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| Big Generator | |
|---|---|
| Name | Big Generator |
| Type | studio |
| Artist | Yes |
| Released | 21 September 1987 |
| Recorded | 1986–1987 |
| Studio | Bearsville Studios, Electric Lady Studios, Westlake Audio, SARM Studios |
| Genre | Progressive rock, pop rock, art rock |
| Length | 47:35 |
| Label | Atco Records, Atlantic Records |
| Producer | Yes and Trevor Rabin |
| Prev title | 90125 |
| Prev year | 1983 |
| Next title | Union |
| Next year | 1991 |
Big Generator
Big Generator is the twelfth studio album by the English rock group Yes, released in 1987. Emerging after the commercial rebound of 90125 and the hit single "Owner of a Lonely Heart", the record continued collaborations with guitarist and songwriter Trevor Rabin while involving veteran members including Chris Squire, Jon Anderson, Trevor Horn, and Tony Kaye. The album blends elements of progressive rock, pop rock, and synth-driven art rock and was supported by a world tour and several singles.
Following the success of 90125 (1983) and the tour that featured backing musicians such as Alan White and guest contributors, the band experienced delays due to solo projects and label negotiations involving Atco Records and Arista Records. During the mid-1980s, members pursued external collaborations: Jon Anderson worked with Vangelis on Private Collection projects, Trevor Rabin engaged in session work for Yes and film scoring, while Chris Squire lent bass to sessions with Carmen Vandenberg and production figures like Trevor Horn. Internal dynamics shifted as the line-up that had restored commercial profile—Anderson, Squire, Rabin, White, Kaye—reconvened amid industry pressures from Warner Music Group-owned labels and the rise of MTV-era promotion exemplified by MTV rotations.
Recording sessions took place at multiple studios including Bearsville Studios, Electric Lady Studios, and SARM Studios, with engineering and mixing involving figures associated with Trevor Horn’s production milieu. The band adopted a fragmented process: demos and songwriting principally developed in Rabin’s home studio before tracked arrangements were expanded with contributions from Anderson’s vocal overdubs, Squire’s bass foundations, White’s percussion, and Kaye’s keyboards. Production techniques reflected mid-1980s advances: gated reverb drum treatment similar to work by Hugh Padgham, layered synthesizer textures akin to Art of Noise aesthetics, and digital editing workflows that paralleled sessions by Peter Gabriel and Phil Collins. Mixing duties brought in engineers experienced with AOR and pop rock crossover records, and mastering was performed to optimize for CD and cassette formats prioritized by Sony Music Entertainment and PolyGram distribution channels.
Compositions on the album ranged from hook-driven singles to extended arrangements that maintained progressive sensibilities. Rabin’s songwriting emphasized concise song forms and guitar-driven hooks, while Anderson contributed lyrical themes referencing travel, introspection, and mythic imagery reminiscent of earlier collaborations with Rick Wakeman and the band’s Fragile era motifs. Squire’s melodic bass lines anchor harmonic movements that recall his work with The Syn and collaborations with Chris Squire & Alan White. Kaye’s organ and synthesizer passages invoked textures heard in projects with David Bowie session players, while White’s drumming alternated between stadium rock backbeats and polyrhythmic accents in the manner of contemporary progressive ensembles like King Crimson and Genesis.
The album was released on 21 September 1987 through Atco Records/Atlantic Records with marketing coordinated by label executives who leveraged MTV airplay and radio promotion teams similar to campaigns for Michael Jackson and Madonna. Singles were issued to promote the record and music videos were produced for rotation. The band mounted a world tour featuring setlists combining new material and classic repertoire from albums such as Close to the Edge and The Yes Album, performing in arenas and festivals alongside acts promoted by concert promoters like Live Nation-era predecessors and booking agencies linked to Bill Graham Presents-style circuits.
Contemporary reviews were mixed. Some critics praised the polished production and accessible songwriting, drawing comparisons to the pop-rock craftsmanship of Toto and the studio sheen of Trevor Horn-produced acts such as ABC and Propaganda. Other commentators lamented a perceived move away from extended progressive suites, invoking earlier critical debates surrounding transitions similar to those faced by Genesis and Yes in the 1970s–1980s. Retrospective assessments have re-evaluated the record within the band’s discography, noting its role in sustaining mainstream visibility between landmark releases like 90125 and the later Union project.
Big Generator charted in multiple territories, entering album charts in the United Kingdom and the United States, where sales benefitted from FM radio support and retail placement during the CD boom. Singles achieved moderate airplay on rock and mainstream stations, contributing to certified sales that reflected the band’s sustained fanbase across North America, Europe, and Japan—markets also served by contemporaneous arena tours and merchandising operations tied to legacy acts such as Rush and Styx.
1. "Rhythm of Love" – radio single favored for MTV rotation and album-oriented rock playlists. 2. "Shoot High Aim Low" 3. "Love Will Find a Way" 4. "Final Eyes" 5. "Holy Lamb (Song for Harmonic Convergence)" 6. "I Am Waiting" 7. "Big Generator" 8. "Five Miles Away" 9. "Walls" 10. "It Will Be a Good Day (The River)"
- Vocals: Jon Anderson - Guitars, keyboards, production: Trevor Rabin - Bass guitar: Chris Squire - Drums, percussion: Alan White - Keyboards: Tony Kaye - Additional engineering and production collaborators drawn from studios associated with Trevor Horn, mixing engineers with credits alongside artists like Peter Gabriel and Phil Collins, and mastering technicians active in the 1980s music industry.
Category:1987 albums Category:Yes (band) albums