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| 90125 (Yes album) | |
|---|---|
| Name | 90125 |
| Type | studio |
| Released | 1983 |
| Recorded | 1982–1983 |
| Studio | SARM Studios, AIR Studios |
| Genre | Progressive rock, pop rock, new wave |
| Length | 43:07 |
| Label | Atco, Arista |
| Producer | Trevor Horn, Yes |
90125 (Yes album) is the eleventh studio album by the English rock band Yes, released in 1983. The record marked a major lineup change and stylistic shift for the band, featuring new members and a commercially oriented sound produced by Trevor Horn. The album's lead single achieved international chart success and revitalized Yes's career following internal departures and evolving popular trends in the early 1980s.
Following departures by founding members and a period of fragmentation, the lineup that recorded the album included veterans associated with groups such as The Buggles, King Crimson, Asia and the remaining members of Yes. The involvement of producer Trevor Horn—previously linked to Art of Noise and The Buggles—came after Horn's work with artists like Frankie Goes to Hollywood and collaborations across Polydor Records projects. Managerial decisions connected to Atco Records and Arista Records influenced the shift toward a radio-friendly approach embraced by contemporary acts like Duran Duran and Genesis.
Contextual pressures included the rise of MTV and the prominence of synthesizer-driven pop exemplified by Peter Gabriel and Kate Bush. Internal histories such as the legacy of albums like Fragile and Close to the Edge contrasted with the new direction. Touring precedents from concerts at venues associated with Radio City Music Hall and festival circuits informed the band's decision to modernize arrangements to reach markets dominated by Billboard chart trends and international promoters.
Recording sessions took place in studios linked to projects by Trevor Horn, including SARM Studios and AIR Studios. Horn's production techniques, honed during work with acts such as ABC and Propaganda, brought gated reverb, sequencers, and Fairlight programming to the sessions. Engineering personnel with credits alongside Paul McCartney and John Lennon assisted with multitrack recording, overdubs, and mixdowns consistent with early-1980s pop-rock aesthetics.
Sessions integrated technologies used by contemporaries like Phil Collins and David Bowie, including LinnDrum machines and modular synthesizers also employed by Robert Fripp in other contexts. The collaborative dynamic involved arranging contributions from members who had histories with Yes and external collaborators who had worked on records for Culture Club and Tears for Fears. The production emphasized concise song structures and polished sonic textures to enhance radio play and music video potential for outlets such as MTV.
Composition on the album blended elements from progressive rock forebears like King Crimson and melodic pop exemplars such as The Beatles and Eric Clapton. Songwriting credits drew on techniques used by Jon Anderson and rhythmic approaches reminiscent of Chris Squire's work with artists associated with Atlantic Records. Melodies balanced complex harmonic shifts alongside hooks similar to those heard in releases by Phil Collins and Genesis.
Instrumental textures incorporated electric guitar tones influenced by players like Trevor Rabin and synthesizer palettes associated with Vangelis and Jean-Michel Jarre. Rhythmic frameworks referenced session practices from studio drummers who toured with acts such as The Police and Yes. The result was a fusion of progressive compositional ambition with pop-rock concision comparable to contemporaneous albums by Sting and Peter Gabriel.
The album was issued by labels connected to international distribution networks, including Atco Records in North America and Arista Records elsewhere. Singles received heavy rotation on MTV and airplay on stations monitored by Billboard, aided by promotional appearances on television shows similar to Top of the Pops and late-night programs. Touring plans involved venues linked to major promoters such as Live Nation-era companies and booking agencies with histories alongside Led Zeppelin and Pink Floyd.
Music videos for lead singles featured production personnel who collaborated on videos for artists like Duran Duran and David Bowie, leveraging visual storytelling to reach markets shaped by the rise of cable music channels. Marketing strategies targeted markets where albums by Michael Jackson and Madonna were altering retail patterns, and promotional tie-ins included interviews with music press outlets akin to Rolling Stone and NME.
Contemporary reviews referenced the contrast between this release and earlier Yes albums such as Tales from Topographic Oceans. Critics compared production values to records by The Buggles and ABC, noting the commercial sheen resembling Phil Collins-era pop. Retrospective assessments have examined the album's role in bridging progressive rock traditions with mainstream pop, citing its influence on subsequent crossover projects by artists who negotiated progressive legacies and chart success, including members associated with Asia and solo careers akin to Steve Howe and Jon Anderson.
The album's success encouraged reunions and reconfigurations among veteran prog musicians, and it remains a reference point in discussions alongside landmark releases from 1983 in music and contemporaneous catalog titles by Toto and Journey.
The record achieved strong chart positions on outlets such as the Billboard 200 and reached high placements in markets across United Kingdom and United States. Lead singles entered charts monitored by Billboard Hot 100 and received certification milestones from organizations like the Recording Industry Association of America where applicable. The album's sales revitalized the band's standing with major labels and supported extensive touring schedules in arenas and amphitheaters frequented by legacy rock acts including Fleetwood Mac and Aerosmith.
Track listing featured songs that became staples in live sets and were associated with songwriting partnerships influenced by members' histories in Yes, The Buggles, and solo projects connected to Jon Anderson and Trevor Rabin. Personnel for the album included the core lineup and production team: members with previous credits alongside Chris Squire, Steve Howe, Rick Wakeman-era collaborators, and producer Trevor Horn. Session musicians and engineers who had worked with artists such as Paul McCartney and David Bowie contributed to final arrangements and mixes.
Category:1983 albums Category:Yes (band) albums