chock-full of Howe's fretboard frenzy too intense to just stay in little compartments. Wakeman manages to squeeze in some beautiful piano based classically oriented interludes that truly set this on its ear, and bring it a sense of grounding. This cut is absolutely timeless and one of the finest works of the whole genre. In some ways this is one of the crunchier pieces the band did during their classic era. It is another that comes from Fragile.

Chris Squire once was quoted as saying that this track from Fragile is the definitive Yes song, capturing all of what the band does well. Truly it is another masterpiece, and is full of emotion. The virtuosity is all over this, but as part of making a stronger song rather than "showing off.” Squire's bass line drives much of the cut. It showcases the group's contrasting soft and hard-edged sides quite well. In fact, Mr. Squire might well be right on the money with his assessment of this piece.

This one jumps right in with vocals right at the start accompanied by atmospheric music. It starts a slow and gradual, but steady building process from this pint, eventually working up a lot of drama and tension. As this segment resolves, a new melody line, driven at first by the keyboards, takes it. Howe manages some strong soloing here. The band make their way through several reworkings of this theme, eventually giving way to the next verse section. This segment is overlaid with a lot of guitar riffing, even as the vocals carry forward. They continue in this general pattern for quite some time. One of the better vocal segments of the Tales from Topographic Oceans disc eventually comes in here. After they carry through on this for a time, a highly dramatic and hard-edged jam takes over. This is one of the more effective segments of the entire Tales from Topographic Oceans album. It gives way to a slower, more harmonious rather balladic section. This movement drops away and a keyboard segment, quite powerful and pretty, takes it. After Steve Howe uses this as a backdrop for some meaty guitar work, the band moves it into a dramatic vocal section. The lines this time are punctuated by some tasty instrumental work. The riffing in this section is especially effective. This shifts to a fast-paced classic Yes type section that works very well. This resolves into a triumphant segment, then gives way to a frantic jam, one of the coolest of the whole package. They eventually move this out to balladic melody segment that feels a bit mysterious and quite powerful. Then a different, sparse arrangement forms the basis for the next vocalizations. This gives way, eventually, to a new instrumental exploration that includes some great keyboard textures. Anderson adds non-lyrical vocals here, acting as an instrument with the rest of the group as they make their way across the soundscape. This is truly one of my favorite parts of the album from which it originally sprang, but it doesn't last long. They drop it to atmospheric textures that serve backing to the next vocal segment. This gradual builds up in organic ways to the melody that ends the cut.

Another song from Fragile that has become a Yes classic, this one features an especially strong vocal arrangement and intriguing rhythmic pattern. It is quirky, dramatic and smart. When separated from the bass solo “The Fish” that was originally its counterpart, it seems a bit odd, though.

Beautiful acoustic guitar and vocal interplay makes up the early segments of this composition. Together they weave their tale of beauty until the other instruments begin to join, carrying on with building. This song is a work of splendor. It features a complex arrangement. This is an example of some of prog's finest. "Did her eyes at the turn of the century, Tell me plainly when we meet how we'll look, As we smile time will leave me clearly". Beautiful and intricate acoustic guitar ends the piece. This was originally released on Going for the One.

Coming from Going For the One, mellow, but quite complex prog wonderment is used to create a composition that is both other worldly and accessible. This was a bit of a hit for the band in some parts of the world. Sections of this one have sounds that were destined to show up on the band's next release Tormato.

This is a somewhat funky rocker that seems a bit contrived by today's standards. It is still a very good song, and features a strong vocal dominated segment towards the end. That vocal segment is followed by a potent guitar driven outro. It came from Tormato.

Yes' take on heavy metal, this is a very hard rocking number with a driving beat. Still, it features many quirky changes to make it trademark Yes. In fact, it evolves into very strong prog jamming. It was originally released on the same album as the previous number.

Based on somewhat silly lyrical subject matter, this Tormato number is nevertheless a quirky little prog rock number. It really explodes toward the end in a progressive rock jam that simply keeps reinventing itself.

This song was originally recorded when the band were working on the follow up to Tormato. Before that album was finished, Rick Wakeman and Jon Anderson had both left the band. So, this (and the first songs of the next disc) were never completely finished or released (until now). This is very much in  a style that seems to combine Jon Anderson’s Olias of Sunhillow with Yes’ Tormato album. It’s pretty complex and quite tasty. It’s actually a great piece of music.

Here’s another song from those lost sessions for what would have been the follow up to Tormato. A bouncy sort of build up leads to Anderson’s first vocal appearance on the track. The arrangement is quite sparse for those first verses. Gradually more elements are added to the mix. When the arrangement turns more lush later and they take us through a couple short twists, this song is simply incredible. The production isn’t quite up to the par that it would have been had they completed this, but the music is strong enough to make up for that weakness.

Keys start this, and while Howe lays down a bouncy Police like rhythm guitar Squire's bass simply runs like crazy. This is definitely not your typical Yes music, but Squire and Howe are both on fire at times, and the general tone and quirky changes really do work. This one also came from Drama.

