'Big Generator' - A New Story Now

In 1985, following a successful tour, Yes returned to the studio to record their follow-up to 90125. The lineup still consisted of vocalist Jon Anderson, keyboardist Tony Kaye, guitarist Trevor Rabin, bassist Chris Squire, and drummer Alan White. Funny enough, this repeated the pattern of the first five Yes albums: two albums by the same lineup (the second of which has eight songs and begins with a "T"), then another with six songs and a different lineup, and then two more (one of them having nine songs) by a different lineup.

Initial recording of the album took place in Caramite, Italy. When the band was going through internal problems, they relocated to London, where they continued production. Producer Trevor Horn ended up leaving the project around this time due to some disagreements with band members. Rabin then returned to Los Angeles and worked with engineer/producer Paul DeVilliers as he finished the album. The result was Big Generator, released in September 1987. While preserving the pop rock style that the band had embraced at the time, this album had songs that were longer than typical pop songs and, in some ways, echoed the "classic" material of the band.

1. "Rhythm of Love"

"Rhythm of Love" begins with a melodic intro that reminds me a bit of 1970s Yes. Then the song gets more rhythmic, as one would expect from the song title. The subject matter, like "City of Love," is lust. As was the case on that song, Squire's bass conveys the vibe very well. The vocabulary of the lyrics is also impressive. The backing vocals sound somewhat artificial, especially on the chorus. The song has definitely felt more alive in the live setting over the decades. "Rhythm of Love" is actually the only song on this album to have ever been played on Yes tours following the Big Generator tour.

2. "Big Generator"

On "Big Generator," some of the vocals sound artificial as well. However, that might fit with the subject matter of machinery on this song. It starts with the title of the song being repeated and echoed in an odd fashion. The opening guitar riff sounds derivative of "Owner of a Lonely Heart" to my ears.

But again, I do like some of the lyrical vocabulary: "Such a strange pre-occupation / Such a strange, peculiar breed." And indeed, this does sound like a strange song. The verses "I have heard it said to someone / Maybe it was me" are peculiar as well. The words of the chorus are a bit simpler. The guitar screeches at different points, conveying the mechanical nature of the track. And the voices sound very electronic during the following verses: "Flying out the soft machine, we offer / All surprise to you / Praise, oh, praise this anthem generator." That last verse might bring "Machine Messiah" to mind.

3. "Shoot High, Aim Low"

There is some enigmatic drumming in the beginning. An atmospheric intro similar to this one would appear on "Promises" on Rabin's 1989 solo album Can't Look Away. Once this track gets going, it goes at a steady pace. I never quite understood why "Shoot High, Aim Low" got so much love from various fans. It sounds to me like a song that might have been better had it been played at a quicker pace and a bit heavier. This makes the words "So fast this expedition" somewhat ironic. The words "Have we found the place we're looking for" sound like they could be perceived as a reference to Yes moving between studios for this album.

I will admit that Rabin's guitar solo adds some spice to the song. He and Anderson alternate vocal duties between verses. Anderson's words involve warfare from a helicopter, while Rabin's words involve a loving couple traveling in a car. So there is some juxtaposition of themes. I am not quite sure if the nearly seven-minute runtime is completely justified, but there's no harm done.

4. "Almost Like Love"

The drumming is very rapid, setting the tone for "Almost Like Love." The keys are very fun, and these along with the whimsical feel of the song bring to mind "Looking Around" from Yes' debut album. In all honesty, "Almost Like Love" sounds like a silly song. But then again, one can imagine someone feeling so full of love (platonic or romantic) that their heart beats to the excited pace of this song.

There are references to multiple religions, as Anderson sometimes likes to try referencing in various works. Horns on this song are played by Soul Lips-James Zavala, Lee R. Thornburg, Nick Lane, and Greg Smith. Rabin once again has a chance to really shred during a solo. "It's almost" is repeated 14 times before we finally get "It's almost like / It's almost like love" at the end.

5. "Love Will Find a Way"

A demo of "Love Will Find a Way" would eventually end up on Trevor Rabin's 90124. Rabin originally intended to record the song with Stevie Nicks, but White suggested that it be used for Yes. It seems that Rabin has a history of not being able to say "No" when it comes to certain decisions pertaining to Yes. After all, he thought the previous album would be for a band called Cinema, and he also was not initially sure whether "Owner of a Lonely Heart" should be included on 90125.

