Yes: The Quest

....and this brings us all to The Quest. The 22nd full-length Yes release, this is the first in the band's history to not feature Chris Squire, who passed in 2015. He personally chose longtime cohort Billy Sherwood as his successor, and that lineup took to the road, for a series of tours. Eventually, as the band continued to tighten, it was time to make a new album. Being that Chris was no longer around, it effectively put Steve Howe in the driver's seat, and it is his name that is listed as producer. 

Some fans protest this but, along with turnover, the band has gone through many periods when it was steered by one member or another. Albums like Tales From Topographic Oceans and Relayer firmly have Jon Anderson at the helm, while Drama and  Fly From Here were spearheaded by Trevor Horn. Open Your Eyes was derived from a Squire/Sherwood project, and Oliver Wakeman produced the recently unearthed From A Page. Oh, and then Trevor Rabin pretty much ran the show for thirteen years. Now it's Steve's turn. Whether his vision of the band is better or worse than others is irrelevant. This is his time, and The Quest is his album. I will be writing this while listening to the album for the very first time.

Before I drop the needle, I must comment on the artwork. Once again, Roger Dean knocked it out of the park. Sleeves like the ones he creates are what transforms an album from a piece of music into a work of art. 

The album kicks off with "The Ice Bridge", which is broken down into three parts - "Eyes East", "Race Against Time", and "Interaction". From the get-go, this is the sound of a brand new Yes. Modern, vintage, pop, prog, signature Yes, and something completely unheard. This was the first single from the album and, due to a misunderstanding, this borrows heavily from a piece written by Francis Monkman, and he wound up getting a songwriting credit. As the first Yes track to not feature Chris Squire, the pressure's on for Billy Sherwood and he totally rises to the occasion, playing with a feel that echoes Squire while sounding like his own. This is a really cool song that goes through many different feels and then ends up in this killer jam that features Steve Howe trading sixteens with Geoff Downes. It goes on for a while but I really dig it. Steve can still shred. 

Next up is "Dare To Know", written by Howe, and sung in tandem between he and Davison. This features a very dreamy intro and some really cool changes and some wild orchestration that goes beyond even Magnification. Two songs in and it is clear that the prog spirit has definitely not left this band. This is very adventurous music.

"Minus The Man", written by Sherwood and Davison, is a very interesting song, sitting somewhere between pop and prog, with strings and many sections, and lyrics about (what i am assuming is) a cyborg. There is a little bit of a cheese factor, but it might ultimately benefit the song. I sense this will be a bit of an earworm, albeit a really bizarre one.

Moving on to side two, we come upon "Leave Well Alone". Written by Steve Howe, this is divided into three parts - "Across The Border", "Not For Nothing", and "Wheels" - and features Steve singing in tandem with Davison. Their voices together create a very unique blend that further sets this album apart from any other Yes release. This is a really weird song but I like it.

"The Western Edge", courtesy of Sherwood and Davison, starts off a bit slow, almost plodding, but really picks up, going in several different directions. Very similar to what the two of them were doing in Arc Of Life. This one will be a grower.

"Future Memories", written by Davison, moves the album into the acoustic realm and is a really pretty little song. Steve plays some tasty steel guitar swells and Davison proves himself once again.

Moving over to side three, we come to "Music To My Ears". Written by Howe, this is a very positive song that is unfortunately also very cheesy. The vocal blend is this song's one saving grace. Otherwise, I hate to admit, this is a bit of a flop.

The main album ends with the Davison/Downes suite, "A Living Island". Split into three sections - "Brave The Storm", "Wake Up", and "We Will Remember" - this has a very stately feel. A little hushed at times, a little precious at others. This definitely feels like it is missing something, but I'm not sure what that is. Repeat spins will sort that. 

Side four contains three tracks that otherwise occupy a bonus CD, but really they are part of the album. The Howe/Davison co-write, "Sister Sleeping Soul", kicks things off and is one of the best songs on this set. Folky, melodic, and catchy, with a great chorus. This should be a single, not a bonus track.

