At the close of the 1970s, Yes found themselves in a state of complete chaos and disarray. The band had significant disagreements regarding the musical direction showcased on their 1978 album, Tormato, which even extended to disputes over the album artwork. The situation escalated to the point where their long-time engineer, Eddy Offord, decided to walk away from the project entirely. When the band reconvened in 1980, key members such as Jon Anderson, Rick Wakeman, and Steve Howe had left the group, marking a major turning point in Yes’s history.

The lineup that produced the 1980 album Drama was short-lived. Although the LP achieved international success, breaking into the Top 10, its most popular single, “Into the Lens,” disappointingly peaked at No. 104 in the U.S. However, the arrival of Trevor Horn as a producer significantly altered the band’s trajectory. Initially brought in to replace Anderson, Horn transitioned into a role that included production and occasional engineering duties.

Horn played a crucial role in transforming a set of demos from new guitarist Trevor Rabin into a series of chart-topping singles, including Yes’ first-ever No. 1 hit, “Owner of a Lonely Heart.” This success was unexpected, as Rabin had initially formed a group called Cinema with bassist Chris Squire, drummer Alan White, and keyboardist Tony Kaye before the band was rebranded as Yes upon Anderson’s return.

EXPLORE MORE: Discover the Top 10 Yes Songs from the 1970s

The timing of Yes’s resurgence coincided perfectly with the launch of MTV. Their subsequent album, 1983’s 90125, became a commercial juggernaut, selling millions of copies, propelled by visually captivating music videos and vibrant fashion choices. However, this period also set a new precedent for hit-making that contrasted sharply with their earlier reputation for crafting intricate songs that often spanned an entire album side.

The pressure was palpable as Yes struggled to meet the high sales expectations. The album Big Generator took several years to complete and ultimately arrived with mixed results. Anderson, embodying the spirit of a ’60s hippie, advocated for deeper, more meaningful songs, but unfortunately, this approach did not resonate with the commercial market. Despite the challenges, Big Generator still achieved platinum status in 1987, thanks in part to two successful Top 40 singles, “Love Will Find a Way” and “Rhythm of Love.”

By the end of the 1980s, Yes found themselves in turmoil once more. Four of the band’s prominent creative forces went on to form Anderson Bruford Wakeman Howe, releasing a self-titled album in 1989 that reached the Top 40 and resulted in a significant tour. Yes did not return to the music scene until the release of 1991’s Union, an eclectic album that combined tracks from both Anderson Bruford Wakeman Howe and other members of Yes.

This turbulent era produced some of Yes’s most remarkable music, managing to balance various creative personalities and career ambitions. Below is a look back at the Top 10 Yes songs from the 1980s:

No. 10. “Hold On”
From: 90125 (1983)

Beyond “Owner of a Lonely Heart,” no other track from 90125 is more closely associated with Trevor Rabin. The song “Hold On” was crafted from two demos Rabin had been developing prior to the band’s reunion, utilizing the chorus from “Hold On” and verses from “Moving In.” After contributing musical and lyrical enhancements, Chris Squire and the returning Jon Anderson received co-writing credits. The song charted on Billboard’s Mainstream Rock charts, with a live rendition reaching No. 27 in 1985.

No. 9. “Love Will Find a Way”
From: Big Generator (1987)

This track also originated from an earlier Rabin demo, featured on his cleverly titled compilation 90124 in 2003. Initially, Rabin had envisioned “Love Will Find a Way” for Stevie Nicks, but after Alan White, the steadfast drummer of Yes, encouraged him to offer it to the band, it became a hit. The group was notably moving away from their traditional complex prog rock sound toward more catchy pop melodies, yet White’s intuition was validated when “Love Will Find a Way” secured another Top 40 hit, dominating the Mainstream Rock charts for three consecutive weeks.

No. 8. “Hearts”
From: 90125 (1983)

Anderson had a particular fondness for “Hearts.” Rabin brought in a chorus and bridge for this emotionally resonant track, which he further developed. Anderson contributed an imaginative counter-melody, while Kaye introduced a captivating keyboard intro. Anderson later revisited this song on his 1994 solo album, Change We Must, which showcased his classical inspirations. Reflecting on its significance, Anderson shared, “It was just such a good song. I was in love with my now-wife Jane at that time, and the song carried a lot of meaning for me.”

