Yes - Souvenir 24bit Vinyl Call It A Day

  • 02.07.2016, 07:01,
  • Music
Yes — Souvenir 24bit Vinyl Call It A Day

Yes — Memento 24bit Vinyl Pack

Variety: Rock
Look: Progressive
Begetter: vinyl
Codec: FLAC
Bit class: ~ 2,900 — 5,400 kbps
Bit understanding: 24
Bite class: 96, 192 kHz


1969 Yes
1970 Everything and a Word
1971 Fragile
1971 The Yes Album
1972 Minuscule to the Edge
1973 Tales from Topographic Oceans
1974 Relayer
1975 Fish Out of Open-Handedly (Chris Gentleman unaccompanied album)
1977 Going for the One
1978 Tormato
1980 Drama
1983 90125
1991 Union
1999 The Ladder

Artist bio by Bruce Eder

Far and away the longest everlasting and the most prominent of the '70s advancing surprise groups, Yes proved to be one of the gradual celebrity stories from that mellifluous variety. The strip, founded in 1968, overcame a generational cadre in its audience and the departure of its most patent members at key points in its representation to reach the end of the century as the authoritative advancing surprise strip. Their audience remained massive because they had always attracted younger listeners exhausted to their mix of daunting ability, cosmic (often allegorical) lyrics, complex mellifluous textures, and effectual yet sensitive premiere danseuse vocals.

Premiere Danseuse chorister Jon Anderson started out during the British win out over characteristic as a m ember of the Warriors, who recorded a apart for Decca in 1964; he was later in the strip Gun before going unaccompanied in 1967 with two singles on the Parlophone stamp. He was making a meager living cleaning up at a London baste called La Chasse during June of 1968, and was reasoning of starting up a new strip. One day at the bar, he chanced to happen on bassist/vocalist Chris Gentleman, a former colleague of the strip the Syn, who had recorded for Deram, the advancing section of Decca.

The two highbrow that they shared several mellifluous interests, including an acknowledgement for the togetherness singing of Paul Simon and Art Garfunkel, and within a pith of days were trying to get off songs together. They began developing the beginnings of a characteristic that incorporated harmonies with a durable surprise approval, established in Squire's very literal nearly equal to the bass. Anderson and Gentleman saw the groups around them as having either fervent vocals and subdued helpful backup, or effectual backup and subdued premiere danseuse vocals, and they sought to incorporate the best of both. Their prime energy, at least as far as the preciseness of their vocals, according to Gentleman, was the pop/soul act the Fifth Dimension. They recruited Tony Kaye, formerly of the Federals, on keyboards; Peter Banks, at one everything a colleague of the Syn, on guitar; and drummer Reckoning Bruford, who had only just joined the blues strip Savoy Brown a few weeks earlier. The name Yes was chosen for the strip as something meagre, straightforward, and memorable.

The group«s weaken came in October of 1968 when the strip, on the testimonial of the Nice»s proprietor, Tony Stratton-Smith (later the miscarry of Charisma Records), played a gig at the Speakeasy Baste in London, contents in for an missing Sly & the Stone. The place was later selected to unregulated for Cream«s November 26, 1968, goodbye concert at Sovereign Albert Passageway. This concert, in chance, led to a residency at London»s Marquee Baste and their first wireless manner, on John Peel's Top Paraphernalia wireless pose. They afterward opened for Janis Joplin at her Sovereign Albert Passageway concert in April 1969, and were signed to Atlantic Records soon after.

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