Steve Howe provides an overt Beatles tribute called "Mystery Tour" that I think would have been much better if perhaps they filled the lyrics with metaphors rather than literal references and wordplay. The music is really great but the lyric, well-intentioned as it may be, is really corny. The band sounds great at least. I will say that this is the kind of song that I will find myself humming tomorrow.

The album wraps up with "Damaged World", also written by Steve Howe, and sung in tandem with Davison. This song has a flow to it that is really nice and while it may be lacking in the vocal department it is still catchy and well executed.

And there we have it. I will definitely be further digesting this album for a long time to come. 

Initial takeaways:

1) The production is leaps and bounds beyond Heaven & Earth, but not as good as Fly From Here.

2) Lyrically, this album leaves a great deal to be desired. Especially the Steve songs. I find it's best to not follow the lyric too closely. There is plenty going on musically.

3) Chris Squire's voice is greatly missed but his absence created a very unique and cool vocal sound.

4) I am so glad to hear Alan White playing drums on all the songs. He sounds great.

5) I will have to listen closer to pick up on Jay Schellen's percussion contributions. 

6) Jon Davison is a fantastic singer and I love how he is not trying to mimic Anderson or Horn, but instead is just himself. 

7) Aside from "Music To My Ears", I would not say that there is a bad song on this set. Some songs are better than others. Some will take some time to get used to, and some struck me from the word go.

8) Sherwood did Squire proud, with the bass playing. Some of the riffs were clearly inspired by Chris, but Billy adds his own flavor. I do wish there was more low-end on the bass. 

9) This album has a very distinct mood, in the way that Magnification did. The orchestration on this set is pretty fantastic.

10) I look forward to further soaking this in, and I do hope they perform at least a few of the songs on their upcoming tour.

The best part of this album is that it doesn't sound like Yes....but it totally sounds like Yes. As I mentioned before, Yes is more of a brand than a band, and this lineup, on this set, does the brand proud. I hope they - in whatever configuration they are at the time - continue to make new music for years to come. The Quest is most welcome, and most wise.

Yes: The Royal Affair Tour - Live From Las Vegas

In 2019, after completing their Yes50 tour, the Howe/White/Downes/Davison/Sherwood/Schellen lineup of Yes hit the road on a package tour with John Lodge and Carl Palmer which was dubbed the Royal Affair Tour. This jaunt saw the band eschew the full-album sets for another cross-section from the catalogue. They stick to mostly classics here, but with a few random dark-horses.

In fact, that album kicks off with one - "No Opportunity Necessary, No Experience Needed". This song, originally by Richie Havens, was first recorded by Yes in 1970 for their second album, Time And A Word. While Steve Howe appeared on the cover of that album, and performed this on the subsequent tour, he was not actually on the album recording. Neither was anyone else in this lineup of Yes. That doesn't matter, however. They absolutely nail this song. Jon Davison sounds great and the tempo is way up. 

And it stays the same way for "Tempus Fugit", which comes next. Originally from Drama, this is a song that has only enjoyed life on stage during the post-Anderson era of the band. This is another one that benefits from Jay Schellen on drums, as does the smokin' version of "Going For The One" which comes next. While it is sad that Alan White's playing time is reduced to just a few songs, it is nice to hear the tempos flying once again.

Next up is the obligatory "I've Seen All Good People", which is every bit as lovely as always. By this point, this lineup had been playing together for three years and were very well rehearsed. The "All Good People" jam on this version is just pure fire. 

