‘Chicago XXX’ hadn’t lived up to its cross-genre promise – that is, until “Lovin’ Chains” finally offered a fizzy, long-hoped-for combination of mindsets.

“Sister Sleeping Soul” begins as a rather unwelcome return to the kind of soft rock-prog that doomed Yes’ ‘Heaven and Earth.’ Then something great happens.

The Yes lockdown album bides its time, waiting for just the right moment to discuss the COVID-19 shaped elephant in the room.

With “Music to My Ears,” Yes continues to seesaw between song ideas that clearly sprang from individual members. That leads to an ego-driven mistake.

“Where Were You” stands out for what’s not there: A gaggle of hired-hand sessions guys meant to bolster Chicago musically.

Ever-more-confident Yes frontman Jon Davison seems to be growing into his role with each passing verse on the solo-written “Future Memories.”

Two different people constructed Yes’ “The Western Edge” from two different ideas while working in two different places. What could go wrong?

Yes has finally come to grips with the idea of making an album without Chris Squire. But can they avoid repeating the mistakes of 2014’s ‘Heaven and Earth’?

Released 10 years ago this week, Julian Lennon’s ‘Everything Changes’ emerged as the most assured release yet from an underrated pop melodist.

For those who bought a copy 30 years ago this month, and there weren’t many, Talk Talk’s ‘Laughing Stock’ led the way into an as-yet-unformed genre. You’re welcome, Radiohead.