Talk
Yes Lyrics
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Spelled with an "H," with one "L" or two?
I'm sure it always get misspelled too
Like me, aye
I think you knew somebody I once knew
I'll drink to that, what should we cheers to?
Maybe we'll talk again soon
'Cause it's just small talk, yeah
Good to see you again and yes I missed you
I followed back, listened to your playlist too
Thanks for the T-shirt, it fits fine, aye
You're hiding that smile, but I see right through
Every new song reminds me of you
Back to the time when I asked you your name
It was just small talk, yeah
Yeah it's just small talk, yeah
It was just small talk, yeah
Yeah it's just small talk, yeah
Each blown kiss, from your red lips
Says more than every word you've said
When you speak, with your wink
It fills in every blank I had in me
Each blown kiss, from you red lips
Says more than every word you've said
When you speak, with your wink
It fills in every blank I had in me
Tell me what's changed, not what I'm used to
You say you're fine, you use short words too
I remember when you said "I want you"
You say that it was all just small talk, yeah
Yeah it's just small talk, yeah
You say that it was all just small talk, yeah
Yeah it's just small talk, yeah
You say that it was all just small talk, yeah
Yeah it's just small talk, yeah
You say that it was all just small talk, yeah
Yeah it's just small talk, yeah
The song "Talk" by Yes revolves around the theme of small talk and what it means to different people. At the beginning of the song, the singer is meeting someone and trying to determine whether or not they know each other. The conversation shifts to the misspelling of their names, which is an indication of how easily people can misunderstand each other. It's a small detail, but it helps the singer to connect with the person and create a rapport. The singer then talks about how they miss the person and how they followed them back and listened to their playlist. The interaction is just small talk, yet it's an opportunity to connect with someone on a deeper level.
As the song progresses, the chorus repeats the words "It's just small talk." The repetition is an indication that small talk is a big part of our lives and that it often leads to bigger things. Towards the end of the song, the singer takes things a step further and talks about the impact that small gestures like blown kisses and winks can have. These small details, more than any words spoken, can help to fill in the blanks when it comes to understanding another person.
Overall, "Talk" is a song about the importance of small talk and the significance that seemingly small things can have in our lives. It's a reminder that we shouldn't overlook these interactions, as they can lead to something deeper and more meaningful.
Line by Line Meaning
Tell me your name, have I met you?
The singer is trying to reconnect with someone, and is inquiring about their name.
Spelled with an "H," with one "L" or two?
The singer is curious about the correct spelling of the person's name.
I'm sure it always get misspelled too
Like me, aye
The singer can relate to the person's name getting misspelled since it happens to them as well.
I think you knew somebody I once knew
The artist suspects that the person has a mutual acquaintance with them.
I'll drink to that, what should we cheers to?
The artist suggests a toast to the reunion.
Maybe we'll talk again soon
'Cause it's just small talk, yeah
Yeah it's just small talk, yeah
The singer acknowledges that the conversation is casual, but suggests that they may meet again in the future.
Good to see you again and yes I missed you
The singer expresses joy in seeing the person again and admits to missing them.
I followed back, listened to your playlist too
Thanks for the T-shirt, it fits fine, aye
The artist informs the person that they have engaged with their social media presence and appreciated a gift they provided.
You're hiding that smile, but I see right through
The artist recognizes that the person is trying to mask their happiness, but can still perceive it.
Every new song reminds me of you
Back to the time when I asked you your name
The artist admits that they think of the person often and reminisces about their first encounter.
It was just small talk, yeah
Yeah it's just small talk, yeah
It was just small talk, yeah
Yeah it's just small talk, yeah
The singer reiterates that their conversation was light and casual, with no deeper meaning attached.
Each blown kiss, from your red lips
Says more than every word you've said
When you speak, with your wink
It fills in every blank I had in me
The artist is enamored with the person's physical and nonverbal communication, as they convey more meaning than spoken words ever could.
Tell me what's changed, not what I'm used to
You say you're fine, you use short words too
I remember when you said "I want you"
You say that it was all just small talk, yeah
Yeah it's just small talk, yeah
The singer notes that the person seems to have changed in their demeanor and communication, but the person maintains that their previous confession was just small talk.
