Ok, ok, it makes no sense. I know, I know. Yes, 90125, Christmas? What the heck, Birzer?
And, if you pushed me, I still couldn’t tell you why with any reasonable explanation why 90125 is my favorite Christmas album, but it is.
I can feel no sense of measure
No illusion as we take
Refuge in young man’s pleasure
Breaking down the dreams we make real
Like almost every male of my generation, I purchased 90125 within a week or two of its arrival in the music stores. Combining old Yes, Trevor Horn’s growing signature new wave production, Trevor Rabin’s soaring and BIG guitars, libertarian, ponderous, and (mostly) optimistic lyrics, plus some of the best vocal harmonies of the 1980s, 90125 was a wonder.
I had grown up with Fragile, Close to the Edge, and Yessongs, but I had no prejudice against the new direction of Yes. This was crisp excellence and nothing less. Granted, I missed the intricacies of Roger Dean’s artwork, but the Apple graphics were pretty good and interesting–especially given the Jobs-ian minimalist trends of the day.
Music, good for you!
Music, good to you!
So, why Christmas? Well, because once I bought the album in early November of 1983, I couldn’t stop listening to it. Long before digitized music, I listened to the vinyl with headphones, over and over again. And, one of my most vivid memories of 1983? Laying down on my bedroom floor, staring out the window into the night sky, listening to 90125 with my huge and glorious headphones on Christmas Eve.
Reasonable? No. After all, 1983, Yes, Christmas, 90125. . . Stranger Things, indeed.
Jigsaw puzzle traitors
Set to spill the beans
Constitution screw up
Shattering the dreams
Blood flows in the desert
Dark citadels burning too
Watch! Look over your shoulder