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<<|{{WildMassGuessing}}|>>
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[[WMG:The "eagle in the sky" from ''Owner Of A Lonely Heart'' is the same one as "the eagle searching down on the land" in ''Roundabout'']]
* With the gunshot heard after the "eagle in the sky" lyric in Owner of a Lonely Heart being the eagle getting shot down, symbolic of ''90125'' being a NewSoundAlbum and the "shooting down" of the old Yes sound, which would make even more sense had ''90125'' been a Cinema album instead of a Yes album.
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* "Cans and Brahms", being an extract from a classical composition, represents the space travel as a reference to "[[TwoThousandOneASpaceOdyssey 2001: A Space Odyssey]]", in which classical music was used as the soundtrack for spaceflight scenes.
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* "Cans and Brahms", being an extract from a classical composition, represents the space travel as a reference to "[[TwoThousandOneASpaceOdyssey 2001: A Space Odyssey]]", ''Film/TwoThousandOneASpaceOdyssey'', in which classical music was used as the soundtrack for spaceflight scenes.
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This Troper was wondering where the reprise of "We Have Heaven" is?
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* "Machine Messiah": A deconstruction of their MagnumOpus "Close to the Edge". Thematically, they both deal with issues of faith, spirituality and making a new life for oneself, but while "Close to the Edge" portrays this as good, "Machine Messiah" has the singer's blind faith in the machine lead him into the figurative fire. Even the song structures are similar- multi-part epics that are the longest songs on their respective albums, but where "Close to the Edge" has elaborate section names ("The Seasons of Man", "Total Mass Retain", etc), "Machine Messiah" has...Part 1, Part 2 and Part 3.
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* "Machine Messiah": A deconstruction of their MagnumOpus "Close to the Edge". Thematically, they both deal with issues of faith, spirituality and making a new life for oneself, but while "Close to the Edge" portrays this as good, "Machine Messiah" has the singer's blind faith in the machine lead him into the figurative fire. Even the song structures are similar- multi-part epics that are the longest songs on their respective albums, but where "Close to the Edge" has elaborate section names ("The Seasons of Man", "Total Mass Retain", etc), "Machine Messiah" has...Part 1, Part 2 and Part 3.
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[[WMG:Had ''90125'' been a Cinema album with the same songs, the sides would be reversed.]]
* Side 2 of ''90125'' opens with the instrumental "Cinema" (an appropriate fanfare for the new band) launching right into the LyricalColdOpen of "Leave It". Had Cinema chosen to self-title their album this would have packed a big one-two punch. "Our Song" and "City of Love" are two hard-hitting rockers with slight prog-rock tendencies, and "Hearts" is a nice slow-burning epic to cool down the first side with.
* Then you flip the record over and "Owner of a Lonely Heart" is another hard hitter, as does "Hold On". "It Can Happen" is a little more experimental in places, which sets up for the grand finale of "Changes"--an EpicInstrumentalOpener, excellent opportunities for a Rabin/Squire VocalTagTeam, and a jarring reprise of the opening theme to end the album.
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* "White Car": About the RevolvingDoorBand nature of the band- in particular, about Rick Wakeman's constant entering then quitting the band, which he had already done twice by the time of ''Drama''. Notably, by this point in Yes, Geoff Downes was the band's ''fourth'' keyboardist (fifth if you count Wakeman's second period with the band)
* "Does it Really Happen": Remember the band's debut album, ''The Yes Album''? Wait, you mean there were two OldShame albums before that? Nope, they didn't really happen
* "Into the Lens": Roger Dean's famous album covers, and how they have become so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later). The references to "here by the waterside" in particular seem to me to be referring to the seascape of the ''Tales From Topographic Oceans'' cover
* "Does it Really Happen": Remember the band's debut album, ''The Yes Album''? Wait, you mean there were two OldShame albums before that? Nope, they didn't really happen
* "Into the Lens": Roger Dean's famous album covers, and how they have become so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later). The references to "here by the waterside" in particular seem to me to be referring to the seascape of the ''Tales From Topographic Oceans'' cover
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* "White Car": About the RevolvingDoorBand nature of the band- in particular, about Rick Wakeman's constant entering then quitting the band, which he had already done twice by the time of ''Drama''. Notably, by this point in Yes, Geoff Downes was the band's ''fourth'' keyboardist (fifth if you count Wakeman's second period with the band)
band).
* "Does it Really Happen": Remember the band's debut album, ''The Yes Album''? Wait, you mean there were two OldShame albums before that? Nope, they didn't reallyhappen
happen.