You say that it was all just small talk, yeah
Yeah it's just small talk, yeah
You say that it was all just small talk, yeah
Yeah it's just small talk, yeah
The person reiterates that their previous conversation had no deeper meaning, and was simply small talk.
Lyrics © DistroKid
Written by: Michael Needleman
Lyrics Licensed & Provided by LyricFind
Андрей Качинский
Talk is the fourteenth studio album by the English progressive rock band Yes. It was released on 21 March 1994 by Victory Music, and is their last studio album to feature guitarist Trevor Rabin and keyboardist Tony Kaye.
The majority of Talk was recorded and mixed at Rabin's home studio in Hollywood, California which he named The Jacaranda Room.[a] Additional recording took place at A&M Recording Studios in Hollywood. Rabin took charge of the album's production and opted for digital non-linear recording and editing over traditional tape, which allowed for audio tracks to be saved onto a hard drive in real time. He recalled: "Everyone thought I was nuts – but the band was great, very supportive", and they agreed to pursue it. Rabin said that Kaye was particularly enthusiastic and supportive in making the album, and described his role like "almost as a kind of co-producer". Although Kaye is credited to just playing the Hammond organ, Rabin said "his input was a lot more".
After a period of research, Rabin and his engineer and mixer Michael Jay linked four Apple Macintosh computers to a single IBM machine, each running the digital audio workstation software Digital Performer developed by Mark of the Unicorn, and saved onto Dynatec hard drives. As they worked on the album, Rabin and Jay noted errors they encountered, or suggested new functions they needed to complete the recording process, to which the programmers would implement the desired changes and update the studio's software accordingly. Anderson said that such teething problems with the software was why Talk took so long to finish. Despite this setback, Rabin said that the ability to edit tracks digitally resulted in fewer takes from the band which kept the songs fresh.
Rabin clarified that the album features live instrumentation from the band throughout, as the idea of recording onto a computer had some people incorrectly assume that it was computerised music. He also noted that Squire became frustrated with the digital recording process and the problems it caused, but the bassist later said he preferred the sound of his bass from recording digitally over the digital tape he had used previously. He played his Rickenbacker bass, a Tobias four-string bass, a custom made Mouradian bass, and Rabin's Casio computer guitar fed through a synthesiser. An initial hard drive with 5.5 GB of memory soon became insufficient as an estimated 27 microphones were used to capture White's drums in real time, which led to the decision to dedicate more tracks for the drums in the final mix, rather than condensing them. Until that point, each song was roughly 350 MB in size. In its unedited form, the album took up over 34 GB of memory. Production halted briefly following the Northridge, California earthquake in January 1994 in order to protect the equipment from subsequent tremors. The album was mastered by Stephen Marcussen at Precision Mastering in Los Angeles.
1 The Calling
Written-By – Squire*, Anderson*, Rabin*
2 I Am Waiting
Written-By – Anderson*, Rabin*
3 Real Love
Written-By – Squire*, Anderson*, Rabin*
4 State Of Play
Written-By – Anderson*, Rabin*
5 Walls
Written-By – Anderson*, Hodgson*, Rabin*
6 Where Will You Be
Written-By – Anderson*, Rabin*
Endless Dream
7 Silent Spring (Instrumental)
Written-By – Rabin*
8 Talk
Written-By – Anderson*, Rabin*
9 Endless Dream
Written-By – Anderson*, Rabin*
Art Direction – Paul Rivas
Artwork [Original Logo] – Peter Max
Bass Guitar, Vocals – Chris Squire
Drums – Alan White
Edited By [Mastering] – Jim Baldree
Engineer – Michael Jay, Trevor Rabin
Guitar, Keyboards, Vocals, Programmed By – Trevor Rabin
Mastered By – Stephen Marcussen
Organ [Hammond] – Tony Kaye
Producer – Trevor Rabin
Vocals – Jon Anderson
Shaun Wise
This album is criminally underrated. Power Yes at its finest. Great album.
Stoovey X
I love the variety throughout Yes' career, but Talk is by far my favorite album...