"Love Will Find a Way" has a symphonic intro. But then we are back in pop rock land. There is a tinge of convincing desperation to the words, "Here is my heart / Waiting for you / Here is my soul." The words "I eat at chez nous" sound very silly. Some believe that it may pertain to a restaurant in LA called Chez Nous, but it feels out of place. Rabin has a stronger vocal presence than Anderson on this song. But when Anderson sings "Love will find a way" on his own, one may imagine him singing to the moon thanks to the spherical iconography of the music video.

"It's so hard for me to draw a conclusion" may be very relatable to those who question their own romantic feelings and whether they may be reciprocated. The message of the song is that love will come to you if you are open to it. The harmonica is played by Jimmy Zavala, adding a bit more flavor to this fun, upbeat track. Someone might be able to gain some positive vibes just from listening to "Love Will Find a Way." It's interesting how this upbeat song is placed right before a more moody one.

6. "Final Eyes"

The intro to "Final Eyes" feels very pensive, as if someone is in a car, looking at the stars in the middle of a lonely night. The words "All these emotions I miss you" really set the vibe. As has been the case in many Yes songs, there is a mention of a river, this time in a simile that works effectively as a comparison: "Like a river without a stream, nighttime without dreaming." Sleeping at night without any comforting dreams to console the future can make one feel very empty.

One may sense a feeling of longing within the words, "If ever I needed someone / You were there when I needed you." The instrumentation that accompanies this section of the song was also part of the intro on a demo (included above), as well as the live performances. There are Rabin-sung lyrics on the demo that are different, but still fun to hear. I wish that there were an edit that combined the two versions of the song.

The loudness of the drumming after "See through me" conveys the gravity of the longing. The moodiness of the instrumental section, with the keys like pebbles creating ripples in water, is very fitting. I love the sincerity of the ending: "You saved me from falling / Saved me from falling / I'm so in love with you." A similar sentiment would pop up on "If Only You Knew" on the 1999 album The Ladder. The notes at the end of "Final Eyes" actually feel like they segue pretty well into the opening notes of the next song, "I'm Running." And both of these songs were apparently played live at only four shows.

7. "I'm Running"

The bass line for "I'm Running" originated from the Drama sessions. Funny enough, the verses "All in the sharp step / As one together" brings to mind the words "In time to move together" from the Drama song "Does It Really Happen?" Like that song, there is also what sounds like a fakeout here, making the listener think that the song is over for just a brief moment. On "I'm Running," the abrupt break is in the middle of the song rather than toward the end.

Jacarandas are my favorite trees, and the mention of them must have been written by Rabin, seeing how he'd have a studio called The Jacaranda Room and eventually record an instrumental solo album titled Jacaranda. The words "Give and take" pop up, and there would be a song titled "Give & Take" on the next Yes album Union. The verse "The challenge is to chase the sound" may also bring "Sound Chaser" to mind.

There is a sense of urgency in the music as the song title is repeated. As the song continues, it gets more upbeat, with the keys sounding fun once again. Rabin's guitar playing throughout this track is very memorable. When "There in the heart of millions" is sung by multiple voices toward the end, one can imagine a crowd of a million voices.

8. "Holy Lamb (Song for Harmonic Convergence)"

"Holy Lamb" is very much an Anderson-written song, and it is perhaps the most beautiful track on this album, making it a great closer. The Harmonic Convergence refers to the first globally synchronized meditation events on August 16–17, 1987. Apparently, some spiritual people in Las Vegas had told him years earlier that he would be singing about it.

As the song begins, one can imagine a tiny light growing brighter as the song progresses. We hear such words as, "Like a light that's lost upon the stage / So the more it shines, it goes away." As the curtain rises, so too does Anderson's voice, singing about what the world and all its nature have to show us. "Can we see through this mask of uncertainty?" is a valid question, seeing as how we sometimes have no idea where everything is heading. "It takes a loving heart to see and show" is an admirable sentiment. The drums storm in as he sings "Hold the light." To me, the last verses make way for a perfect ending that may give one hope for the future:

At the start of every day

A child begins to play

And all we need to know

Is that the future is a friend of yours and mine

Conclusion

To some ears, 90125 may sound like the better mixed and produced album. But I do believe that there are songs on Big Generator that feel like they were moving the band in a forward direction. Side two is stronger than side one overall, but the album in general still has its place. Following the tour, Anderson would form Anderson Bruford Wakeman Howe with Yes alumni, and Rabin would record his solo album Can't Look Away before reconvening with Yes. Even though Anderson was busy, the rest of this lineup would try to continue Yes in one form or another, even considering touring as a quartet. But what did end up happening was very unpredictable, and a story for another day.