90125
90125 is the eleventh studio album from the English progressive rock band YES, released in 1983 on Atco Records. It was the first studio album since their 1981 breakup and the first to feature Trevor Rabin, and also marked the return of vocalist Jon Anderson, who had quit the band prior to their tenth studio album of 1980. It also marked the first time in twelve years that original keyboardist Tony Kaye had appeared with the group.

The album was titled after its Atco Records catalogue number (for example, 7-90125-1 for the LP).

Personnel

Jon Anderson
Vocals

Tony Kaye
Keyboards

Trevor Rabin
Guitars, Vocals

Chris Squire
Bass, Vocals

Alan White
Percussion

Recommended Versions

Dan Hersch & Bill Inglot 2003 Stereo Remasters for Warner Music UK/USA

90125
90125 Remastered in 2003 from the master tape of the original mix.
Available as:
HD 24-192, 24-96 or 24-44.1 Downloads at HD Tracks, HiRes Audio
Gatefold CD at Amazon
Vinyl LP as per original release (no extra tracks) at Amazon
MP3 Downloads at iTunes (Standard Edition, Mastered for iTunes), iTunes (Deluxe Edition), Google Play, 7 Digital, Microsoft Store
Streaming at Apple Music, Spotify, Rdio, Tidal
This Remaster of 90125 is also available as part of the ‘Studio Albums 1969-1987‘ Box Set at Amazon.
The Box Set contains the following remastered albums and their original track listing (ie no bonus tracks): Yes, Time and a Word, The Yes Album, Fragile, Close to the Edge, Tales from Topographic Oceans, Relayer, Going for the One, Tormato, Drama, 90125, Big Generator. Each individual album comes in a gatefold sleeve that replicates the original LP packaging.


Isao Kikuchi 2013 Stereo Remasters for Warner Music Japan

90125 is also available as part of the High Vibration SACD Box Set at Amazon.
High Vibration is a 16 x Hybrid SACD Box Set made for the Japanese fans, containing their first 13 albums on 15 discs plus a bonus disc of extra tracks. All Remastered by Isao Kikuchi at 24-96 & 16-44.1 with a 220 page book in Japanese.
Albums: Yes, Time and a Word, The Yes Album, Fragile, Close to the Edge, Yessongs, Tales from Topographic Oceans, Relayer, Going for the One, Tormato, Drama, 90125, Big Generator and a Bonus Disc.
Bonus Disc: Something’s Coming, Dear Father, Roundabout (Single Edit), America, Total Mass Retain (Single Version), Soon (Single Edit), Abilene, Run Through The Light (Single Version), Run With The Fox, Owner Of A Lonely Heart (Move Yourself Mix), Leave It (Single Remix), Big Generator (Remix).

Listen

Spotify

Dan Hersch & Bill Inglot 2003 Stereo Remasters

Soundcloud excerpts

Dan Hersch & Bill Inglot 2003 Stereo Remasters

90125 - by Brian Ives

It was more than a YES “reunion.” It was YES, reimagined. A contemporary band for the ’80s, not a band relying on a legion of dedicated fans and a hefty catalog of great songs (although they certainly had both). This YES could appeal to a new audience, unfamiliar – or even uninterested – in past glories. 90125 made YES as much of the ’80s as The Yes Album, Fragile and Close To The Edge were of the previous decade. But it almost didn’t happen; in fact, this YES was actually a brand-new group.

But let’s rewind a bit: YES came to an end after a 1980 tour with a revamped lineup, one that didn’t include original singer Jon Anderson. Founding bassist Chris Squire along with longtime guitarist Steve Howe and drummer Alan White had hooked up with The Buggles, aka singer Trevor Horn and keyboardist Geoff Downes, to release one album under the YES moniker, Drama (1980). This incarnation hit the road, but something wasn’t clicking, and all involved called it a day. Horn went on to form ZTT Records and pursue a career as a producer, while Howe and Downes formed the supergroup Asia (with former King Crimson bassist­/singer John Welton and ex-ELP drummer Carl Palmer).

Chris Squire and Alan White stuck together, contemplating a supergroup of their own with Jimmy Page, then fresh from Led Zeppelin. That didn’t work out, although depending on who you ask – some of the ideas from those sessions would later be used in Page’s next supergroup, The Firm, which also featured ex-Free and Bad Company frontman Paul Rodgers.

