Yes is one band that needs no introductions. But this is the re-formed Yes. Some would even be so bold as to call it the 'Drama redux', based on the members who helped make the Drama album back in 1980. Included on this new incarnation are: Benoit David on vocals, Steve Howe, guitars, Geoff Downes, keyboards, Chris Squire, bass, and Alan White, drums. This is Benoit David's first actual studio recording with the band; however, Squire, White, and Howe are foundational members. Geoff Downes played keyboards on Drama. Trevor Horn, who sang on and produced Drama is back to produce this album.
The opening suite 'Fly from Here' was actually recorded by Trevor Horn, Geoff Downes, as the Buggles, before the Drama album was recorded. Geoff Downes and Trevor Horn were invited to become members of Yes, and they offered the track 'Fly from Here' to Yes, but it was never included on Drama and was left unreleased until now. The band took the track and dramatically expanded on the song building it into a suite to open this new effort at rebuilding the band from some of the success of the past.
This album for me is a great stabilizing force for the band. For me it's a transitional album. It proves that the band has many more stories to tell and journeys to travel. But it does not rise to the level left with Jon Anderson and the last album, Magnification. Magnification for me was a return to the spiritual, intellectually demanding lyrics which for me were the soul of the band I loved. Since this is only the first album with Benoit David, we do have to give the band a new chance to evolve. If you go back to Yes' first albums you won't find the same level of lyrics you'll find later in their classic monumental albums of the '70s.
So, as fans if we're patient maybe we'll see that evolution in lyrical development on the next album. Or maybe we'll see Jon return. That is the difficult question. Is this the beginning, or just a step to keep the band going? As fans we can only wait for the story to develop. Enjoy this episode because it's a good one, and let the future unfold.
'Fly from Here – Overture' almost sounds like they didn't make any changes to the original here. David even sounds like Horn from the Buggles' version. There is a short break at the end of this overture, leaving open even more mystery. However, once you compare the Buggles' version you can hear the subtle changes. The track is full of those beautiful keys dancing magically before the blasting drums and guitar enter. A familiar sound for those who enjoyed some of the similar sounds on 'Drama'. This overture is all instrumental and highlighted by Downes' keys, White's drum salutes, Squire's power bass, and Howe's lifting chords.
'Fly from Here – Pt. I – We Can Fly' is where I really begin to hear the difference between this and the earlier Buggles' version. David's voice uncoils for the first time on a Yes record, "Along the edge of this airfield…" as Downes' keys trail off and return along with Howe's electric guitar. At times it's hard to tell if it's David or Horn jumping in to sing his song. Squire and the others join David in support on vocals as the band is back and on target as they move past the opening solo section for David. The guitar work is classic Howe with Squire's thudding bass providing the added dimension for all those high notes. White is as solid as he always has been and was working with Lennon back in the '70s. I definitely feel this track would have fit perfectly on 'Drama', but that would have pushed the album towards a double.
'Fly from Here – Pt. II – Sad Night at the Airfield' opens with Howe's acoustic and Downes' keys perfectly. Squire is there to help support well. David sounds closer to Jon Anderson on the opening of this track. With Squire joining him you can almost imagine this combination going well into the future. White helps drive the momentum as the track builds. "Turn this ship around". We'll have to see if this does keep the band going, or if Jon Anderson returns. Anyway, it has been a long time since the last album and many Yes fans have been patiently anticipating their return.
'Fly from Here – Pt. III – Madman at the Screens' returns with Downes' keys, then that guitar blast from Squire and Howe reminiscent of the 'Drama' album again. David sounds very much like Horn at the opening, singing solo. "Sailor beware, there are storm clouds, you must take care. Easy, bring her around". When you're trying to rebuild an epic career for a prog dynasty these words are more than a metaphor.
'Fly from Here – Pt. IV – Bumpy Ride' opens with a keyboard opening and some fancy guitar work from Squire and Howe, before White closes out the opening with a crash of drums and cymbals. More cool keyboard and guitar loop effects before…
Alan White crashes the cymbals and drums and the closing part of 'Fly from Here – Pt. V – We Can Fly Reprise' begins. The choir – like harmonies hit a new peak as everyone joins in to support David as he takes the notes even higher. All instruments are unleashed as the band brings this suite to a dramatic close…no pun intended.
'The Man You Always Wanted Me to Be' is the first completely new track we get to hear on the album. Chris Squire leads this time on vocals. It's a classic ballad of reform that will no doubt make many fans top ten lists this year. Then Squire and David sing harmony as the chorus lifts. "What have we become? What are we running away from? No longer lost. We have found ourselves a new". Interesting lyrics. Great Howe soloing with Squire doing a great job on bass in support. White's drums are right on target as always.
'Life on a Film Set' is easily my favorite track on the album. This track more than any other hopefully points in the direction of where this new version of the band may head. For me, this is also the only track which rises to the level of Yes' last album Magnification. The "Riding a tiger" refrain, brings back many memories of the past. The music is exceptional and combines many of the best qualities of both 'Magnification and Drama'. It doesn't have that incredible spiritual quality of lyrics I remember when Jon writes, but the music makes up for what is lacking in spirit.
'Hour of Need' is full of great keys from Downes and great solo guitar from Howe. The vocal harmonies will make you feel like nothing has changed, but the die-hard fan will spot the lack of lyrical development. The music is as perfect as always. These are top notch professional musicians and nothing slides in terms of their musicianship.
'Solitaire' is Steve Howe at his acoustic and electric very best. The track brings back the tradition of including a solo guitar track that used to be common place with this band. With Howe, you know it's gonna be unique and extraordinary and this new track is no exception.
The closer, 'Into the Storm', opens with that classic Squire bass-line and keys, with Howe squeezing out the electric guitar in-between, as the harmonies begin again. A nice pop track to close the album on a happy note. Not the classic epic closers we are all familiar with from the past. Possibly signaling a turning point? Some great instrumental work supported with great harmony singing. "Somewhere a fire is breaking out", but not here, not yet. "Armies of angels" are not enough for me. I need to go back to the spiritual heights of "In the Presence of". Hopefully the next one will take us there.
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