No. 7. “Leave It”
From: 90125 (1983)

This track exemplified the bold and distinctive production style of the 1980s, driven by Trevor Horn. “Leave It” was finalized by Chris Squire, Trevor Rabin, Alan White, and Tony Kaye before Jon Anderson returned to the group. Anderson collaborated with Rabin on the lead vocals, while the song itself remained largely intact, eventually becoming Yes’s fourth entry into the Top 40. The accompanying music video was notable for its creativity, featuring 18 different versions, all of which aired in succession on the then-nascent MTV channel, with one version achieving heavy rotation.

No. 6. “Brother of Mine”
From: Anderson Bruford Wakeman Howe (1989)

The decade concluded with a band that, while not officially called Yes, included many of the creative forces behind the classic Yes sound, releasing an album that sounded strikingly similar to their previous work. Due to contractual obligations, they were named Anderson Bruford Wakeman Howe. The songwriting began with a chorus for “Brother of Mine” contributed by Steve Howe, which quickly evolved into a soaring three-part epic. The song included a section that dated back to Howe’s collaboration with Geoff Downes in the band Asia. Unfortunately, their only gold-selling album did not always meet the expectations set by its promising beginnings.

No. 5. “Changes”
From: 90125 (1983)

“Changes” marked the second of four songs from 90125 that reached the Top 10 on Billboard’s mainstream rock charts, significantly contributing to the album’s impressive three million in sales. Trevor Rabin originally started this song during his time with Squire and White in their previous band, Cinema. Once Anderson joined, “Changes” underwent a transformation as well. Rabin later noted, “I had a different chorus, which you can hear on 90124. Removing that melody and replacing it with Jon’s really enhanced the song.”

No. 4. “It Can Happen”
From: 90125 (1983)

Even within this polished new era, Yes managed to retain their romantic and eccentric qualities, as demonstrated in “It Can Happen.” The song unfolds in a manner characteristic of Yes, with Anderson’s whimsical vocals and Squire’s intricate bass lines. However, it also features an unexpected sitar riff, adding a unique twist to the composition. Rabin’s backing vocals, particularly the line “it’s a constant fight,” contribute to the song’s complex rhythm. Ultimately, “It Can Happen” perhaps veered too far into the avant-garde for fans who were drawn in by “Owner of a Lonely Heart,” peaking at No. 51.

No. 3. “Tempus Fugit”
From: Drama (1980)

<p"Tempus Fugit," which was originally recorded without Jon Anderson, quickly became a staple in Yes’s live setlist following his departure. Chris Squire acknowledged that this intricately complex piece posed significant challenges for him. He explained in 2012, “Going back to play ‘Tempus Fugit’ was certainly a challenge, as the bass line and vocals required simultaneous execution, which is quite difficult.” The song’s challenging harmonies and bassline made it a true test of musicianship. Following Squire’s battle with leukemia, Billy Sherwood took over the bass duties.

No. 2. “Shoot High, Aim Low”
From: Big Generator (1987)

“Shoot High, Aim Low” is nestled deep within Side 1 of Big Generator, yet it stands out as one of the few bright spots on this disappointing follow-up to the monumental 90125, which took four years to produce. Anderson expressed his desire to steer the band back toward creating authentic Yes music, stating, “I was pushing the band to return to doing Yes music, which was the challenge of the ’80s.” Co-writer Rabin added sharp guitar embellishments, including a striking Spanish-influenced segment, yet soon after, Anderson departed for ABWH.

No. 1. “Owner of a Lonely Heart”
From: 90125 (1983)

During the recording sessions, Trevor Rabin arrived with a demo of “Owner of a Lonely Heart.” He had already envisioned most of the song’s essential components, including the bursts of orchestral sounds, which were represented through some accidental keyboard flourishes. As the recording process began, producer Trevor Horn suggested that they preserve those unique elements. Rabin later reflected, “That’s how it evolved. All the unexpected moments from the demo ended up on the final record.”

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