In any case, Squire and White moved on and recorded a single called “Run With The Fox,” cowritten with former King Crimson and ELP lyricist Pete Sinfield, with Squire on lead vocals. It was clear that while Squire and White were a great rhythm section, they weren’t a great band – not by themselves, anyway. Luckily, they were about to meet Trevor Rabin, probably the most controversial YES recruit as far as the YES fanbase is concerned.

Trevor Rabin had a long musical history. Born in South Africa, he was an in-demand session musician by his teens, and by his twenties he was fronting Rabbit, which rocked up platinum album sales and sold-out stadium concerts. When the band split up Rabin moved to England to go it alone. After a couple of solo albums, he moved to L.A. for a change of scene. When Chris Squire heard demos for his new songs at the offices of Atlantic Records, he contacted the South African musician. Rabin got on well with the Yesmen, and the band Cinema was born.

Or so they thought.

Rabin was a multitalented performer; he could sing as well as play guitar and keyboards. But his load would be lessened after Squire bumped into Tony Kaye at a social gathering. Tony Kaye was YES‘ founding keyboardist, but he left the band in 1971 due to management and creative differences. Replaced by Rick Wakeman, Kaye promptly formed the band Badger and released One Live Badger (1973), followed by White Lady (1974), recorded with New Orleans R&B legend Allen Toussiant.

Rabin2

In addition, Kaye played keyboards in sessions for the group Flash, which featured original YES guitarist Peter Banks. He’d also served as keyboardist in a late-’70s Badfinger reunion and supported David Bowie on his Station To Station tour. Kaye, who’d never played alongside drummer Alan White (who’d replaced Bill Bruford in 1972, after Kaye was gone), was soon invited to join the Cinema ranks, bringing the number of ex-Yesmen to three.

Cinema, now a four-piece featuring Squire, White, and Kaye, plus Rabin on guitar and lead vocals, were now ready to start work on their debut. Perhaps surprisingly, they hired another ex-YES member, Trevor Horn, to produce the record. As the sessions progressed Cinema decided that they needed a frontman, as the music they were playing was fairly complex, and Rabin wasn’t sure he wanted to have to worry about singing and playing guitar live. Eventually, Chris played some of Cinema‘s music for Jon Anderson, who liked what he heard. Chris asked Jon to sing on it. The rest is history; Jon was back in the fold, and Cinema became the eighth version of YES.

Rabin had doubts about the move, at first. When he initially hooked up with Squire and White, it was a new project, with unknown expectations. Now, as YES, they’d have to deal with the long shadow cast by the band’s prior work. But the move turned out well for everybody. In retrospect, Rabin’s entrance is no more or less a radical lineup or sound change than Howe’s band debut in 1971, replacing founding guitarist Peter Banks. Rick Wakeman and Alan White had also changed the group dynamic and sound when they joined (in Wakeman’s case, each time he joined); YES has always been about incorporating the skills and influences of new musicians into the collective.

Still, 90125 (so named for the album’s selection number in the Atlantic Records catalog) was a departure for YES in more ways than one, featuring tightly written rock songs and contemporary production values. Even the cover sleeve was telling: in place of the iconic Roger Dean­ – created YES logo and the usual lush, sprawling Dean landscapes was a design featuring then­-current computer graphics. The word YES was displayed in ordinary typeface! But the album still retained the musicianship the group had always been known for. And most of the faithful bought 90125, albeit with slight reservations.

Yes - 90125 (1983)

In pop culture terms a “comeback” often refers to an artist who has been away and literally “comes back,” or returns to recording and/or touring. Or it might apply to an artist who returns to his former glory after a period of disappointment. So while 90125 is often referred to as YES‘ “comeback” album, only the former definition works here. Commercially it eclipsed anything YES had done before and brought them to new heights of popularity.

Owner Of A Lonely Heart” (one of the songs on Rabin’s demo tape that caught Trevor Horn’s attention) gave the band their first (and, as of this writing, only) #1 Pop single. A disturbing video, which seemed a bit out of character for YES at the time, made them MTV fixtures. Like fellow veterans Genesis, ZZ Top, and The Kinks, the imaginative use of this innovative visual forum gave YES a new lease on life and a younger, enthusiastic fanbase. And thanks to some remixes, the song also put YES, rather improbably, on the dance music and R&B charts. “Leave It” and “It Can Happen” enjoyed pop success (also thanks to MTV). Meanwhile, “Hold On” and “Changes” were played on rock radio and became in-concert favorites. “Cinema,” a nod to YES Mark 8’s intended moniker, won YES their first (and only) Grammy®, for Best Rock Instrumental Performance.