* "Into the Lens": Roger Dean's famous album covers, and how they have become so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later). The references to "here by the waterside" in particular seem to me to be referring to the seascape of the ''Tales From Topographic Oceans''covercover.
* "Does it Really Happen": Remember the band's debut album, ''The Yes Album''? Wait, you mean there were two OldShame albums before that? Nope, they didn't really
* "Into the Lens": Roger Dean's famous album covers, and how they have become so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later). The references to "here by the waterside" in particular seem to me to be referring to the seascape of the ''Tales From Topographic Oceans''
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Changed line(s) 29 (click to see context) from:
* "Into the Lens": Roger Dean's iconic album covers, and how they have become so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later). The references to "here by the waterside" in particular seem to me to be referring to the seascape of the ''Tales From Topographic Oceans'' cover
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* "Into the Lens": Roger Dean's iconic famous album covers, and how they have become so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later). The references to "here by the waterside" in particular seem to me to be referring to the seascape of the ''Tales From Topographic Oceans'' cover
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Changed line(s) 29 (click to see context) from:
* "Into the Lens": Roger Dean's iconic album covers, and how they have become so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later)
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* "Into the Lens": Roger Dean's iconic album covers, and how they have become so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later)later). The references to "here by the waterside" in particular seem to me to be referring to the seascape of the ''Tales From Topographic Oceans'' cover
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Changed line(s) 25 (click to see context) from:
Okay, so Trevor Horn comes into the band from Music/TheBuggles as an AscendedFanboy, and so in writing the lyrics for ''Drama'', decides to make it about Yes itself. So here's my analysis of ''Drama's'' lyrics song-by-song:
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Okay, so Trevor Horn comes came into the band from Music/TheBuggles as an AscendedFanboy, and so in writing the lyrics for ''Drama'', decides maybe he decided to make it about Yes itself. So if that's the case, here's my analysis of ''Drama's'' lyrics song-by-song:
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Changed line(s) 29,31 (click to see context) from:
* "Into the Lens": Roger Dean's iconic album covers, and how they have become irreversibly associated with the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later)
* "Run Through the Light": The over-ambition of "Tales From Topographic Oceans". Chasing the all-important light- what is the light representing? Well, the listener has [[ViewersAreGeniuses read their Eastern religious scripture]] so we don't need to explain it, right?
* "Tempus Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this song looks like it's going to address that with the trope most associated with Yes- WordSaladLyrics!
* "Run Through the Light": The over-ambition of "Tales From Topographic Oceans". Chasing the all-important light- what is the light representing? Well, the listener has [[ViewersAreGeniuses read their Eastern religious scripture]] so we don't need to explain it, right?
* "Tempus Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this song looks like it's going to address that with the trope most associated with Yes- WordSaladLyrics!
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* "Into the Lens": Roger Dean's iconic album covers, and how they have become irreversibly associated with so iconic of the band. Notably, ''Drama'' marked the first time a Dean cover would return after a period of using someone else (''Union'' and ''Fly From Here'' did the same thing later)
* "Run Through the Light": The over-ambition of"Tales ''Tales From Topographic Oceans".Oceans''. Chasing the all-important light- what is the light representing? Well, the listener has [[ViewersAreGeniuses read their Eastern religious scripture]] so we don't need to explain it, right?
* "Tempus Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this songlooks like it's going to address that with the trope most associated with Yes- answers what they're saying YES to- their true love of...WordSaladLyrics!
* "Run Through the Light": The over-ambition of
* "Tempus Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this song
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Changed line(s) 25,27 (click to see context) from:
Okay, so Trevor Horn comes into the band from Music/TheBuggles as an AscendedFanboy, and so in writing the lyrics for ''Drama'', decides to make it about Yes itself (at least up to that point- unless Horn was actually a Time Lord, but that's a different WMG altogether). But here's my analysis of ''Drama'' song-by-song
* "Machine Messiah": A deconstruction of "Close to the Edge". Thematically, they both deal with issues of faith, spirituality and making a new life for oneself, but while "Close to the Edge" portrays this as good, "Machine Messiah" has the singer's blind faith in the machine lead him into the figurative fire. Even the song structures are similar- multi-part epics that are the longest songs on their respective albums, but where "Close to the Edge" has elaborate section names ("The Seasons of Man", "Total Mass Retain", etc), "Machine Messiah" has...Part 1, Part 2 and Part 3.
