Customer Reviews

Fragile

5 star:		(81)
4 star:		(24)
3 star:		(5)
2 star:		(1)
1 star:		(2)

 

 

I've found it hard to find reviews just for the DVD-A or SACD versions of releases. There really should be a separate section for them. Hello Amazon...how about showcasing these great audio formats! Also, Amazon, is it too much to ask that you start listing kHz/bits ?!! It would sure be nice to know when looking at a potential purchase whats on the disc. Is it 48kHz/24bits? Or 96kHz/24bits? etc etc etc. Come on now, help these formats out!

Anyway, the DVD-A is my 4th version of this album. Vinyl, Tape, CD, and now DVD-A. Holy audio nirvana folks! This is one of the best in my small, but continually growing DVD-A and SACD collection. If you loved this album in any of its forms and have the equipment to both play AND hear it....and you appreciate good sound.... you will be blown away. Phenomenal! A showcase of how good older recordings can and should sound. I'm partial to the 96kHz/24bit stereo track, but the 96kHz/24bit DVD-A surround is good too. I'm just a bit of a purist.

This is a benchmark for re-releasing older albums in a wonderful format. In our over compressed MP3 dumbed down world it's too bad more attention isn't paid to either of the formats. SACD or DVD-A.

The reviewers below really hit it dead on: this is not Yes' most cohesive or best album, but it still is one of the essential albums in any rock collection. Every member of Yes is incredibly talented: Jon Anderson's raspy voice sounds like two people singing at the same time; Chris Squire plays bass as if it was a lead instrument; Steve Howe's guitar at times rings with classical underpinnings and at other times rips out overwhelming lightning fast rock riffs; Wakeman's only peer on keyboards is Keith Emerson; and I suspect Bill Bruford is one of the few drummers who could possibly anchor this much talent.

Without reviewing the songs individually, the music is some of the most complex to be produced by a mainstream rock band with extended instrumental passages which paint great musical landscapes. The lyrics are pure poetry, the meaning of which is not always ascertainable. In a way this enhances the band in that it allows Jon Anderson's voice to be a musical instrument communicating pure emotion without the necessity of resorting to the meaning of the words he is voicing.

Amazingly, 30 years after this album was released, YES! can still fill the 2500 seat Universal Amputheater in Los Angeles, with seats going for an average of $... a pop. That says a lot for the quality of the musicians and their compositions. And that is why this album is essential to a music collection.

Why buy the DVD-Audio?

CDs are harsh and brittle. They produce listening fatigue in minutes, and have always left me fiddling with the trebble in a feeble attempt correct the uncorrectable sound. Nothing worked. So, for serious music appreciation, I needed to resort to the long playing vinyl album. These have their own problems such as limited dynamic range, transient distortion, poor pressing quality, tape hiss and noise, scratches and thousands of pops and ticks, rumble, wow and flutter, and expensive playback equipment which needed care and tuning. And worst of all, I had to get up to flip the album half-way through!

DVD-Audio and SACDs fix these problems. Initially, I put on the CD of Yes' "Close to the Edge" just to assure myself that CDs aren't for extended listening. I then played the DVD-A and the vinyl of Fragile at the same time and flipped back and forth. The stereo track on the DVD-A revealed instruments which were burried on the vinyl: Steve Howe's guitar has a beautiful warmth to it which is missing on the vinyl -- the ring and sustain of the guitar notes at the beginning of Roundabout held on longer; the echo from the room in which Anderson was singing became more apparent; Wakeman's synthesizers sounded crystaline without harshness; and you could hear with clarity the wood of Bruford's sticks as they hit the rim of a drum. The 5.1 track reveals even more, most notably in "Cans and Brahms" when Wakeman hits a deep bass organ peddle and the room vibrates.

A must have album. If you have a DVD player, I also recommend Yes Live at the House of Blues and Keys to Ascension.

_Fragile_ should always be considered a classic in the progressive rock genre, not just because the musicianship is virtuosic, tasteful and unique, but because the majority of it is catchy and accessible as well - something that's very rare in progressive rock as a whole.

Jon Anderson's distinctly artistic upper-register, Chris Squire's crunchy basslines, Steve Howe's floating guitar leads, Bill Bruford's tasteful drumming and Rick Wakeman's versatile keyboard work here come together to make a unique, tantalizing brand of music. The album starts off with "Roundabout," which exemplifies what I was saying in the opening paragraph. This track is ultra-catchy and addictive. The grooves on here (mostly exemplified by Bill's drums and Chris' bass) are hard to resist. Definitely a classic that has aged, and will seemingly continue to age nicely.