 "Siberian Khatru" is always one of the best openers, so it is weird to hear it played so late in the set. That said, I think it benefits from being set back a bit. That way the band is well warmed up and hs n excuse to be sluggish. For decades, the tempo of this song has gradually decreased, possibly from its set placement (and possibly from those involved), but this take, which features Jay Schellen on drums, is every bit as jaunty as the original Close To The Edge version. As I always must, I have to commend Billy Sherwood, for being able to fill Squire's shoes so ably. He especially crushes it during the jam, which features some wickedly tasty guitar runs, courtesy of Steve Howe. 

This album continues on side three with Chris Squire's exquisite "Onward", which is played in tribute to their fallen leader. This particular version, however, seems a bit off. A bit stiff. I think it's just the arrangement. Not sure. It was nice. I miss Chris.

Moving on is the band's classic arrangement of Paul Simon's "America". This is one of those things where I love the studio version and think it's the coolest thing ever, but I don't necessarily need to hear it played live. They've never quite done it justice on stage. Least of all here, where the tempo ebbs and flows, and Steve Howe's timing is not always on point. Perhaps I am being too hard but I just feel like set list space is too valuable to waste. Then again, it's not my band so they can play what they want and I am just glad there is still a Yes That said, the jam in the middle of this is pretty funky and cool. 

At this point, Alan White gets behind the kit for a cover of "Imagine" that features Jon Davison trading verses with John Lodge. Shortly before he joined Yes, Alan was the drummer in the Plastic Ono Band, and he played on the original session. It is really weird to hear this song in this context, as there is really nothing that a band like Yes can add to a song like this, so it's pretty straightforward. Which is not to say it's a bad thing. Steve Howe plays a pretty amazing solo, and it is fun to hear Alan playing on it, so it's cool. Sometimes it's fun to get a curveball instead of the same old hits.

Speaking of those, however, we now reach side four - otherwise known as the encore. Alan White remains on the drum kit, with Jay Schellen on percussion, as the band rips through "Roundabout" and "Starship Trooper", two of the most classic of classic Yes songs. It is great to hear him play, and he sounds great. Both of these are songs that every lineup of Yes has played, at pretty much every show, hundreds and hundreds of times. That is more than evident in these super well oiled takes. 

That is all that is presented here. Apparently "Gates Of Delirium" was also performed at the show but left off the album because of the impending Relayer tour, which is my guess. You know we will be getting a live album from that tour as well. And it will be great. 

May we now stop and revel at Roger Dean's cover art? This is one of his best. He doesn't do a lot of night scenes - Tales From Topographic Oceans and what else? That might be it. This is a cool twist. 

All in all, this is a decent set. The whole "package tour" thing cost the band a lot of set time so they had to cram a lot in. Lots of classics and a few cool ones from left-field. There were parts that were a bit ragged and there were parts (and a great many of them) that were otherworldly. Definitely far more of the latter. 

This leads us now to the point we've been aiming for this entire time - the brand new album, The Quest. Stay tuned for my thoughts in real time. I am very excited and will be going in with the most open of minds.

Yes: Yes50 Live

In 2018, the Howe/White/Downes/Davison/Sherwood lineup of Yes celebrated the 50th anniversary of the band's founding with a monumental tour that featured a brilliant cross-section of material that also featured contributions from former members Patrick Moraz and founding keyboardist Tony Kaye as well as drummer Jay Schellen, who performs the majority of the set in lieu of Alan White, who is only able to drum for a limited time.

Taking a welcome breather from their full-album shows, this set features material that touches upon every era of the band, and is super fun, from a fan's perspective. Jon Davison continues to assert his role and is in wonderful voice and, while Chris Squire's presence is forever missed, Billy Sherwood handles his role exquisitely.

The program begins with the be-all-end-all of Yes epics, "Close To The Edge". Steve Howe's playing in the intro is a bit on the erratic side, but it doesn't take long for it to come together. I really dig the way they work through the spacy bit, before the "I Get Up I Get Down" section. It feels weightless. While Davison nails the vocal beautifully, Geoff Downes struggles with Rick Wakeman's original parts and there are a couple of wincing moments, unfortunately. There is still a majesty to this track that makes it fantastic. Just a lofty choice for a warmup song.