* "White Car": A poke at Rick Wakeman's constant entering then quitting the band, which he had already done twice by the time of ''Drama''. Notably, Geoff Downes was at this point the band's ''fourth'' keyboardist
* "Machine Messiah": A deconstruction of "Close to the Edge". Thematically, they both deal with issues of faith, spirituality and making a new life for oneself, but while "Close to the Edge" portrays this as good, "Machine Messiah" has the singer's blind faith in the machine lead him into the figurative fire. Even the song structures are similar- multi-part epics that are the longest songs on their respective albums, but where "Close to the Edge" has elaborate section names ("The Seasons of Man", "Total Mass Retain", etc), "Machine Messiah" has...Part 1, Part 2 and Part 3.
* "White Car": A poke at Rick Wakeman's constant entering then quitting the band, which he had already done twice by the time of ''Drama''. Notably, Geoff Downes was at this point the band's ''fourth'' keyboardist
to:
Okay, so Trevor Horn comes into the band from Music/TheBuggles as an AscendedFanboy, and so in writing the lyrics for ''Drama'', decides to make it about Yes itself (at least up to that point- unless Horn was actually a Time Lord, but that's a different WMG altogether). But itself. So here's my analysis of ''Drama'' song-by-song
''Drama's'' lyrics song-by-song:
* "Machine Messiah": A deconstruction of their MagnumOpus "Close to the Edge". Thematically, they both deal with issues of faith, spirituality and making a new life for oneself, but while "Close to the Edge" portrays this as good, "Machine Messiah" has the singer's blind faith in the machine lead him into the figurative fire. Even the song structures are similar- multi-part epics that are the longest songs on their respective albums, but where "Close to the Edge" has elaborate section names ("The Seasons of Man", "Total Mass Retain", etc), "Machine Messiah" has...Part 1, Part 2 and Part 3.
* "White Car":A poke at About the RevolvingDoorBand nature of the band- in particular, about Rick Wakeman's constant entering then quitting the band, which he had already done twice by the time of ''Drama''. Notably, by this point in Yes, Geoff Downes was at this point the band's ''fourth'' keyboardistkeyboardist (fifth if you count Wakeman's second period with the band)
* "Machine Messiah": A deconstruction of their MagnumOpus "Close to the Edge". Thematically, they both deal with issues of faith, spirituality and making a new life for oneself, but while "Close to the Edge" portrays this as good, "Machine Messiah" has the singer's blind faith in the machine lead him into the figurative fire. Even the song structures are similar- multi-part epics that are the longest songs on their respective albums, but where "Close to the Edge" has elaborate section names ("The Seasons of Man", "Total Mass Retain", etc), "Machine Messiah" has...Part 1, Part 2 and Part 3.
* "White Car":
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* "Into the Lens": Roger Dean's iconic album covers, and how they have become irreversibly associated with the band. Notably, ''Drama'' marked the first (but definitely not the last) time a Dean cover would return after a period of using someone else (''Union'',''Fly From Here'' did the same thing)
to:
* "Into the Lens": Roger Dean's iconic album covers, and how they have become irreversibly associated with the band. Notably, ''Drama'' marked the first (but definitely not the last) time a Dean cover would return after a period of using someone else (''Union'',''Fly (''Union'' and ''Fly From Here'' did the same thing)thing later)
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Changed line(s) 29 (click to see context) from:
* "Into the Lens": Roger Dean's iconic album covers, and how they have become irreversibly associated with the band. Notably, ''Drama'' marked the first (but definitely not the last) return of a Dean cover after a period of using someone else
to:
* "Into the Lens": Roger Dean's iconic album covers, and how they have become irreversibly associated with the band. Notably, ''Drama'' marked the first (but definitely not the last) return of time a Dean cover would return after a period of using someone elseelse (''Union'',''Fly From Here'' did the same thing)
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Changed line(s) 30,31 (click to see context) from:
* "Run Through the Light": The over-ambition of "Tales From Topographic Oceans". Chasing the all-important light- what is the light representing? Well, the listener has [[ViewersAreGeniusess read their Eastern religious scripture]] so we don't need to explain it, right?
* "Tempus Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this song looks like it's going to address that- with WordSaladLyrics!
* "Tempus Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this song looks like it's going to address that- with WordSaladLyrics!
to:
* "Run Through the Light": The over-ambition of "Tales From Topographic Oceans". Chasing the all-important light- what is the light representing? Well, the listener has [[ViewersAreGeniusess [[ViewersAreGeniuses read their Eastern religious scripture]] so we don't need to explain it, right?
