Yes - Heaven & Earth mp3 album

Yes - Heaven & Earth mp3 album
Prog-Rock,Album Rock
  • Performer:
  • Title:
    Heaven & Earth
  • Genre:
  • Style:
    Prog-Rock,Album Rock
  • Duration:
  • Recording Location:
    Neptune Studios, Los Angeles, CA
Yes - Heaven & Earth mp3 album

  • Size FLAC version
    1591 mb
  • Size MP3 version
    1471 mb
  • Size WMA version
    1455 mb
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Track List

Title/Composer Performer Time
1 Believe Again Jon Davison / Steve Howe Yes 8:01
2 The Game Jon Davison / Chris Squire Yes 6:51
3 Step Beyond Jon Davison / Steve Howe Yes 5:34
4 To Ascend Jon Davison / Alan White Yes 4:43
5 In a World of Our Own Jon Davison / Chris Squire Yes 5:19
6 Light of the Ages Jon Davison Yes 7:41
7 It Was All We Knew Steve Howe Yes 4:13
8 Subway Walls Jon Davison / Geoff Downes Yes 9:03


Maor Appelbaum - Mastering
Roy Thomas Baker - Producer
Eric Corson - Engineer
Jon Davison - Composer, Guitar (Acoustic), Vocals
Roger Dean - Logo, Paintings
Geoff Downes - Composer, Keyboards, Programming
Dave Dysart - Engineer
Kate Haynes - Sleeve Design
Steve Howe - Composer, Guitar (Acoustic), Guitar (Electric), Guitar (Steel), Vocals
Daniel Meron - Assistant Engineer
Rob Shanahan - Photography
Billy Sherwood - Mixing, Vocal Engineer
Paul Silveira - Management
Chris Squire - Composer, Guitar (Bass), Vocals
Alan White - Composer, Drums, Percussion
Yes - Primary Artist