Next comes the first of five solo pieces: The first two of the five being my absolute favorites. "Cans And Brahms" is Rick Wakeman's impressive arrangement of bits found in the Allegro giocoso (third movement) of Brahms' 4th symphony. He did an excellent job on this (and for the record, Brahms is a favorite of mine amongst many classical composers, and I've heard and own his 4th symphony.) Next comes Jon Anderson's "We Have Heaven," which is a cerebral piece showcasing his vocal artistry. If you listen carefully, you'll find seven separate (but overdubbed) vocal parts by Jon on here. On the seventh one, he is heard saying "yes." The following track called "South Side of The Sky" seems to be a standout amongst Yes' many epic-length tracks. There seems to be a bluesy, down-home atmosphere to it, especially in Steve Howe's fluid guitar licks. While it's indeed spacy, it's not as otherworldly as most of their other epics, and seems to maintain a bit of earthiness that some of the other epics didn't.

"Five Per Cent For Nothing" is a short track showcasing Bruford's drumming ability, but, don't expect it to be a virtuoso display, as it seems more like a steady groove-oriented workout. "Long Distance Runaround" seems to showcase a slight country influence, mostly heard in Steve's guitar. Other than that, the track is a short little ditty. "The Fish" is Chris Squire's bassline workout, which plays out in something of a 7/4 rhythm, while several overdubbed bass samples are exemplified. Quite a nice track. Catchy and addictive as well. "Mood For A Day" is Steve's acoustic workout. Quite virtuosic, atmospheric and tasteful. The last track called "Heart of The Sunrise" starts out with what may have been Yes' most heavy and aggressive moment up until _Relayer_. The crushing attack borders on classic metal. That theme plays out quite a few times within the 3 1/2 minutes of the instrumental opening, which then gives way to a host of trippy atmospherics and Jon Anderson's faraway-sounding vocals.

There isn't much more that I can say. This is definitely a classic in Yes' catalog. In a weird sort of way, I could go as far to say that this is Yes' strongest album (of course, no one can claim to know what is and what isn't anything regarding appreciation of any kind.) There isn't another album quite like this one in their catalog. Highly recommended.

It's possible no one will ever see this, as Amazon's warped indexing system makes it almost impossible to FIND this DVD-A (it doesn't come up on ANY search for Yes OR Fragile, nor is it listed in Amazon's DVD-A section), but here goes...

I've read most of the reviews of this DVD-A piece; nowhere did I see mention of a very important fact: This is NOT the 5.1 mix of the classic Fragile album. There are a number of points on this version that have unforgiveable editing changes from the audio CD. Yes, it's true the mix allows you to hear things you were never able to make out before, but I believe SOME of those things were never IN the original released mix. There are changes here that remind me of Frank Zappa's own CD release of We're Only In It for the Money, where he changed not just the mix, but the CONTENT of the pieces. It was horrendous, and I couldn't wait until the original mix was eventually released. I'm astounded that no other review I read mentioned the cuts in "We Have Heaven", "South Side of the Sky" and "The Fish", to name the most glaring of them. The changes are small--only a measure or so removed or changed--but they ruin the music, to my ear. I also object to the small changes in the arrangements (the very ends of "Roundabout" and "We Have Heaven", for example).

And where the hell is the bass? Squire's bass playing and Bruford's drumming were the elements that REALLY separated Yes from other prog-rock groups of the time; a new mix should CERTAINLY have brought the bottom of Squire's sound out more to match the high end that was a trademark of his style. I should say that I DID like the mix on "The Fish", lack of bottom and that inexcusable 6/4 measure (in a 7/4 piece) near the end notwithstanding.

To my particular ear, Fragile (my first DVD-A) is the least impressive of the DVD-A pieces I've bought, but perhaps that's because I'm a bit fanatical about Yes. Surprisingly, ELP's Brain Salad Surgery came off much better--and I'm entirely predisposed towards Yes and not an ELP fan at all. It's not terrible, but it could have been much better.

Now, what I want is a COMPLETELY FAITHFUL DVD-A of Tales from Topographic Oceans. (Don't hold your breath...)

Yes was "different" from the very first. The orchestrated styling of the group coupled with the unique vocal sound of Jon Anderson created a group that has always been in a class by itself. While Yes had progressive leanings from the beginning, "The Yes Album" and "Fragile" firmly established Yes as the leading progressive rock group, overshadowing The Moody Blues and King Crimson.

Rick Wakeman replaced Tony Kaye on keyboards, and brought a symphonic interpretation to rock music that would be even more fully realized on his later solo efforts. Yes had already been creating detailed and complex music in "The Yes Album", with three songs near or beyond nine minutes in length, and "I've Seen all Good People" at nearly seven minutes. Rick added to the already complex rock music by using synthesizers that focused on an orchestra-like sound.