A quick percussion run gives way to the familiar crunch guitar line. While this cut is an understated hard rocking piece, it has been quite influential, in off all music, R & B, in its production. This is not what one would normally think of as "Yes music". It's not prog and is definitely overplayed. Still, it does have its moments. It first appeared on 90125.

In my opinion this pop drivel with its Beach Boys like vocal arrangement is the worst cut Yes have ever recorded. I can't stand it. It was originally released on Big Generator.

Like 90125's "Hearts" the closer to Big Generator is another cut that feels like an Anderson solo composition. It is another slowly building balladic number with its share of moments, it's just not all that special.

An abbreviated version of this song from Anderson Bruford Wakeman and Howe was released as a single. The cut opens in the chorus and it’s the first melodic “song” based section we’ve heard by that point on the source album. After the chorus runs through they move through a number of alterations and variations. Howe solos here. This is the first time on the disc where he’s beaten Wakeman to the solo. Howe’s presence is more pronounced on this track and it’s one of the strongest cuts on the disc. There’s a rather Native American styled feeling to a lot of this. There’s a cool bouncing bridge later in the track. This resolves into a melodic breakdown and then Wakeman gets a solo segment. Howe lays lines of guitar soloing over the top after a time. A reprise of the “Nothing Can Come Between Us” section brings us back to the opening chorus section of the track.  It resolves into a melodic solo from Steve Howe (multilayered at times). Just as it seems like this might bring us to the end of the track they move out into a killer staccato jam that calls to mind Close to the Edge era Yes. They don’t stay there long, though. Instead this gives way to the rather catchy “Brother of Mine” chorus. Lest you think you’ve found your way into a pop song, though, they shift this out into a powerful keyboard dominated instrumental segment for a time before returning to the chorus. Then this gives way to a more melodic section that calls to mind Anderson’s solo works. This gives way to another brief segment and then a return to dramatic jamming. Howe solos while Anderson is still singing. That’s always a huge plus for me. I’ve never liked the tendency (even in progressive rock these days) to sectionalize the instrumental soloing and vocals. To my ears it’s far more dramatic and powerful to have the solos taking place during vocal sections. In any event they bring in a keyboard solo alongside Anderson later and then resolve out into another killer prog jam that has a major emphasis on Wakeman’s keys. A classic closing jam (ala Fragile) takes the track out.

This is an alternate version of a song from the Anderson Bruford Wakeman and Howe album. It’s quite a cool track. While the overall arrangement is rather stripped down, bits of guitar and keyboards play across the top at many points. Besides that, the general arrangement is just so dramatic and powerful. It’s catchy and powerful. It’s a great piece of music.

Based on the wall of vocals intro, this single from Talk is worlds better than "Rhythm of Love" and even features some quirky musical interludes. The bridge is anthemic, and feels just a little Beatlesish at time. The cut does feature a killer vocal arrangement. The reworked instrumental break late actually has a structure and some phrasing that remind one of classic Yes. In fact, the extended jam on this one is quite cool. The outro is also rather classy.

Another from Talk, this one has all the textures of Trevor Rabin's solo work, mildly creative and entertaining arena rock, but certainly not worthy of the Yes moniker.

Coming from Keys to Ascension 2, this was one of five studio tracks recorded by the reunited classic Yes lineup of Anderson, Howe, Squire, Wakeman and White. The intro to this song is rather reminiscent of Tales From Topographic Oceans, but as it builds it breaks into new musical ground, while still maintaining a definite Classic Yes feel. I really felt at first that the chorus section really didn`t fit this song, but now I have grown to see that it does fit. However, it still seems to mar the continuity a bit by repeatedly bringing a song that seems to be building well back down. Just seems kind of unsatisfactory from a dramatic point of view to me. There is an acoustic break which reminds me a lot of Peter Banks` style of playing, then it breaks into a nice instrumental section, much in the vein of Close to the Edge, although, perhaps a bit jazzier at times. The mood of the end of the song is quite nice.

This title track is far better than the rendition that the band were doing on the tour. This song does a very nice job of integrating the classic Yes sound with the late `70`s AOR sound of the Styx and Kansas genre. I also hear quite a bit of Chris Squire`s Fish Out of Water album and some Asia in this song. I feel that this is a strong number.

Another from Open Your Eyes, this track is very good. It starts with some wonderful (and rather intricate) acoustic guitar work, and actually seems to have a Going For The One sort of feel in places. The song contains a very nice guitar break that is followed by a section that harkens to Jon Anderson`s solo material.

A very funky/bluesy intro segment gets this one off in fine order. Then, the first verse comes in in an emotional classic Yes mode. A triumphant buildup then takes the piece. The choruses are quite catchy, but still very prog oriented. The cut features a bluesy acoustic solo and a considerably strong instrumental movement. It shift gears after a time, moving into a dramatic TFTO oriented mode. This cut is really classic Yes brought into the new millennium in high fashion. It originally came from The Ladder.

This bouncy little rocker is fun, but a bit odd. It’s obviously some sort of demo. It’s mostly just bass guitar, drums and vocals. That bass really screams, though. It’s cool to hear Anderson do a bluesy rock performance.