90125 accomplished one of the rarest of feats in contemporary pop music by pulling in a new audience for a band with more than a decade of history. But like Aerosmith’s Permanent Vacation and the Grateful Dead’s In The Dark (both of which reintroduced older groups to the MTV generation), it also drew something of a line in the sand, inspiring much debate among the faithful for years to come.

group shot 9025

But a few facts cannot be denied: without Trevor Rabin, the band probably wouldn’t have reunited. He provided Squire, White, Anderson, and Kaye with an artistic shot in the arm. YES‘ venture into the pop arena would make their later return to sprawling mini-epics all the more eagerly anticipated and exciting. Both of the above points provide good reasons why the Trevor Rabin era, which officially starts here, was healthy for YES.

Which brings us to another undeniable point: 90125 is a great record, from start to finish. So sit back, and with open ears, listen to the sound of a vital band being reborn.

– Brian Ives

Lyrics

Click on the song title to view the lyrics.

OWNER OF A LONELY HEART

Move yourself
You always live your life
Never thinking of the future
Prove yourself
You are the move you make
Take your chances win or loser

See yourself
You are the steps you take
You and you – and that’s the only way

Shake – shake yourself
You’re every move you make
So the story goes

Owner of a lonely heart
Owner of a lonely heart
Much better than – a
Owner of a broken heart
Owner of a lonely heart

Say – you don’t want to chance it
You’ve been hurt so before

Watch it now
The eagle in the sky
How he dancin’ one and only
You – lose yourself
No not for pity’s sake
There’s no real reason to be lonely
Be yourself
Give your free will a chance
You’ve got to want to succeed

Owner of a lonely heart
Owner of a lonely heart
Much better than – a
Owner of a broken heart
Owner of a lonely heart

Owner of a lonely heart

After my own decision
They confused me so Owner of a lonely heart
My love said never question your will at all
In the end you’ve got to go
Look before you leap Owner of a lonely heart
And don’t you hesitate at all – no no

Owner of a lonely heart
Owner of a lonely heart
Much better than – a
Owner of a broken heart
Owner of a lonely heart
(repeat)

Owner of a lonely heart

Sooner or later each conclusion
Will decide the lonely heart Owner of a lonely heart
It will excite it will delight
It will give a better start Owner of a lonely heart

Don’t deceive your free will at all
Don’t deceive your free will at all Owner of a lonely heart
Don’t deceive your free will at all
Just receive it


WRITTEN BY

Jon Anderson/Trevor Rabin/Chris Squire/Trevor Horn


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals

HOLD ON

Justice to the left of you
Justice to the right
Speak when you are spoken to
Don’t pretend you’re right
This life’s not for living
It’s for fighting and for war
No matter what the truth is
Hold on to what is yours

Jigsaw puzzle traitors
Set to spill the beans
Constitution screw up
Shattering the dreams
Blood flows in the desert
Dark citadels burning too
Watch! Look over your shoulder
This one is strictly for you

Hold on – Hold on
Wait maybe the answer’s
Looking for you

Hold on – Hold on
Wait! Take you time
Think it through
Yes! I can make it through

Hold on – Hold on
Sunshine shine on through
Hold on – Hold on
Sunshine shine on you

See it through

Talk the simple smile
Such platonic eye
How they drown in incomplete capacity
Strangest of them all
When the feeling calls
How we drown in stylistic audacity
Charge the common ground
Round and round and round
We living in gravity

Shake – We shake so hard
How we laugh so loud
When we reach
We believe in eternity

I believe in eternity

Hold on – Hold on
Wait – Take your time
See it through
Hold on – Hold on
Wait – Maybe a chance
Is looking for you

Hold on – Hold on
Hold on – Hold on

Sunshine – Shine on shine on you
Sunshine – Shine on through
Sunshine – Shine on shine on through
Sunshine – Shine on you


WRITTEN BY

Jon Anderson/Trevor Rabin/Chris Squire


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals

IT CAN HAPPEN

You can fool yourself
You can cheat until you’re blind
You can cut your heart
It can happen

You can mend the wires
You can feed the soul apart
You reach
It can happen to you
It can happen to me
It can happen to everyone eventually

It’s a constant fight
A constant fight
You’re pushing the needle to the red
Black and white
Who knows who’s right
No substitute you’re born you’re dead
Fly by night
Created out of fantasy
Our destinations call