One of the characteristics of Yes' progressive rock has always been the surrealistic lyrics that are often obscure, sometimes nearly or even completely incomprehensible. Jon Anderson later pointed out that this style may have peaked in "Tales from Topographic Oceans", where it was revealed that the words were meant to convey a sound and feeling as much as meaning, and the sounds of the words were chosen more than the meaning; so one is often left trying to seek meaning in the choice of the words when the meaning may be better found musically than lyrically. Read the title; assume the title tells you everything you need to know about the meaning of the song unless the lyrics are readily apparent.

Back in the dark ages of the 70s music from the bass guitar seems to have been better appreciated than it is today, where it seems to have been relegated to establishing a beat and little more. Listening to "The Fish (Shindleria Praematurus)" you can see how the bass guitar can lead and set the musical theme for a song. Chris Squire is one of the best bass guitar players ever, making the bass guitar sing and act as a real musical instrument versus a string equivalent of drums.

As with many multi-member groups, the effort of each of the members is highlighted on at least one song. Steve Howe is prominent in the instrumental "Mood for a Day", which has excellent acoustic guitar playing that seems more akin to Spanish music than progressive rock, yet it fits so well into this album. Bill Bruford's somewhat experimental and percussive "Five Per Cent for Nothing" is too short, and yet it is well-used as the transition from "South Side of the Sky" to the classic "Long Distance Runaround".

I could spend many pages of discussion about this album because there is so much content within it. Often maligned by critics that never had the intelligence to understand progressive rock (overblown, pretentious, etc.), "Fragile" and others of its ilk is a highly experimental musical style that has sometimes emulated classically orchestrated music, but always tries to create something that is off from the mainstream of anything. From our perspective, this type of music reinterpreted the boundaries of rock music to be anything an artist could conceive and execute. That the music was readily accessible and enjoyable was an added plus. A must-have for every fan of progressive rock and Yes.

"FRAGILE" is the second in an iconic trilogy of progressive/classic rock albums, consisting of five solo tracks and four band performances. Hilights include the groundbreaking "Roundabout", with it's acoustic guitar harmonics, bubbling bassline, abrupt time signature changes and swirling hammond organ. It is one of Yes's most famous songs. As is "Heart Of The Sunrise", an intricate construct of driving guitar and bass riffs, soaring vocals, and splashes of piano. Essential.

This review is about the DVD-Audio version - if you're even looking at this version, I'll bet you're already familiar with the music.
Let me tell you, if you've got the right equipment, then you really have to get it! The sound quality is amazingly clear - I've purchased other DVD-A's where the enhanced sound showed up limitations in the source tape or unintentionally showed where seperate musical parts came in and out. Not this one! Right from the beginning, when that famous acoustic guitar intro kicks in, you'll be impressed by use of 'space' in the sound. The surround tracks has a real feel of space without it sounding like the remixers were trying to show off. I can't reccomend it enough - I'd been listening to this album for years, but hearing the DVD-A gives me a whole new level of appreciation for it.

I have to admit, it took me awhile before I broke down and bought this. I can understand if any of you are hesitant to buy another version of this CD, much as you may like it. But now I wish I'd bought it much sooner. So in a word, BUY IT! It's definitely worth the money! If you're buying it for the first time, and have the right equipment, THIS is the version to get. And if you already own it............ well, it's got the full-length version of "America" as a bonus track, and it's not any more expensive than the "Fragile" *CD* remaster, so what could possibly be holding you back??? :)

YES:FRAGILE - The release of their fourth album sees another change in personnel that, at the same time, facilitates yet another expansion in the band's repertoire and technical amplitude. They are now Jon Anderson(vocals), Chris Squire(bass), Bill Bruford(percussion), Steve Howe(guitars) and finally Rick Wakeman(replacing Tony Kaye) joins the fold injecting a slick but cultivated savour throughout the arrangements, thus bringing to a conclusion the evolution of a classic YES line-up. The album contrasts five shorter individual impressions(an idea that I suspect is an expansion on the success of Steve Howe's solo effort from THE YES ALBUM previously)with four generally longer group collaborations. The solo works are clever but not exhaustive examples of each member's virtuosity and encompass themes from the overtly academic to the abstract and sublime, including an inspiring example of Steve Howe's musical accomplishment, "Mood For A Day". The four group collaborations are superbly crafted pieces that display impeccable musicianship circumscripted around stimulating arrangements that ebb and flow, are now melodious and now abstruse, that surge to powerful crescendos before suddenly subsiding, an engrossing experience for the listener. The Anderson vocals and YES harmonies are once again lush, graceful and majestic, highlighting an increasingly metaphysical lyric base that, in me, evoked feelings of elation and insecurity while building on a themes of earthly and universal affiliation. Whatever the meaning of these lyrics they all warrant intense discussion and debate. Overall FRAGILE has a palpable artistic flavour that counterpoints with intense, importunate group collusions giving the impression that the band is moving in a more ambitious and adventurous direction. In contrast to THE YES ALBUM, with its slightly more accessible slant, FRAGILE is perhaps a little more abstract and difficult but is nevertheless an essential inclusion in any progressive library. Rod.