* "Tempus Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this song looks like it's going to addressthat- that with the trope most associated with Yes- WordSaladLyrics!
* "Tempus Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this song looks like it's going to address
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* "Run Through the Light":
* "Tempus Fugit":
* "Tempus Fugit":
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* "Run Through the Light":
Light": The over-ambition of "Tales From Topographic Oceans". Chasing the all-important light- what is the light representing? Well, the listener has [[ViewersAreGeniusess read their Eastern religious scripture]] so we don't need to explain it, right?
* "TempusFugit":Fugit": The band's name itself. What are they answering Yes to? What was the actual question? Well, this song looks like it's going to address that- with WordSaladLyrics!
* "Tempus
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Changed line(s) 24 (click to see context) from:
----
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Okay, so Trevor Horn comes into the band from Music/TheBuggles as an AscendedFanboy, and so in writing the lyrics for ''Drama'', decides to make it about Yes itself (at least up to that point- unless Horn was actually a Time Lord, but that's a different WMG altogether). But here's my analysis of ''Drama'' song-by-song
* "Machine Messiah": A deconstruction of "Close to the Edge". Thematically, they both deal with issues of faith, spirituality and making a new life for oneself, but while "Close to the Edge" portrays this as good, "Machine Messiah" has the singer's blind faith in the machine lead him into the figurative fire. Even the song structures are similar- multi-part epics that are the longest songs on their respective albums, but where "Close to the Edge" has elaborate section names ("The Seasons of Man", "Total Mass Retain", etc), "Machine Messiah" has...Part 1, Part 2 and Part 3.
* "White Car": A poke at Rick Wakeman's constant entering then quitting the band, which he had already done twice by the time of ''Drama''. Notably, Geoff Downes was at this point the band's ''fourth'' keyboardist
* "Does it Really Happen": Remember the band's debut album, ''The Yes Album''? Wait, you mean there were two OldShame albums before that? Nope, they didn't really happen
* "Into the Lens": Roger Dean's iconic album covers, and how they have become irreversibly associated with the band. Notably, ''Drama'' marked the first (but definitely not the last) return of a Dean cover after a period of using someone else
* "Run Through the Light":
* "Tempus Fugit":
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* Music critic George Starostin believes that ''Fragile'' is secretly a concept album about movement, generally. The lyrics repeatedly reference it, and the songs are very upbeat and "[[BuffySpeak moving-y]]".
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* Finally, "Heart of the Sunrise"... This complex track tells about the doubts that come up in the colonists' minds later on. The lyrics could be explained as telling about the concerns coming up in an urban society ("Straight light moving and removing of the colour sun shine" could be about the natural light being blocked by the artificial), or about the fate of humanity in such a society that makes everything look mundane - nothing is left to discover. It also could be explained as a search for spirituality in such an urbanized world which once was unfamiliar and to be explored ("Love comes to you and then after \Dream on on to the Heart of the Sunrise", "I feel lost in the city"...)
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* Finally, "Heart of the Sunrise"... This complex track tells about the doubts that come up in the colonists' minds later on. The lyrics could be explained as telling about the concerns coming up in an urban society ("Straight light moving and removing of the colour sun shine" could be about the natural light being blocked by the artificial), artificial light), or about the fate of humanity in such a society that makes everything look mundane - nothing is left to discover. It also could be explained as a search for spirituality in such an urbanized world which once was unfamiliar and to be explored mysterious ("Love comes to you and then after \Dream on on to the Heart of the Sunrise", "I feel lost in the city"...)
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*** Hey, those were good suggestions. Got to admit I forgot "The Fish" out of the list originally...
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* Here's where This Troper fills in the holes:
** "Five Per Cent for Nothing": An interlude before they find a better settlement?
** "Long Distance Runaround": The colonists realize the planet is not devoid of civilization, as a group of natives declare war on the colonists ("long time waiting to feel the sound": anticipating the weapon fire of the natives, etc).
** "The Fish": Again, doesn't really fit well in there, but perhaps it's heard during a drug trip using local substances, or perhaps a melody and chant to pray to a god.
** "Five Per Cent for Nothing": An interlude before they find a better settlement?
** "Long Distance Runaround": The colonists realize the planet is not devoid of civilization, as a group of natives declare war on the colonists ("long time waiting to feel the sound": anticipating the weapon fire of the natives, etc).
** "The Fish": Again, doesn't really fit well in there, but perhaps it's heard during a drug trip using local substances, or perhaps a melody and chant to pray to a god.