Look up – Look down
Look out – Look around
Look up – Look down
There’s a crazy world outside
We’re not about to lose our pride

It can happen to you
It can happen to me
It can happen to everyone eventually

As you happen to say
It can happen today
As it happens
It happens in every way

This world I like
We architects of life
A song a sigh
Developing words that linger
Through fields of green through open eyes
This for us to see

Look up – Look down
Look out – Look around
So look up – Look down
There’s a crazy world outside
We’re not about to lose our pride

It can happen to you
It can happen to me
It can happen to everyone eventually

As you happen to say
It can happen today
As it happens
It happens in every way

As you happen to see
It will happen to be
Nothing happens to nowhere and nowhere

Look up – Look down
There’s a crazy world outside
We’re not about to lose our pride

It can happen to you
It can happen to me
It can happen to everyone eventually

As you happen to see
It will happen to be
Nothing happens to nowhere and nowhere

You can fool yourself
You can cheat until you’re blind
You can cut your heart

You can fool yourself It can happen to you
You can cheat until you’re blind It can happen to me

You can cut your heart It can happen to eveyone eventually
As you happen to say
It can happen today
As it happens
It happens in every way

You can mend the wires
You can feed the soul apart
You can touch your life
You can bring your soul alive
It can happen to you
It can happen to me
It can happen to everyone eventually

As you happen to say
It can happen today
As it happens
It happens in every way


WRITTEN BY

Jon Anderson/Trevor Rabin/Chris Squire


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals

CHANGES

I’m moving through some changes
I’ll never be the same
Something you did touched me
There’s no one else to blame

The love we had has fallen
The love we used to share
We’ve given up pretending
As if you didn’t care

Change changing places
Root yourself to the ground
Capitalize on this good fortune
One word can bring you round
Changes

I look into the mirror
I see no happiness
All the warmth I gave you
Has turned to emptiness
The love we had has fallen
The love we used to share
You’ve left me here believing
In love that wasn’t there

Change changing places
Root yourself to the ground
Word to the wise – Well you get what’s coming
One word can bring you round
Changes

When I look into your eyes and try to find out how
There’s no way to save it now
And everything I feel
Changes
Keep looking for
Changes
Changes

For some reason you’re questioning why
I always believe it gets better
One difference between you and I
Your heart is inside your head

One word from you
One word from me
A clear design on your liberty
Who could believe when love has gone
How we move on like everyone

Only such fools
Only such jealous hearts

Only through love changes come

Change changing places
Root yourself to the ground
Capitalize on this good fortune
One word can bring you round
Changes

One road to loneliness
It’s always the same
One road to happiness
It’s calling your name

Change changing places – Changes
Root yourself to the ground
Capitalize on this good fortune
One word can bring you round
Changes

Change changing places
Changes
Root yourself to the ground
Word to the wise – Well you get what’s coming
One word – One word can bring you round
Changes


WRITTEN BY

Jon Anderson/Trevor Rabin/Alan White


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals

CINEMA

[Instrumental]


WRITTEN BY

Chris Squire/Trevor Rabin/Alan White/Tony Kaye


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals

LEAVE IT

I can feel no sense of measure
No illusions as we take
Refuge in young man’s pleasure
Breaking down the dreams we make
Real

One down one to go
Another town and one more show
Downtown they’re giving away
But she never came back

No phone can take your place
You know what I mean
We have the same intrigue
As a court of kings

Ah leave it
Ah leave it
Two down there you go
McArthur Park in the driving snow
Uptown they’re digging it out
Better lay your claim

Get home you’re not alone
You just broke out of the danger zone
Be there to show your face
On another dreamy day

Ah leave it
Ah leave it

Goodbye goodbye goodbye bad Ah leave it
Hello hello heaven

Goodbye goodbye goodbye bad Ah leave it
Hello hello heaven

I can feel no sense of measure
No illusions as we take
Refuge in young man’s pleasure
Breaking down the dreams we make
Real

Ah leave it
Ah leave it

Goodbye goodbye goodbye bad Ah leave it
Hello hello heaven

Goodbye goodbye goodbye bad Ah leave it
Hello hello heaven

One down one to go
Another town and one more show

Leave it


WRITTEN BY

Chris Squire/Trevor Rabin/Trevor Horn


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals

OUR SONG

Toledo was just another good stop
Along the good king’s highway
My fortification took me by surprise
And hit me sending me sideways
Spellbound – Roundly – Good for sunshine
Can’t help thinking