There were two albums released by Yes in the year 1972--the stellar `Close to the Edge' and this earlier effort, `Fragile.' Yes--at this point consisting of Jon Anderson on lead vocals, Bill Bruford on drums, Steve Howe on guitars, Chris Squire on bass, and the newly-recruited Rick Wakeman on keyboards--had just scored a decent breakthrough with their third album, `The Yes Album,' in the previous year. They had actually broken the charts in America, and they had finally reached and fortified what would be their characteristic sound in the years and albums to come.

So where does `Fragile' fit into all that? The original nine tracks on `Fragile' are widely considered quintessential progressive rock, a template from which myriad later acts would spawn. From start to finish, `Fragile' plays like well-oiled machinery (even with its occasional catches and blips), and its main material--the longer suites, mostly--demonstrates the level of maturity the band had ultimately achieved by this time in their collective career. Oh, and `Fragile' also brings to the table a little something called "Roundabout," which may well be the band's most famous song ever.

What are we waiting for? The songs (in detail):

1. "Roundabout" - Well, well. Do I really need to comment upon this one? Unlike many popular, therefore overplayed songs, this one just doesn't get old. Play it as many times as you like, and it still captivates. Right from the onset, with Steve Howe's guitar harmonics, one can hear the innovation and compositional brilliance of the band. And as the introduction moves on into the body of the piece, an irresistible lick makes itself heard again and again, though it never grows tiresome. The middle section of the piece, with its fantastically arranged vocals, inspires pure awe, and the soft and pensive section which follows adds a much-appreciated dynamic contrast. The Mellotron flutes are particularly nice, though of course they only play a few poly-chords. What follows is one of Rick Wakeman's most spectacular solo escapades (though of course the one in "Close to the Edge" is his supreme solo effort), a repetition of earlier parts of the song, and the riveting conclusion, replete in layered, overdubbed vocals and presented with minimal backing to enhance the effect. A simple flourish by Steve Howe ends the piece in understatement. In a word, stunning.

2. "Cans And Brahms" - This is Rick Wakeman's showcase song on the album (each member gets a chance to show off in solo). It's not bad, though it's not original. It's basically an arrangement of various Brahms melodies, played on slightly unconventional instrumentation. The work demonstrates for all to see Wakeman's peerless technical ability, but I do wish he (or the band in care of him) would have come up with something original. Still, though, it's short enough that it goes by before it overstays its welcome.

3. "We Have Heaven" - This is Jon Anderson's chance to shine. Here, in a vivid, multilayered arrangement, he sings a bunch of nonsense, albeit in impressive fashion. Though I respect the tremendous skill required to have laid down such a track, I personally find this work insufferably annoying and repetitive. It did not make it onto my iPod.

4. "South Side Of The Sky" - Ah, here we are with the second of the epic pieces. This one is a great deal darker and more angular than "Roundabout," and its lyrics allegedly deal with a failed Antarctic expedition where the explorers end up dying. Though with Yes, you can never be sure. Even so, this song is a true masterpiece of instrumentation, beginning with a brumal blast of synthesized Antarctic wind (apparently previous editions of the album also included footsteps, which have now been moved to the end of the previous track, where I have never heard them because I can't stand to listen to the third track to completion), and--in that weird Yes-esque manner--it rocks. The middle section is a dark, piano-dominated piece of disjointed yet substantial clockwork, culminating in a neutral vocal section which might be representative of the gates of heaven opening for the doomed explorers. After a return to the motifs from the beginning of the song, the work ends on a fadeout into the same howling wind with which it began.

5. "Five Per Cent For Nothing" - It might take you longer to read this description than it would for you to listen to the song. It's really that short--around 35 seconds or so. Bruford's showcase, it's a little drum pattern, repeated twice, with instrumentation from the rest of the band thrown in for good measure. I guess they figured 35 seconds is about five percent of a song, so that's how they arrived at this title. It makes a nice little introduction to the next track, so it works.