Gentle and relaxed, like a simplified "Revealing Science of God" - I love it, one of my favourite pop albums of the 21st century. OK, it's not prog but who said Yes have to do the expected? Eight melodic tracks with great playing and singing, like their first album.
Some sustained guitar notes introduce drums and bass, the vocals enter, a light tenor singing about mountains, freedom and open sky. So far, so Yes. “Believe again” has the sort of vague humanistic spirituality Jon Anderson specialised in. Except this is not Jon, but Jon. Davison, the 2014 Yes frontman. Meet the new voice, same as the old voice. The first section of this eight minute opening song (written by Davison and Howe) is pretty pedestrian balladry though things get a bit more interesting with the middle instrumental section where Steve Howe’s guitar steps forward. Some rather clichéd existential themes are presented in “The game”, another pleasant mid-paced song. I wondered if Alan White was getting bored with the straight ahead 4/4 beats. I was. “Step beyond” opens with a particularly jaunty synth phrase. Fitting for a lyric that aspires to adolescent sophistication and almost gets there. "I told you so / As the grass will grow". I really wish I hadn’t started reading the lyrics. I’ll never criticise Anderson’s impenetrable mysticism ever again. Pure William Blake compared to this. Next up is an undistinguished ballad, followed by a jazzy little mid-paced number entitled “In a world of our own”, co-written with bass player Chris Squire. It’s pleasant enough. Davison’s “Light of the ages” starts promisingly, with a lovely Steve Howe introduction over a keyboard string wash (has Geoff Downes lost his mojo or was he not given any space?) and a beat that – at last! – is different from what has gone before. It stops to leave space for Davison’s acoustic guitar but thankfully does return, accompanied by some punctuating bass from Squire. Howe’s nostalgic “It was all we knew” is pretty piece of reminisce. What I like here is the song’s brief burst of guitar chords. Hey, we’ve almost moved from a stroll to a gentle jog! The sunny 60s feel doesn’t come across as contrived and is rather sweet, like that fruit. Nudge nudge, wink wink, say no more. But there is more. The nine minute closing “Subway walls”, the only writing credit for Downes (though shared with Davison), opens with classical symphonic grandeur before the song hops towards a more uneven beat (but doesn’t quite get there). The middle instrumental section has the first keyboard solo of the whole album, Downes on organ over a great syncopated rhythm laid down by White and Squire. Howe solos too, spare but penetrating. It is the album highlight, no doubt, and something of a reminder of Yesteryears. If this all reads rather negatively, I should say that the playing is uniformly excellent, the arrangements thoughtful and the cover art classic Roger Dean. Jon Davidson sounds so much like his namesake Anderson it’s spooky. But the whole is less than the sum of the parts. Why? Because the songs themselves are just average.
Not bad, but not very good, either. It all sounds a bit limp and generic, which are hardly the qualities one would associate with YES. In spite of employing the great Roy Thomas Baker, the production is thin, and while the young Jon Davison has a pleasant enough voice, his lyrics are a pale shadow of Anderson's: more like Yes-lite than the true YES of yore. In my view, there are a couple of decent songs, such as the opening "Believe Again," which at least sounds like YES, and the catchy pop of "Step Beyond." However, overall, it is a disappointing LP.
This is nothing more than escalator music. I would love to be the end of Yes studio efforts. I would love to see this American singer in his own band and element. However it seems that when Billy Sherwood began participating more & more with Yes beginning on the Union album, we has no idea that he has every intention of being the last man standing.Chris Squire had the wherewithal to file the right paperwork early on making it impossible for there to be a Yes without Squire. After all, there is not a single album without Squire on it. Though purely speculative on my part, I believe his 25 year relationship with Sherwood would have finalized in Squire handing the 'legal keys to the kingdom of Yes' to Sherwood. I know Chris, I know he would want Yes to live forever. With Sherwood in the mix one only knows what we'll get. Hopefully not much in the way of Sherwood's vocals. With Sherwood most likely in charge and his desire to be the 'Rabin' role played by himself and Steve Howe's questionable health. We could be looking at a Sherwood helmed version with the present singer. Let's just hope it isn more like the Sherwood quasi-produced album from 1997 "Oper Your Eyes" vs anything after 2004. Time will tell. And the Yes camp aren't tight lipped about their next move. I'd almost predict, Howe retiring, Sherwood moving to the lead guitar role. Bringing in an established bassist of the Yes ilk, and the drums & keyboard staying put, but bowing out grace fully each one album & tour at a time.
If H&E had been produced by another, more pop-oriented group, it might be better liked; however, coming from Yes, with its storied history of complex prog rock, it disappoints many listeners. The song structures are severely simplified, often to the point of bland conventionality. Sometimes the album comes across as an exhausted effort from a band who has written all the stunning music it has in its heart, with little more to give. There are flashes of that creative spirit, though, and who knows whether future albums might surprise us all with a return to brilliance.
The worst yes album ever.Every second is fucking painful.
Totally going with AllMusic and the more disappointed reviews on this one, which pains me as a lifelong Yes fan. It never gets past third gear. Has no gumption. There are two guitar passages that have a distinct similarity to Jerry Garcia's lines in both Slipknot and Unbroken Chain - and those were the highlights for me. I'm willing to except that Fly From Here is the final decent Yes studio effort. It (being the original with BD, haven't heard the remix) was a far superior session to this recording.
"I get up/I get down"- I think those lyrics from one of the band's best loved songs, more than adequately summarize this release. It's a great shame that the band failed to capitalize on the surprisingly solid- however retro -pop of FLY FROM HERE. Instead they have let their Jon Anderson impersonator Jon Davison write everything. Despite this, it hardly even matches the UNION album with a flimsy 8 tracks that don't even come close to a 'Lift Me Up' or 'Shock to the System'. Not only does the band seem shameless in ripping leftover pop hooks directly from Abba and Supertramp but they are ill-served by thin, flimsy production. Why the fuck did they hire Roy Thomas Baker? (A producer the whole band has blamed for Anderson and Wakeman leaving the group in 1979). There is some redemption to be found in the album's closer 'Subway Walls' but even this is mitigated by a quasi-classical synth intro that is stylistically more suited to 'Yanni Live At the Acropolis' than the band who created RELAYER and DRAMA. In short, listen to the Squackett album LIFE WITHIN A DAY if you want something to remember Chris Squire by. It's tuneful, has luxuriant production and most of all- it has BALLS..