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For many, the gateway to the progressive rock titans Yes was through their 1983 album 90125. This record marked a significant sonic shift for the band, catapulting them into the MTV era and resonating with a fresh generation of listeners. While 90125 became their most commercially successful and critically lauded work, even earning a Grammy for “Cinema,” it also represented a point of contention for some long-time fans. However, within this album of streamlined, 80s-infused rock, lies a track that perfectly encapsulates the band’s evolution and enduring musical prowess: “Changes.”
When “Owner of a Lonely Heart” exploded onto radio waves, particularly in regions like the Norselands, it was an undeniable earworm. As an 11-year-old discovering music, the track was captivating, sparking a curiosity to explore more of Yes’s catalog. The exchange of Europe’s The Final Countdown for 90125 felt like a steal, a trade that unlocked a deeper musical world. While aware of Yes’s history, 90125 served as the perfect entry point, a sonic feast that was instantly devoured.
For seasoned Yes enthusiasts, 90125 might be perceived as a simplification of their signature sound. However, it’s more accurately viewed as a sonic reinvention. This transformation began subtly with Drama in 1980, a move away from the expansive, orchestral textures of the 70s towards a more concise, yet still adventurous, approach. This new direction, rooted in the emerging sounds of the 1980s, retained Yes’s groundbreaking spirit. Trevor Horn, formerly of Buggles and the vocalist on Drama, returned as producer for 90125, bringing a cutting-edge palette of sounds and production techniques to the forefront.
90125 is characterized by its strong melodies and immediate hooks, elements that broadened its appeal beyond the traditional progressive rock audience. This mainstream success, however, led some purist fans to label Yes as “hit-chasers.” Trevor Rabin, a key songwriter for the album, expressed frustration with this perception in a 1995 interview with Tim Morse. He argued that the commercial success of “Owner of a Lonely Heart” and the album itself was simply a testament to people genuinely enjoying the music, not a calculated pursuit of chart-topping singles. He astutely noted the inverse relationship between commercial success and perceived artistic credibility.
Freed from the weight of past expectations, 90125 stands as a remarkable achievement – a testament to exceptional songwriting, masterful performances, and groundbreaking arrangements. The sheer musicality of the album was revelatory, acting as a gateway to a lifelong appreciation for progressive rock. Among the album’s tracks, “Changes” emerges as a standout, embodying both the accessible hooks and the intricate musicianship that define 90125.
“Changes” originated from demos Trevor Rabin was developing while seeking a record deal. In a 1994 Keyboard Magazine interview, Rabin recounted how record companies, including Arista, deemed his material too “left-field” for the contemporary market, ironically before 90125 became a number-one album. Atlantic Records showed interest, proposing a collaboration between Rabin and a rhythm section consisting of Chris Squire and Alan White of Yes, alongside Jack Bruce and Keith Emerson. Rabin, prioritizing a strong rhythm section, chose to work with Squire and White.
This initial trio, after rehearsals, brought in Tony Kaye on keyboards. Kaye proved to be a perfect fit, both musically and personally. The quartet then refined Rabin’s demos, preparing to record them for an album. Alan White, in the Yesyears video (1991), emphasized the shared enthusiasm that fueled the 90125 project. He highlighted the eight months of dedicated rehearsal that contributed significantly to the album’s distinctive sound. Tony Kaye further elaborated in Keyboard Magazine, noting the conscious effort to create a more modern and dimensionally sparse sound, aiming for an audience that appreciated bands like The Police and the “new” Genesis, while avoiding comparisons to American bands like Styx or Journey.
The genesis of “Changes” lyrics stemmed from a period of personal upheaval for Rabin. Having relocated from South Africa, where he had achieved immense fame, to America, he sought a fresh start. However, he encountered creative constraints at Geffen Records, who pressured him to emulate bands like Foreigner. Rabin resisted this direction, feeling a personal sense of transition and change. This experience became the lyrical seed for “Changes,” initially imbued with a sense of melancholy. As Rabin explained to Tim Morse in 1995, the song emerged from this feeling of personal transformation.
Change changing places
Root yourself to the ground
Capitalize on this good fortune
One word can bring you round
Changes
The initial lyrics were later adapted to explore themes of relationship breakdown and growing alienation between two people who have lost their shared love. Despite this shift in focus, the song retained its underlying melancholy, a crucial emotional layer that resonated deeply with the music.
Two key additions significantly enhanced Rabin’s original demo of “Changes.” The first, and arguably most iconic, was the intricate keyboard intro, a tapestry of minimalist rhythmic patterns and melodies. This defining element was crafted by Alan White. White recounted to Tim Morse in 1995 how he created the now-famous “lick” that opens “Changes.” He later humorously noted hearing it incessantly in a Japanese mall, highlighting its recognition. Despite its prominence, Rabin had initially forgotten White’s crucial contribution, later acknowledging it.
The second major addition came with the return of original Yes vocalist Jon Anderson. Anderson had been absent during the project’s initial stages, but upon hearing the demo tracks, he was enthusiastic to contribute. Rabin recalled his excitement at Anderson’s involvement. While Anderson’s time was limited due to the advanced stage of the album’s production, he made impactful suggestions. Notably, he added the distinctive middle section of “Changes”:
One word from you
One word from me
A clear design on your liberty
Who could believe when love has gone
How we move on like everyoneOnly such fools
Only such jealous hearts
Only through love changes come
This section added significant emotional depth to the song, providing a poignant counterpoint to the existing verses. The creation of “Changes,” and indeed the entire 90125 album, was a demanding process, driven by the perfectionism of the band members and Trevor Horn. Rabin, speaking to Relayer fanzine in 1985, described the album’s meticulous nature, where nothing was left unexamined. He praised Horn’s demanding production style, which aligned with his own work ethic. Rabin also enjoyed collaborating with Horn on keyboards after Tony Kaye’s departure, contributing significantly to the album’s sonic texture.
“Changes” became a staple in Yes’s live performances during the 90125 era and beyond. It was prominently featured in the 9012Live concert film and its accompanying EP, as well as tours for 90125, Big Generator, Union, and Talk. However, after Rabin’s departure in 1996, the song was removed from the Yes setlist. Its resurgence came with the formation of Yes featuring ARW (Anderson, Rabin, Wakeman) from 2010 to 2018, where “Changes” was once again celebrated on stage, delighting 90125 fans and solidifying its enduring legacy within the Yes canon.
