Yes - Progeny 7 Shows From 72 (2015) Durham NC November 11 FLAC Beolab1700

Yes - Progeny 7 Shows From 72 (2015) Durham NC November 11 FLAC Beolab1700



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Yes - Progeny: Seven Shows from Seventy-Two
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Artist...............: Yes
Album................: Progeny: Seven Shows from Seventy-Two
Genre................: Rock
Source...............: CD
Year.................: 2015
Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.2.1 20071117
Quality..............: Lossless, (avg. compression: 56 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: SCANS - LOG - TRACKS

Posted by............: Beolab1700 on 27/05/2015

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Tracklisting
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Disc: 5
1. Opening (Excerpt From Firebird Suite) / Siberian Khatru (Live at Duke University Durham, North Carolina November 11, 1972)
2. I’ve Seen All Good People: Your Move / All Good People (Live at Duke University Durham, North Carolina November 11, 1972)
3. Heart of the Sunrise (Live at Duke University Durham, North Carolina November 11, 1972)
4. Clap/Mood For A Day (Live at Duke University Durham, North Carolina November 11, 1972)
5. And You And I [I. Cord Of Life, II. Eclipse, III. The Preacher The Teacher, IV. Apocalypse] (Live at Duke University Durham, North Carolina November 11, 1972)

Disc: 6
1. Close To The Edge [I. The Solid Time Of Change, II. Total Mass Retain, III. I Get Up I Get Down, IV. Seasons Of Man] (Live at Duke University Durham, North Carolina November 11, 1972)
2. Excerpts From “The Six Wives Of Henry VIII” (Live at Duke University Durham, North Carolina November 11, 1972)
3. Roundabout (Live at Duke University Durham, North Carolina November 11, 1972)
4. Yours is No Disgrace (Live at Duke University Durham, North Carolina November 11, 1972)

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If ever there were too much of a good thing, Progeny: Seven Shows from Seventy-Two by Yes is likely it. These seven complete shows on as many double-disc sets were recorded in Canada and the U.S. between October 31 and November 20 during the Close to the Edge tour. They are the “source code” tapes from which much of Yessongs was assembled. That said, these complete gigs are remixed and remastered from two-inch, 16-track recordings previously thought to be lost. (Yessongs was created from two-track mixdown masters — each subsequent remaster has come from those tapes.) Drummer Alan White had been with the band just three months after taking over from Bill Bruford. Musically, however, he’s claimed the chair by this point; his uncanny playing relationship with bassist Chris Squire is cemented. The sonic quality of these concerts and the considerable variation in improvisational and instrumental moments, banter, and sheer dynamic force from night to night — remember, this set is for the hardest of the hardcore only; civilians and casual fans won’t get it — are well worth it. Producer Brian Kehew’s technical notes detail the painstaking process of getting the best sound possible and recapturing the dynamic range that Yessongs lacked. Some of the tricks included re-recording Squire’s bass through a ’70s-era bass amp and layering it atop the original thin one to get the fat, nasty, proper balance that is a Yes trademark. They also (re)calibrated the Dolby level of each guitar, individual drum, vocal, keyboard, etc. track setting by ear because they had been set incorrectly in the first place. That doesn’t mean that the sound is perfect. Occasionally one can hear bits of ambient buzzing, a little too much crowd noise in a few places, moments of brightness — as in the Duke University performance of Steve Howe’s solo guitar break that makes a medley of “Mood for a Day” with “Clap.” But these are quibbles. For fans, this box is about representing the performance magic of Yes at an early peak. Jon Anderson is at full, soaring, angelic strength. Rick Wakeman’s B-3 and synth playing are on point, his synths soaring and free of bloated excess. Howe, Squire, and White surprise audiences and one another nightly with their interplay and solos. Each of these shows does exactly that. Whether it’s in the extended jams like “Yours Is No Disgrace” or the “Close to the Edge” and “And You and I” suites, or awe-inspiring renderings of “Heart of the Sunrise” and the driving hard rock prog of “Roundabout,” Yes were firing on all cylinders. Progeny is what rabid fans want; it captures not only the band at its early, inspired best but prog rock too.

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