6. "Long Distance Runaround" - This is the infamous pop monster that, nonetheless, maintains the progressive feel so integral to Yes. It's pleasant to listen to, and it's one of the shorter of Yes's full-band involvement songs up to this point. The beginning line, with Steve Howe's expert guitar work running in parallel across the stereo field, is a sound to behold. Once Chris Squire enters the fray, things get really interesting. This song has one of the most enduring bass lines ever conceived, even among Yes songs. Squire is among the most innovative of bassists, and his trademark, treble-heavy tone really helps the mood of this piece. And, of course, Jon Anderson is up in the stratosphere singing away about nothing. But then, Yes is music where, though very pretty in their own right, the lyrics are unimportant. Anderson's lyrics paint pictures of emotion, they don't broadcast it of their own volition. In this he was one of music's greatest poets.

7. "The Fish (Schindleria Praematurus)" - Here's a shocker: All the instrumentation that isn't drums is performed by Chris Squire's bass. What an original concept! If only the band had expounded upon what they had discovered here, they could really have come up with some interesting material. Even so, this is by far one of the most interesting of tracks from `Fragile.' "Long Distance Runaround" segues into this track, so "The Fish" is akin to a separate movement of the previous track. Oh, and yes, they do sing the words "Schindleria Praematurus" at the end of the song. Why? I don't know. Obviously it's the Latin name for a fish, but as to why it was chosen to name this song, I have no clue.

8. "Mood For A Day" - It's Howe's turn up to bat, with this showcase song. I never though much of "Clap" (often mislabeled "The Clap" to the horror and extreme annoyance of Steve Howe), and I suppose that holds true for this song as well. Steve Howe is a brilliant guitarist, probably one of the two best in the history of the art, and were I myself a guitarist I might find this track wholly more interesting. As a keyboardist, I probably listen to "Cans And Brahms" a great deal more than most `Fragile' listeners. There's nothing wrong with "Mood For A Day;" I'm just not qualified to evaluate it objectively.

9. "Heart Of The Sunrise" - Ah. Bliss. Here we have the ultimate closer to an exemplary album. Beginning with a bang with an intriguing instrumental jam, this theme is then explored for two-and-a-half minutes before the song begins, very softly, yet never relenting until it reaches its climax. And what a climax it is! Anderson sings a high D (the one just above tuning A-440) which, when immersed in a chord is nothing special, naked and at the high point of a song is nothing short of breathtaking (even though he doesn't hold it and it sounds a little forced). Jon's voice can go much, much higher, but this particular note is so well placed that it says, commandingly, that the listener has arrived at the ultimate climax of the song.

It's just too bad that this isn't really the end. There is a return of that energetic instrumental jam, then a pregnant silence. Then, after about six seconds or so, a reprise of that ghastly third track, "We Have Heaven" bursts out of nowhere and fades out the track. The idea was brilliant, but since I hated the song the first time, I really wasn't particularly thrilled to hear it again, especially tacked on to one of the best songs on the album. At least that pause is long enough to where I can just skip the ending. I considered altering the track before putting it on my iPod (basically removing that ending section), but I couldn't bring myself to desecrate a progressive rock masterpiece in that manner, even if I don't agree with the way it was arranged.

I feel I must point out to those who are viewing this particular page with the intent of purchasing the item listed that, in 2003, Rhino Records re-remastered most of the Yes catalogue, including 'Fragile.' The Rhino remasters are generally deemed superior in sound quality to the Atlantic set from 1994; additionally, the Rhinos sport bonus tracks, and all albums (except for 1980's 'Drama') with Roger Dean artwork come in digipack/slip cover enclosure.

Overall, I would recommend `Fragile' to just about anyone, particularly those new to Yes. In this instance, there is nothing wrong with this release that would make it "for newbies." On the contrary, this album offers a vivid picture of just what made Yes the masterful progressive rock band it was, in a manner that is akin to on-the-job training. This album was made to make music, not to indoctrinate or placate fans. That, in part, is what makes Yes so special: They made music first, and radio-friendly music only if it turned out that way.

Thank God for `Fragile,' or there might never have been a `Close to the Edge.'

Picked this up yesterday. It is fantastic when compared to the CD version. The vocals especially are so clear that it is like having Jon and Chris in the room with you. The most impressive track is Heart Of The Sunrise. The way the instruments and vocals have been placed in the surrounds is perfect for this type of music. Stereo and CD's are truly dead in my mind. This is the format of the future. It's like listening to the original tapes but better! No hiss. Close to the Edge is their next disc being released on DVD-A. I can't wait!