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| Union (Yes album) | |
|---|---|
| Name | Union |
| Type | studio |
| Released | 18 October 1991 |
| Recorded | 1989–1991 |
| Studio | multiple studios in United Kingdom and United States |
| Genre | Progressive rock, pop rock, arena rock |
| Length | 72:16 |
| Label | Victory, Atco, Atlantic |
| Producer | Trevor Rabin, Yes, Chris Squire, Jonathan Elias |
| Prev title | Talk |
| Prev year | 1994 |
| Next title | Keys to Ascension |
| Next year | 1996 |
Union (Yes album) is the twelfth studio album by the English progressive rock band Yes, released in 1991. The record united members from the 1980s lineup led by Trevor Rabin and Jon Anderson with members of the 1970s and 1980s formations, including Chris Squire, Steve Howe, Rick Wakeman, Alan White, and Tony Kaye. The album arrived amid lineup changes, management shifts, and touring negotiations that involved Arista Records, Atlantic Records, and multiple international promoters.
Following the commercial era represented by the album Big Generator, tensions within Yes led to the formation of two concurrent entities: the Rabin-led Yes seeking to continue under the Trevor Rabin-era sound and the re-formed classic line-up featuring Anderson Bruford Wakeman Howe who had departed from Squire's configuration. The simultaneous existence of both groups prompted intervention by Arista Records executives and producer/manager figures including Jonathan Elias and representatives from Victory Records to negotiate a merged project. Recording sessions took place across studios in London, Los Angeles, and other locations, with material arriving from distinct sessions by the Rabin camp and the ABWH lineup. Production responsibilities were divided among Trevor Rabin, Chris Squire, and session producers, with additional post-production and mixing completed by engineers familiar with projects by Pink Floyd and Peter Gabriel collaborators.
Musically, the album blends the melodic pop-rock orientation of the Rabin-era songs with the symphonic and virtuosic elements associated with Steve Howe and Rick Wakeman. Compositions range from radio-friendly tracks emphasizing guitar hooks and synthesizer textures to longer, arrangement-focused pieces highlighting counterpoint and harmonic layering reminiscent of classic Yes works like Close to the Edge and Fragile. Songwriting credits reflect contributions from vocalists Jon Anderson and instrumentalists including Trevor Rabin and Chris Squire, as well as collaborative input from studio arrangers and programers who had previously worked with artists such as Sting and Peter Gabriel. Orchestration and keyboard passages draw on techniques used by Keith Emerson-era progressive rock, while the rhythmic foundation by Alan White echoes work with drummers from bands like The Plastic Ono Band.
Released in October 1991 by Victory Records in conjunction with Atco Records and Atlantic Records, the album was promoted with an extensive international tour that attempted to feature both factions of the band onstage. Promotional strategies included appearances on European television programs, interviews in music magazines such as Rolling Stone and Melody Maker, and singles serviced to radio outlets that also featured music videos played on MTV and other music channels. Management and tour routing involved agents from William Morris Agency and local promoters in venues ranging from arenas to festivals associated with contemporaries like The B-52s and R.E.M.; however, logistical complications and conflicting artistic visions affected setlists and live personnel.
Critical reaction to the album was mixed. Reviewers in publications such as NME, Q, and The New York Times noted the album's ambitious scope but criticized the cohesion of tracks assembled from disparate sessions. Some critics praised performances by Steve Howe and Rick Wakeman as harking back to classic Yes virtuosity, while others found the production and songwriting uneven compared with seminal Yes albums including Tales from Topographic Oceans and Drama. Coverage in trade outlets like Billboard focused on commercial prospects and tourability, often juxtaposing the album to contemporaneous releases by Genesis and Pink Floyd.
Commercially, the album achieved moderate success, entering album charts in the United Kingdom and the United States with sales bolstered by the accompanying tour. Singles received airplay on rock radio formats and charted on genre-specific listings compiled by Billboard. Certification levels varied by territory, reflecting stronger sales in regions where Yes had maintained large fanbases since the 1970s, such as parts of Europe and Japan.
1. "Shock to the System" – lead single combining Rabin-era dynamics and Anderson melodies 2. "Masquerade" – crafted from ABWH sessions, featuring Howe guitar interplay 3. "Dangerous (Move)" – up-tempo track with Squire bass prominence 4. "Lift Me Up" – balladlike arrangement with layered harmonies 5. "Without Hope You Cannot Start the Day" – mid-length composition with Wakeman keyboards 6. "Saving My Heart" – pop-rock single emphasizing Rabin songwriting 7. "Blind Faith" – collaborative piece bridging classic and modern Yes sounds 8. "Angkor Wat" – instrumental excerpt with orchestral touches 9. "We Can Fly from Here" – extended suite incorporating thematic reprises 10. "Union Suite" – medley assembled from contributions across sessions
(Note: Track titles above reflect the album's blending of material; ordering and subtitles vary by release edition.)
- Jon Anderson – lead and backing vocals, vocal arrangements - Trevor Rabin – guitars, keyboards, vocals, production - Chris Squire – bass guitar, backing vocals, production - Steve Howe – guitars, backing vocals - Rick Wakeman – keyboards, organ, synthesizers - Tony Kaye – keyboards, Hammond organ - Alan White – drums, percussion - Additional musicians: session string players, programmers, backing vocalists drawn from contemporary rock and studio scenes, engineers associated with Abbey Road Studios and Los Angeles facilities
The album remains a controversial entry in Yes's discography, often discussed in retrospectives in publications such as Classic Rock and among fan communities centered on forums dedicated to progressive rock. Reissues and remasters have appeared on CD and digital platforms, with expanded editions including demo tracks, alternate mixes, and live recordings taken from the associated tour. Collectors and archivists compare these reissues to earlier boxed sets featuring material from Anderson Bruford Wakeman Howe and the 1970s catalog, and the album figures into scholarly discussions of band identity, lineup reunions, and the commercial pressures facing legacy acts in the early 1990s music industry.
Category:1991 albums Category:Yes (band) albums