Moving on to side two, the band goes deep on "Nine Voices", from 1999's The Ladder. One of the most beautiful pieces of Yes music, this lineup does this song justice. I appreciate the tabla drums. This was one of the biggest surprises of the evening and, while of course it would be better if Jon Anderson was singing this, Davison sings this beautifully.

From here, they go WAY back, to 1970's Time And A Word, with "Sweet Dreams". It is a killer version that finds the band sounding as inspired as the original version. The only thing? There is not a single musician performing that had anything to do with the original. And yet, it is perfect. That's just the way Yes goes. The jam in the middle is pretty wicked, as is the way they arranged the ending.

The band continues to go deep on the acoustic "Madrigal", which originally appeared on 1977's Going For The One. I don't think anyone would count this among their favorite Yes songs, but this is a really pretty number and is one that was made for Jon Davison to sing. 

This leads brilliantly into "We Can Fly From Here, Pt.1", from 2011's Fly From Here. It thrills me to no end to see them include recent material in this set, though I do wish that there was at least one song from Heaven & Earth. This sounds fantastic. The backing vocals are super tight and Davison sounds really good singing it. I do find it humorous that this is one of three recordings of this song to be released, sung by three different vocalists, none of whom was Jon Anderson. We will discuss this more later...

To maintain continuity, "Soon" is the only track on side three, at eight minutes long. Originally the ending of "The Gates Of Delirium", from 1974's amazing Relayer, this current lineup does a pretty fantastic job transforming this into an epic in its own right, aided and abetted by Patrick Moraz, who was the Yes keyboardist on this original track. 

From there, we land on "Awaken", one of the band's greatest epics. Originally from Going For The One, in 1977, this lineup does a pretty remarkable job here. This is the first released version not to feature Chris Squire and his triple-neck bass and it is noticeable. That said, Billy Sherwood plays this perfectly, doing his best to emulate Squire while adding his own touch. Jon Davison is in stellar voice, and Steve Howe is perfectly on point. One of the best performances in this set.

Side five continues the Going For The One theme with a version "Parallels" that would do Chris Squire proud. The vocal blend on this track is right on the money. One of those takes that proves this lineup's worth.

This soon moves into "Excerpt From The Ancient", otherwise known as "Leaves Of Green". The only part of side three of Tales From Topographic Oceans that they ever play, this is a really nice acoustic song, featuring some brilliant classical playing from Howe. I wish they would play the whole thing but I'll take what I can get. 

Now, here's where it gets good, as this is when founding keyboardist, Tony Kaye, joins the band for the remainder of the show. His first jam of the evening is "Yours Is No Disgrace", the lead track on 1971's The Yes Album, which was also Steve Howe's introduction to the band. This is a song that forever lives in my top five and this is a great performance. Sherwood really nails that walking bass line during the breakdown. I do wish Kaye's organ was louder in the mix. It is a vital part of the song. Steve Howe's solo improv in the middle is killer (dig the little nod to "Siberian Khatru"). Some truly inspired playing.

As they prepare for the big finale, Steve Howe takes his solo spot, with a bit of "Georgia's Song" into the classic, "Mood For A Day". This is one of those pieces that never gets old, and always sounds incredible. 

With Alan White firmly in his place on the drum stool, the expanded Yes launches into "Roundabout", perhaps its most enduring classic. Alan sounds great, if perhaps not as busy as he once was. The rest of the band is right on point as well. Some may complain at the number of live albums that feature this song, but it's always great, and cool to hear presented by different lineups, in different settings. 

Putting an exclamation point on this celebration of Yes is a fired-up "Starship Trooper". Originally released on The Yes Album in 1971, this is another that forever lives in my top five. This is a fantastic performance, featuring solid vocal harmonies from Davison & Sherwood, and a wildly inspired "Wurm" jam to bring it all home.

