Yes—Fragile/Analogue Productions Atlantic 75 Series/2 LP 45rpm vinyl reissue [2025]

Isn't audiophilia an interesting hobby? When it comes to comparing different vinyl masterings, it can get fascinating. Non-audiophiles and bemused significant others look at us as if we are insane for having multiple copies of an album, and even more so as we sit carefully listening for differences between them. I think it’s nice to spare them the torture of twelve repeats of the same music! This is work best done alone or with like-minded individuals.

One of the most extensive “shootouts” I’ve conducted in recent memory was unknowingly in preparation for this review. Although I didn't know I would be writing for Audiophilia then, I did an extensive video on the results for my YouTube channel, The Pressing Matters. You can access that earlier review here and the updated video here. When the Analogue Productions Atlantic 75 release was due to arrive, I requested to do the review for Audiophilia.

Fragile was released in the UK in 1971. It was the band’s fourth studio album and the second to seep into the public consciousness. Its predecessor, The Yes Album, showcased the band's more adventurous progressive rock sound, superb musicianship, complex arrangements, and unusual time signatures with subtle classical influences. At the time of this recording, the band consisted of Jon Anderson on lead and backing vocals, Steve Howe on electric and acoustic guitars, Chris Squire on bass guitar, Rick Wakeman on keyboards, and Bill Bruford on drums and percussion. The record yielded a single, edited version of “Roundabout” and has achieved double platinum status in the US. The striking cover art is by Roger Dean, whose work graced several Yes albums that followed and gave the Yes albums a distinctive visual style.

Although Fragile was never conceived with the audiophile in mind, it hasn't stopped audiophile-oriented labels from taking a stab at giving it the royal treatment.

Mastering luminaries such as Steve Hoffman, Bernie Grundman, and Kevin Gray have all given it a try. This new Analogue Productions Atlantic 75 reissue is the third time Kevin Gray has been involved in cutting Fragile. Is the third time the charm?

In my evaluation, I started with original UK pressings, known as “UK Plums” due to their distinctive colour labels. In my estimation, the UK Plums had a lot going for them. There is a freshness and energy about them that is invigorating. Unfortunately, they also can be a bit fatiguing with the midrange and treble the dominant feature. The bass is adequate, nothing more. Vocal layering can get indistinct, and there is often distortion in dense sections that makes for an ultimately unsatisfying listen. I knew there was room for improvement.

The next one I looked at was the 2006 Analogue Productions release, mastered by Steve Hoffman with lacquers cut by Kevin Gray at Acoustech Mastering. This cut solves many of the problems with the original UK Plums. There is a big jump in clarity, with less distortion in complex passages. Vocals, too, benefit from Hoffman’s equalization choices, and there is a warmth and richness that was absent in the earlier pressings. Bass is nicely extended giving Chris Squire more presence. I did notice a roll off of the high frequencies, which I imagine was to have a smoother top-end sound. While a very listenable record, one might sense a slight loss of sparkle and drive.

L to R: Jon Anderson, Peter Banks, Bill Bruford, Tony Kaye, Chris Squire

Next, I moved to the Mobile Fidelity One Step pressing, mastered from a DSD capture of the original master tape. This was cut by Krieg Wunderlich at 45rpm over two records. It also employs the “One Step” process, which in theory gets you closer to the sound of the lacquer. The records are pressed at RTI using the Neotech VR 900 Super Vinyl compound.

With all these bells and whistles, it should be the ultimate pressing, right?

Well, not quite. It does have a beautiful top end, stunning clarity from the midrange up, excellent transparency, and a holographic sound field. Vocal clarity is the best that I have heard to this point, and complex layered vocals resolve well. Drums are punchy and dynamic. The space that the 45 cut provides, allows the end of side cuts “South Side Of The Sky” and “Heart Of The Sunrise” to resolve better, without a loss of fidelity. There is low distortion across the record. So what is the problem?

The issue here is the bass. Instead of too little, it is just too much. In my view, the bass is so thick, that it slows down the presentation. On a full-range system, this is very noticeable, though I imagine it could sound pleasing on a system that is restricted in that regard. While I like many aspects of the One Step, I don't feel it can be considered definitive.

Enter Kevin Gray, but this time at Cohearant Mastering and in complete control of both mastering choices and cutting. Let's talk about the 2016 Rhino edition first.

When my listening evaluations landed on this version, to say I was surprised was an understatement. This was a Fragile I could love, where every aspect of the recording was dealt with, having an excellent balance and tonality that all the previously mentioned versions did not. While I could sense that a 45rpm cut, using the same template as a starting point, would be the ultimate, there's no question in my mind that this is the best choice for a 33rpm, single disc experience.

The new Analogue Productions Atlantic 75 reissue is mastered from the original analog master tapes, cut at 45rpm. It is pressed on two 180gm discs at Quality Record Pressings, and housed in a beautiful heavy-duty tip-on gatefold jacket by Stoughton Printing. Art reproduction is excellent and includes the original six-page booklet that accompanied the original release.

What Kevin Gray has done here is draw on his extensive experience with cutting this album, preserve the balance and overall timbral quality that made the 2016 cut excel, and take advantage of the space that the 45 format provides.

The ominous fade-in of “Roundabout” is menacing, the pluck on the acoustic guitars clear and extended. You'll hear the acoustic guitars strummed throughout this cut in a way you haven't noticed before. The bass is fairly deep, tuneful, and tight, propelling the song with urgency. Drums, electric guitars, and organ each hold their own space, and multitracked vocals maintain clarity and separation. Bruford’s work in the percussion section is thrilling in its complexity and detail. In the quiet interlude, you'll notice how spacious the soundstage is. One thing I will note is the organ and electric guitars have their distinctive sound. It is not distortion in the mastering, but the inherent character of each instrument. That said, Wakeman’s solo cut, “Cans and Brahms,” does have a few distorted moments that are in every pressing and baked into the tape.

Another highlight is “South Side Of The Sky”. Fantastic clarity in vocals, drums, and cymbals. The quiet piano interlude is handled well and is cleaner than any other version I've heard. The placement of elements throughout is precise and the effect is breathtaking. The few sound effects throughout are vivid and realistic. The cut breathes, being given the space the 45 provides. I feel a bit more warmth would be welcome on this track.

“Long Distance Runaround” is one of the great Yes tracks, and here it's just splendid. Squire’s bass is deep and tight and is a joy to hear in such clarity and resolution. Vocals have a cool clarity and definition that's startling. The instrumental section allows everyone to shine. The ethereal vocal effect as the track closes is a nice production touch.

Special mention must be made for “Howe’s Mood For A Day”. The classical acoustic guitar is vivid and rich in colour. I've not heard it sound better.

“Heart Of The Sunrise” takes up all of the fourth side and, for me is the highlight of the album. The composition moves between full-throttle pyrotechnics from the band to several vocal interludes with Anderson. The first of these is stunning, with a hushed atmosphere and gorgeous softly delivered vocals. The bass sound is exceptional in this section too. The vocal verses increase in intensity as more and more instruments fill out the sonic picture. Another virtuoso instrumental section follows, with some fabulous treated vocals. Each instrumental and vocal section builds on the last, with the final vocal section an absolute goosebump moment. Magnificent.

In my opinion, this is a must-have for fans of this progressive rock masterpiece. Kevin Gray has done an admirable job of balancing this challenging recording, revealing its true character, with more detail and nuance than previous cuts could ever hope to manage. For listeners who want the ultimate in detail, clarity, and resolution, this is a solid recommendation.