Rhino Reserve Focuses on a 1980s Classic: “90125” by Yes

How does it compare to the Analogue Productions 45rpm cut?

A tide was turning when the dawn of the 1980s coincided with the demise of the progressive rock genre and one of its godfathers, Yes. Punk and New Wave made old hat of everything musically that preceded it and MTV shifted the focus of the music industry to an artist’s image. As for Yes, fans found it hard to embrace the new lineup that integrated pop duo The Buggles, where vocalist Trevor Horn had to fill Jon Anderson’s hard-to-fill shoes. Their streak of crafting standout albums and sustaining an interchanging roundabout of personnel since their inception in 1968 came to a halt when each member departed by the end of 1980. 

In the wake of Yes’ disbandment, bassist Chris Squire and drummer Alan White embarked on a new project with guitarist Jimmy Page called XYZ (ex-Yes-Zeppelin), which failed to launch. The two then joined forces with Trevor Rabin, a South African guitarist/vocalist, who found success in both the teenage sensation band Rabbitt and a modest solo career. Rabin’s simpler approach in crafting commercially accessible material lent itself to include Tony Kaye, Yes’ original keyboardist up until the release of The Yes Album in 1971; the quartet dubbed themselves Cinema. Squire and Rabin shared lead vocal duties, but Atlantic Records’ senior vice president and longtime supporter Phil Carson suggested that Jon Anderson, having a more prominent voice, should be included in the group. Anderson took a strong liking to the material and made significant contributions to the arrangements. Due to other groups having the name Cinema and the origins of 80% of the lineup, it was a logistical move to brand the group as Yes. 

90125 was as radical as Yes got upon its release in November 1983. Titled after its catalog number, its pop-oriented sound and computerized album cover were a far cry from Yes’ typical length-imposing sonic explorations and Roger Dean’s fantasy landscapes, yet adaptive to the times. Tracks like “Hold On,” “It Can Happen,” and “Leave It” are radio-friendly nuggets that still retain some of the classic Yes DNA, particularly the colorful use of harmonies. It still left room for the group to exercise some progressive tendencies on “Changes” and “Cinema,” the latter earning a Grammy for Best Rock Instrumental Performance.

Though stylistically contrasting, 90125 was the right album for the right time. Yes gained a new generation of fans off the heels of “Owner of a Lonely Heart,” the group’s only single to top the Billboard Hot 100. In turn, 90125 surpassed the sales of Yes’ golden run of the 1970s and became their highest-selling album. It's one of the most celebrated albums of both the 1980s and the entire Yes canon, and its significance makes it a prime contender for Rhino’s audiophile series, Rhino Reserve.

Rhino Reserve is a companion to the lauded Rhino High Fidelity series; the consistency between the two lies in the utilization of pure analog sources. Instead of relying on the industrial standard of Stoughton tip-on gatefolds, the Reserves faithfully replicate the intent of the original packaging on heavyweight board jackets. 90125’s silver-based cover shines with a faux-metallic-like finish. Although the record comes in Fidelity Record Pressing’s branded antistatic inner sleeve, the original printed inner sleeve with lyrics is also included. FRP’s pressing job is deluxe to the touch with rounded corners and bears the unique Reserve custom label in tandem with other titles in the series. The Rhino Reserve’s suggested MSRP of $31.98 makes it the most budget-friendly option for audiophile consumers. 

Before this pressing made its way to the turntable, I was immediately fixated on the source being listed as the ‘original analog master.’ Analogue Productions’ 2xLP 45rpm cut of this album, released last year, uses a half-inch copy of the master tape. Did Rhino run a one-off copy for Analogue Productions and hold back the actual master for this pressing? Or is a half-inch copy as good as it gets? 

The Analogue Productions 45rpm cut of 90125 is a sonic jewel. Each mix component battles to take center stage, crafting a dynamic listening experience. Meanwhile, the Reserve pressing sounds, ironically, reserved. It presents the album in a more slick fashion, adding extra warmth to the rhythm section. How Chris Squire’s cutting bass lines complement Alan White’s driving rhythm makes the once underdog/filler track “Our Song” a rocking highlight. “Changes,” one of the album’s few ‘prog’ moments, comes across orchestral when the xylophone rides in the front of the mix against the polyrhythmic backing track. Trevor Rabin’s reverb-soaked vocals during the verses are very trance-like before the chorus snaps the song into a tight groove. A cappella vocals are the driving force of “Leave It,” sounding incredibly layered with far-reaching separation. The sequenced percussion leading into the verses explodes out of the speakers. 

What this pressing gains in smoother bottom end and detailed separation/nuances is a loss of some of its more abrasive qualities. Rabin’s guitar on “Owner of a Lonely Heart” lacks its grating bite, and White’s unaccompanied drum introduction on “Hold On” hardly attacks with force. Nonetheless, this is a solid-sounding reissue where analog purists can rejoice without having to change and flip over sides as often.