I don't intend to discuss the history, it has been chronicled in numerous sources and in fact Trevor had to recount it over and over again in interviews just last year...as if no one knew the story already. You can surmise I believed it a waste of opportunity. Rather, I'm going to focus on elements of their inherent chemistry, which was the greater part of what made YesWest successful in their time, and continues to underscore the value of that music for all time. 90125 is a classic of its era but is also outside of time in its enduring popularity. The Union tour, which featured an amalgam of YesWest and the ABWH ensemble, was one of the most popular tours of any incarnation of the band. And the merits of the 80s version of Yes versus any other lineup continues to be the subject of decades-long debate.
Chris once said he believed he had to "save" Trevor from the ignominy of becoming a utility player in some other band just to get by while his newest demos continued to be rejected by the major labels. And Trevor had to let go of some of his intensity of ambition in regards to his solo career to pursue a new opportunity which contained unknown but intriguing potential. The two became lifelong friends, strong collaborators, and possessed a playful onstage demeanor which is referred to by many fans as...
The epic bromance of Fish and Trev
"Leave It"
(90125, 1983)
This "acapella Disneyland," as Trevor refers to the song, is one of the true collaborations of the album, as many of the tracks began life as Trevor's compositions. What some fans might not realize is that all of those dozens of overdubs which comprise the backing tracks are Chris and Trevor, with some help from Trevor Horn. Jon Anderson's contributions to the song did not come until it was already completed. All of that intricate vocalizing and glorious chorusing is just their two voices entwining and complimenting each other and the ambitious arrangement...seemingly born to sing together. With three singers in the band, great vocal harmonies became one of the hallmarks of the YesWest oeuvre.
"I'm Running"
(Big Generator, 1987)
The most ambitious, intricate, and interesting song on an album which tends to be underrated even now; the story goes Chris drove Trevor a bit nutty during sessions by playing the bass riff which opens the song over and over again as an idea he wanted to work on. At first Trevor wasn't sure of its' potential but then he finally relented and wrote a Latin-themed melody to go with it, as well as some of his best lyrics (then added to with a refrain by Jon). The song shifts frequently in dynamic and mood and sounds quite unlike anything they'd done (or would do ever after) with great performances and production and lots of interesting little touches (including the hilarious use of a duck call as a transition) and I believe it's a great example of Trevor taking the foundation of Chris' idea and building a beautiful edifice on top of it, even as he used the analogy that Chris was "polishing the vase" due to his obsession with the riff while the building fell down around him!
"Lift Me Up"
(Union, 1991)
Long-time fans know Trevor originally wrote this song prior to its inclusion on the album, as he and his touring band played the opening sequence as their entrance music on the club tour of 1989. But Trevor has recounted that he and Chris worked on the lyrics together, and the choice of words lends a sense of grandeur to the whole. This remains an incredibly compelling song, and also a highlight of the Union tour setlist.
(Talk, 1994)
For me, this song (from the eternal underdog of the YesWest discography and an album much-maligned - some might say unfairly - in the fandom) is the best example of their creative partnership and performance charisma. On an album which is largely defined by the efforts of Trevor and Jon, choosing to make their own collaboration the core of the production, this is a moment in which Trevor does his best once again to take Chris' idea and expand and elaborate upon it until it is something epic in the realization. Their harmonies on the bridge refrain before the chorus are absolutely wonderful, and the groove and growl and power with touches of a more mysterious atmosphere of the song entire is something yet again unique in their catalog while also a perfect expression of what YesWest was meant to be as an ensemble.
