In the pantheon of rock rhythm sections, bassist Chris Squire would surely have to feature not once but twice – he forged striking partnerships with both Bill Bruford and the underrated Alan White.
Big Generator, released 30 years ago this week, is a brilliant distillation of the Squire/White hook-up.
There are loads of other pleasures too, even though it’s usually mentioned as an inferior, mostly pointless, sequel to 90215.
But for my money it’s the better album – more cohesive, less top-heavy. Big Generator was apparently far from a walk in the park to make though, with band tensions, endless rewrites and remixes. And of course there was pressure to follow up such a huge hit.
Trevor Horn started work on the album in 1985 but left towards the end of recording, leaving guitarist/vocalist/co-writer Trevor Rabin and producer Paul DeVilliers to finish the job.
But you can hear the craft (and money) that went into Big Generator, although it still basically sounds like a band playing live in the studio.
This is barmy rock music, full of surprises, made by musicians with unique styles and a wish to take chances. But no matter how complicated the arrangements get, there’s always a logic to them.
Take the title track for example. An excerpt from the ‘Leave It’ 90125 vocal sessions kicks things off. Then Rabin piles into a gargantuan riff (achieved by tuning his low E string down to an A, echoing Squire’s ‘standard’ tuning on his 5-string) joined by Squire.
White’s snare is tighter than a gnat’s arse and his phrasing is always novel – he’ll often hit the crash cymbal on a ‘one-and’ or ‘three-and’ rather than the standard ‘one’. Then there’s the ridiculous speeding-up snare roll accompanied by manic Rabin shredding and a chorus that sounds a bit like Def Leppard. It’s all in a day’s work for this amazing unit.
‘Rhythm Of Love’, ‘Almost Like Love’ and ‘Love Will Find A Way’ are serviceable, weirdly-funky slices of AOR. The very ’80s-Floyd-style ‘Shoot High Aim Low’ maintains its doomy mood impeccably and features a brilliant Di Meola-esque acoustic guitar solo from Rabin.
The standout for me though is the stunning, ridiculous ‘I’m Running’. Just when you thought they couldn’t crowbar any more into its seven minutes, it chucks in a descanting vocal outro which sounds like something out of Gilbert and Sullivan.
Only a few bits of Jon Anderson whimsy on side two threaten to derail proceedings. But in general Rabin keeps him in check, though presumably to the detriment of their relationship.
Big Generator was nominated for a Grammy and sold well over a million worldwide, making the top 20 in both the US and UK. It’s definitely due a critical reappraisal. So here it is…
5 thoughts on “Yes: Big Generator 30 Years On”
Nice write-up, Matt. I still consider this a step down from 90125, which might be (as you stated) top heavy but also ends with one of the most impressive songs in their discography, “Hearts.” Perhaps I’ve always judged Big Generator too harshly based on unfair expectations but I don’t think it’s as strong…song-for-song…and diverse as its predecessor. Yet I still like it a lot. Hard to believe 30 years has passed.
Each to their own, Rich. To my ears, Big Generator has a more cohesive ‘band’ sound, maybe because there are a lot more keyboards. 90125 sounds like two (or three!) different bands. Still great, though.
I’m sorry but I can’t find a way in to Yes. ‘Almost Like Love’ really wasn’t what I was expecting though, much bigger, poppier and rockier than I expected it to be.
Rabin definitely added a lot more raunch. But surprised you can’t find your way into ‘classic’ Yes of the early ’70s vintage…
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I think it’s a combo of finding them a bit heavy on the treble and Anderson’s voice. I have tried, honest!
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