Yes
Talk

THE REVIEW

The collaborative trilogy of Trevor Rabin with Yes concludes in 1994 with this interesting work "Talk". Preceded by 90125 and Big Generator. A decade of stylistic shift that exhausted the ranks of admirers from the classic period, creating a new following of listeners more inclined towards modernity. On the level of remuneration, popularity, revival, and sales, it is the best period for the Senators of progressive rock, so much so that, appropriately, the record label immediately after the advent of the CD is busy with reissues of all kinds with the necessary remastering. Paradoxically, the change in style leads to curiosity about the previous works. As if to say, "if they did this today, who knows what they did before!"

"Talk", according to the credits, is a Rabin production. Yes from that period are very dependent on him, so much so that he declares the group's actual laziness and the difficulty of getting them into the studio. The music is all his and also the Jacaranda Room recording studio in Los Angeles, the lyrics by Anderson.
The music is "progressive stars and stripes", in a Yes key. Technically, it is impeccable. Sounds with technology in spades. So perfect it doesn't seem played by real instruments. White's drumming is very powerful, sometimes fierce, and even too carefully crafted and filtered in the tone. Sharp guitars, Anderson's usual voice preserved like formalin, Squire's bass audible in notes with very low dynamics, almost like air movements. Tony Kaye is only present with the Hammond, enjoyable on "The Calling". A tribute to himself for the little space available. Trevor Rabin is in the role of a top-notch arranger and multi-instrumentalist, à la Geddy Lee of Rush. He imposes a certain style and trend on the work but leaves Yes unbridled. A beautiful album not to compare to "Close to the Edge" or "Relayer". Even the cover art is deprived of Roger Dean's mighty airbrush works. An essential Yes lettering by new entry Peter Max. The names of the musicians written on the back warn the consumer: "We are Yes, but this. You are warned". But the music?

It all opens with "The Calling". It opens the tracklist well. Choral and airy music, positive and powerful tones. Repeated terrifying breaks that would make genre enthusiasts drool... Choruses only they know how to do. Squire's voice is very present with that half-tone more.
"I Am Waiting" is an anthem with simple intonation and melody. Perhaps too long.
"Real Love" is also written by Squire. It recalls City of Love. Perhaps the closest to the past.
"State of Play" is the little gem. Very energetic. A great piece. Sharp hi-tech guitar.
"Walls" was the launch single. Roger Hodgson, the voice of Supertramp's Logical Song, for example, is called into action for the score. Why this collaboration, only they know. The result is a beer and sausage ballad. Summerish.
"Where Will You Be" is introspective, with a rhythmic arrangement like a soundtrack. There is a delightful guitar solo almost at the end. A lullaby too long and dispersive.
"Endless Dream" is a 14-minute suite in total. Worth the whole CD.
It starts with the instrumental "Silent Spring". Splendid in execution. Powerful and haunting, full of sounds. Interesting the intro with the piano loop. There's much innovation. All in 2 minutes. Headphones mandatory. A bit Rush.
Follows the long "Talk". A stroll arm in arm with Trevor Rabin who has ample space for experimentation, creating cosmic sound parentheses, breaks, and reprises. And uses Yes to do it!! The piece ends with a beautiful chorus plus a tear-jerking solo; it is Rabin's farewell to the fans. A goodbye.
"Endless Dream" serves as the closing credits.

Yes with this album were awarded in the USA for innovation. It is not one of the masterpieces of their very long career, excellent as always the purely technical side. For the devotees of the old style, it is a half misstep. However, remains all at high levels; they can't do less than that, and that's not little. From this formation, it is easy to have high expectations.