From Roundabouts to The Sunrise - The Tale of Yes’ “Fragile”;

the perfect pressing of a prog rock classic

By 1971, Yes had became synonymous with "progressive rock". After executing an array of rearranged covers and hybrids of blues and jazz on its first two albums (Yes and Time and a Word), the release of The Yes Album laid down the foundation for the group's “golden run”, which ran up until the mid-1970s. Tracks like “Yours Is No Disgrace,” “Starship Trooper,” and “I’ve Seen All Good People” were quick to become repertoire staples of their now 50+ year career. The members of Yes at the time were keen to build upon their musicianship and match the ante of other contemporary prog bands, which made keyboardist Tony Kaye’s bare-bones fundamentals of Hammond organ and piano entirely out of fashion. His replacement, the sequin cape-cloaked Rick Wakeman, hopped on Yes’ personnel roundabout, equipped with Mellotrons, Moog synthesizers, and electric pianos—the right amount of zest to allow the group to strive further musically. 

Fragile was the culmination of Yes’ powers as both a cohesive unit and as individuals. The album’s bookends, “Roundabout” and “Heart of the Sunrise,” came together on Wakeman’s first day rehearsing with the group. The latter marked a drastic shift in Yes’ compositional approach, venturing into neo-classical territory with shifting time signatures and recapitulating musical motifs. The daring subject of climbing mountains in “South Side of the Sky” complements the track’s riff-heavy arrangement. There is a sense of relevancy in the lyrics of “Long Distance Runaround,” which focuses on the hypocrisy of religion instead of Jon Anderson’s typical mystical meanderings. Musically, the polymetric approach between Bill Bruford’s percussion and the rest of the group lives up to Yes’ progressive prowess.

Each member contributed a solo composition to the album to save studio time and money. Rick Wakeman took an excerpt from the third movement of Brahms’ “4th Symphony in E Minor,” reinterpreting each orchestra section with his arsenal of various keyboards. “We Have Heaven” is a Jon Anderson vocal production revolving around repeated chants and a chorale of harmonies. The distinguishable jazz fusion style on “Five Per Cent For Nothing” could only be attributed to Bill Bruford, who lays down a precise drum pattern mirrored by the rest of the group in staccato precision. Chris Squire's bass playing style is lead-like, which comes across strongly on “The Fish (Schindleria Praematurus),” which features many rhythmic patterns. “Mood For A Day” is one of Steve Howe’s many stellar solo acoustic guitar pieces. These solo compositions easily trace the lineage to what each member contributed to making Yes’ overall sound so unique.

Released in November 1971 in the UK and two months later in the US, Fragile reached the Top 10 on both sides of the Atlantic. The success of the three-minute single edit of “Roundabout” boosted Yes’ popularity and enabled the album to sell over 2 million copies worldwide. The song cemented itself as a permanent concert encore, along with other stage favorites like “Long Distance Runaround” and “Heart of the Sunrise.” In retrospect, the band so revered the album it performed it in its entirety during select tours in the mid-2010s. Fragile is not only a crown jewel in Yes’ vast discography but is one of the most influential albums in the Atlantic Records catalog. It’s a no-brainer that Analogue Productions would dare to give this album the ultimate audiophile treatment it deserves.

The cover of Fragile marked the first collaboration between Yes and artist Roger Dean. Dean’s fantasy landscapes became unanimous with the group’s visual identity, along with the design of elaborate stage sets and their iconic logo. Dean’s stunning illustration of a fracturing planet goes perfectly on a sturdy Stoughton gatefold jacket. While it has a standard finish, the brown paper quality of the inner gatefold has a fitting matte finish. Staying faithful to the original yet bettering what came before, the eight-page booklet of band photos and illustrations is replicated but held inside one of the jacket openings instead of glued onto the inner gatefold like older pressings, preventing possible tearing or damage. Keeping in line with the original US pressing, the red/green label is featured instead of the red/plum label on UK pressings.

Mastering maestro Kevin Gray is no stranger to working his magic on Fragile. His first attempt dates back to 2006 when he was a part of AcousTech Mastering with Steve Hoffman. Ten years later, he revisited the album at his mastering studio, Cohearant Audio, and that cut became the one found on most readily available inexpensive reissues. This new Analogue Productions pressing is the first time Gray has approached Fragile in the most lavish fashion: 2LP, 45rpm.

The backward chord leading into the opening of “Roundabout” builds suspense, resolving with Steve Howe’s perfectly centered acoustic guitar. The instrumental separation is impressive when the band kicks in, with Howe’s guitar to the left and Chris Squire’s percussive bass licks to the right. The Latin-sounding percussion is more prominent during the song’s middle section. Rick Wakeman’s choice of keyboards on “Cans and Brahms” emphasizes the subtle and bold dynamics of the respective orchestral parts. Jon Anderson’s harmonies swell majestically on “We Have Heaven. " The layers of cascading melodies build the track with incredible texture. The “South Side of the Sky” verses are full-bodied and lively, with Howe counterpointing Anderson’s melodies in a distorted tone that adds to the track’s muscle. The middle section is a sonic treat with airy grand piano and panned harmonies.

From a casual listening perspective, Bill Bruford’s exercise in syncopation, “Five Per Cent For Nothing,” sounds like a disjointed barrage of notes. The clarity of this pressing allows for each instrument’s interpretation of Bruford’s drum pattern to stand out more. The guitar and keyboards on “Long Distance Runaround,” panned respectively to the left and right, allow the listener to appreciate how each member trades off doubling parts. Anderson’s reverb-soaked vocals stand out against the dry-sounding instrumentation. Chris Squire’s ability to explore the tonality spectrum of his bass playing outside of providing a simple, beefy bottom shines on “The Fish (Schindleria Praematurus).” Howe’s “Mood for a Day” shares the same sonic characteristics as heard in the introduction of “Roundabout.” It’s sparse yet rich in texture and intimate, as if he’s playing in your room. “Heart of the Sunrise” is best described in one word: dramatic. The ascending and descending riff motif in the opening section has an element of driving urgency, and Wakeman’s Mellotron and swirling Hammond organ runs provide suspense. The track catches its breath with Howe’s lucid guitar and Anderson’s angelic falsetto. When his voice peaks, the band comes in with intense chord hits that pack a severe gut punch. 

Kevin Gray’s previous cuts of Fragile are impressive for those who don't want to flip over the record four times. For a while, listeners regarded Krieg Wunderlich’s 45rpm Ultradisc cut of this album for Mobile Fidelity as superior. Equipped with the master tape and a more generous price, Analogue Productions single-handedly provides the end-all-be-all edition of Fragile to grace the turntable and ears.