Singing the Rule Britannia
And this is where it grabs you
There’s method in the key of C
Toledo’s got to be the silver city
In this good country

Our song
It gives us a reason
Our song
That good remedy
Music has magic
That stuff of syncopation

Ever tried driving it to golden heights
Just simply jiving it
My mystification it got a
Jewel skies crazy spacing it
Hot sun – Crowded – Screams high voices
Singing speechless

Touching of the healing heart
So this is where we really start
Music is a shout of foregone conclusions
As long as music plays its part
Good good part

Our song
It gives us a reason
Our song
That good remedy
Music has magic
It’s good clear syncopation

Treat it good
Treat it rightly
And if you get it flowing
The harmony is glowing
So get ready
So get ready
Don’t go toledo toledo don’t go
Music – Good to you
Music – Good to you


WRITTEN BY

Jon Anderson/Chris Squire/Trevor Rabin/Alan White


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals

CITY OF LOVE

Once bitten twice shy
No – No regrets at all
Justice – Body smooth take over
Good girls they work the city
Good guys they spike you hard
How they jive ad jingle
When you’re in their backyard

Street corner wonder lust
Beckoning the good guy
Take this get that
Have a good time

He young and tactile
He ready for anything that is
How they jive and jingle
They’ve read the book that gives

We’ll be waiting for the night
We’ll be waiting for the night to come

We’ll be waiting for the night
We’ll be waiting for the night to come

Supervise this good treatment
Alternative line by line
So the street guys so observant
Take him for a ride
Have a good time
Like a legend the man he sharp
His woman gladly watching
As he strides out of the dark
Better be quick get away

We’ll be waiting for the night
We’ll be waiting for the night to come

We’ll be waiting for the night
We’ll be waiting for the night to come

Good timing has its good price
One trick and you’re stuck with the dice
How they jive and jingle
When you’re their sacrifice

Fast as lightning
Go – Go get high – He’s looking good
Once bitten twice shy
No woman no cry
No woman don’t cry

We’ll be waiting for the night
We’ll be waiting for the night to come


WRITTEN BY

Jon Anderson/Trevor Rabin


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals

HEARTS

Hearing – Talking – Yes I – Love you

Set your heart sail on the river
Look around you as you drift downstream Hearing
Pouring souls into the ocean Talking
Take account of all you’ve seen Love you

One people – Together
Freedom for today
So easy the future
So see the children’s way

Love me
Teach me
Know me

One people – Together
Freedom for today
Tomorrow forever
So see the people’s way

Many moons cascade one river
They light from side to side
As we cross in close proximity
Like rivers our hearts entwine
How we talk – How we teach our children
How we move – We direct our eyes
All the senses tuned discovery
As and as and when our hearts decide
Be ready now – Be ye circle
Be the central force ye life
As the game extends the cycle
Be ready to move

One heart’s for love Hearts
One’s for giving Sailing down the river
Two hearts are better Hearts
Than one Throwing out a line
I hearing it Hearts
I living it
I believe in it Sharing out your fortunes
Two hearts are better Hearts
Than one In and out of time

Hearing – Talking – Yes I – Love you

One heart’s for love Hearts
One’s for giving Sailing down the river
Two hearts are better Hearts
Than one Throwing out a line
I hearing it Hearts
I living it
I believe in it Sharing out your fortunes
I loving it
Two hearts are better Hearts
Than one In and out of time

Who would believe you – Wise men do
Days that we knew it clear with you
You sing the answers question time
Now it you need me let our hearts entwine
Let our hearts entwine

Hearts – Sailing down the river
Hearts – Throwing out a line
I hearing it – I living it – I believe in it – I loving it

Hearts
Two hearts will always be
In and out of time

One heart’s for love Hearts
One’s for giving Sailing down the river
Two hearts are better Hearts
Than one Throwing out a line
I hearing it Hearts
I living it
I believe in it Sharing out your fortunes
I loving it
Two hearts are better Hearts
Than one In and out of time

As we flow down life’s rivers
I see the star glow – One by one
All angels of the magic constellation
Be singing us now


WRITTEN BY

Jon Anderson/Trevor Rabin/Chris Squire/Alan White/Tony Kaye


PERFORMED BY

Jon Anderson – vocals
Tony Kaye – keyboards
Trevor Rabin – guitars, vocals, additional keyboards
Chris Squire – bass, vocals
Alan White – drums, percussion, backing vocals



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