The current incarnation of Yes features zero original members, but this lineup is a logical point of an ever-evolving entity, and they serve the music well. That is the whole purpose, right? 30 years ago, Rick Wakeman envisioned a version of Yes, far off into the future, (he likened it to the London Philharmonic), who will push forward while continuing to serve the music. In many ways, this is the Yes that he was talking about (though he may disagree with that now), and this could just be the start.

 Here's to another 50!

Yes: Fly From Here - Return Trip

I have mentioned before about the great Yes and their knack for drama, with a fair bit of back stabbing, and a wild amount of turnover. It's the stuff of  legend. And so it was that, in 2008, Benoit David took over the vocal spot for an ailing Jon Anderson and managed to stick with the band for about three years, during which time the band undertook several tours, recording the album Fly From Here as well as the recently-unearthed From A Page along the way. He had brilliant knack for being able to sound like Jon Anderson and Trevor Horn while, at the same time, sounding like his own self. Unfortunately, vocal issues sidelined him and in 2012 he was replaced by Jon Davison, who remains the Yes frontman to this day, appearing on several live albums as well as Heaven & Earth and the just-released, The Quest. During all this, however, something interesting was brewing.

2011's Fly From Here, as discussed earlier, was more or less the brainchild of Trevor Horn, based on the song he initially brought to Yes, back in 1980. While that song was a feature in the live show at that time, it was not recorded for Drama and this lineup broke up before they ever could record it. Revisiting that song in 2011, Horn produced his old band and created a very impressive piece of work. With Geoff Downes back in the lineup, and Benoit David putting in a great performance, this was the product of a band that was moving on. And while this lineup did not last, the music sure did.

That is, until 2018, when things got really weird. Trevor Horn revisited these recordings and of course then he set about to fiddling with them. Adjusting mixes and performing lots of edits, this became more his baby than ever and, since this was not a current project with a deadline, he could spend his time refining it. Among those refinements came one of the most controversial moves in Yes history:

Trevor Horn re-recorded the vocals on the album himself. Considering the raw deal that Benoit David was given, this was about as final a slap as one could get. His performance on the original was stellar. For him to get ret-conned out of Yes history like this was a crying shame. 

HOWEVER

This makes Fly From Here exactly what it should have been from the beginning. Most of this is Horn's creation and, had Yes not broken up in 1981, much of this would have gone on a follow-up to Drama. Which is precisely what this is, as Horn's return fully reunites the Drama lineup, at least on record. While Benoit did a phenomenal (and perhaps superior) job on the original, hearing Trevor Horn sing these songs....it just seems right. Drama has always been one of my top Yes albums. A lot of that has to do with the fact that it was such an anomaly. To have Jon Anderson and Rick Wakeman be replaced by The Buggles and then for that experiment to be as amazing and as fleeting as it was....well, that's just Yes.

So what we have here is second album from the Squire/Howe/White/Horn/Downes lineup of Yes, and it really is an amazing piece of work. Is it better than the original version? Not sure. Is it the definitive version? Maybe. That's what I appreciate the most - we get two distinct perspectives, both of which are valid and commendable. By the time Return Trip was released, neither Trevor Horn nor Benoit David were the singer in the band anyway, so both versions are anomalies. 

As for the music itself, I already discussed that in the earlier post, so I won't go track by track here. Aside from the fat being trimmed from the title suite, this is compositionally the same album as before. Obviously the mix is different and it seems a lot tighter than the original, a little less bombastic. Also, this does add one extra song, Steve Howe's "Don't Take No For An Answer", but that one is not really one to write home about. More excitingly, however, is that this version of the album restores "Hour Of Need" to its original length, which presents it as a three-part suite and is really the best way to take in the song.

As can always be predicted in the online Yes world, this release caused a mighty stir, but I never get involved in that and I've never taken sides on the matter. Both versions of the album are valid and both are well worth seeking out.