MUSEU DE TUDO - Apresentado Por Vinicius Moreira
Tracklist:
1. The Calling - 00:00
2. I Am Waiting - 06:56
3. Real Love - 14:22
4. State Of Play - 23:12
5. Walls - 28:13
6. Where Will You Be - 33:12
7. Endless Dream - 39:20
Андрей Качинский
Talk is the fourteenth studio album by the English progressive rock band Yes. It was released on 21 March 1994 by Victory Music, and is their last studio album to feature guitarist Trevor Rabin and keyboardist Tony Kaye.
The majority of Talk was recorded and mixed at Rabin's home studio in Hollywood, California which he named The Jacaranda Room.[a] Additional recording took place at A&M Recording Studios in Hollywood. Rabin took charge of the album's production and opted for digital non-linear recording and editing over traditional tape, which allowed for audio tracks to be saved onto a hard drive in real time. He recalled: "Everyone thought I was nuts – but the band was great, very supportive", and they agreed to pursue it. Rabin said that Kaye was particularly enthusiastic and supportive in making the album, and described his role like "almost as a kind of co-producer". Although Kaye is credited to just playing the Hammond organ, Rabin said "his input was a lot more".
After a period of research, Rabin and his engineer and mixer Michael Jay linked four Apple Macintosh computers to a single IBM machine, each running the digital audio workstation software Digital Performer developed by Mark of the Unicorn, and saved onto Dynatec hard drives. As they worked on the album, Rabin and Jay noted errors they encountered, or suggested new functions they needed to complete the recording process, to which the programmers would implement the desired changes and update the studio's software accordingly. Anderson said that such teething problems with the software was why Talk took so long to finish. Despite this setback, Rabin said that the ability to edit tracks digitally resulted in fewer takes from the band which kept the songs fresh.
Rabin clarified that the album features live instrumentation from the band throughout, as the idea of recording onto a computer had some people incorrectly assume that it was computerised music. He also noted that Squire became frustrated with the digital recording process and the problems it caused, but the bassist later said he preferred the sound of his bass from recording digitally over the digital tape he had used previously. He played his Rickenbacker bass, a Tobias four-string bass, a custom made Mouradian bass, and Rabin's Casio computer guitar fed through a synthesiser. An initial hard drive with 5.5 GB of memory soon became insufficient as an estimated 27 microphones were used to capture White's drums in real time, which led to the decision to dedicate more tracks for the drums in the final mix, rather than condensing them. Until that point, each song was roughly 350 MB in size. In its unedited form, the album took up over 34 GB of memory. Production halted briefly following the Northridge, California earthquake in January 1994 in order to protect the equipment from subsequent tremors. The album was mastered by Stephen Marcussen at Precision Mastering in Los Angeles.
1 The Calling
Written-By – Squire*, Anderson*, Rabin*
2 I Am Waiting
Written-By – Anderson*, Rabin*
3 Real Love
Written-By – Squire*, Anderson*, Rabin*
4 State Of Play
Written-By – Anderson*, Rabin*
5 Walls
Written-By – Anderson*, Hodgson*, Rabin*
6 Where Will You Be
Written-By – Anderson*, Rabin*
Endless Dream
7 Silent Spring (Instrumental)
Written-By – Rabin*
8 Talk
Written-By – Anderson*, Rabin*
9 Endless Dream
Written-By – Anderson*, Rabin*
Art Direction – Paul Rivas
Artwork [Original Logo] – Peter Max
Bass Guitar, Vocals – Chris Squire
Drums – Alan White
Edited By [Mastering] – Jim Baldree
Engineer – Michael Jay, Trevor Rabin
Guitar, Keyboards, Vocals, Programmed By – Trevor Rabin
Mastered By – Stephen Marcussen
Organ [Hammond] – Tony Kaye
Producer – Trevor Rabin
Vocals – Jon Anderson
J B Steele
The ending sequence to 'Endless Dream' still gives me chills.
Bill Compeau
Sounds really good in my mastering studio!
infamousT
Fabulous album.
BobJonesTonite!
This sounds FANTASTIC! Haven’t heard it for 7 years since I loaned it to a friend (CRAIG!), so between that and the layers of detail you’ve…unsubmerged? It feels new! Thank you!
Nancy Johnson
Incredible band! Wonderful album!! ❤️❤️❤️❤️❤️❤️
Kevin Wilkinson
Excellent album