Yes had intended to quickly follow up 2014’s Heaven & Earth but were sidelined by the 2015 death of Chris Squire, and an extended regrouping period (which saw several impressive concept tours), and then the covid lockdowns. Finally, in 2021, a new Yes album emerged. It was the first to feature Billy Sherwood on bass, assuming the role that Chris Squire had held down since the day he founded the band. It was also the first album to feature current Yes drummer Jay Schellen, here in a limited percussion role, alongside the late Alan White (who makes his final appearance on this album). This as also the first Yes album to be produced by Steve Howe, as he now is the captain of the ship.
The result is a fantastic album, every bit as majestic as the Roger Dean painting on the cover. This is a different Yes, but it is still Yes. There is a lot of prog on this album, especially on side one, with “The Ice Bridge”, as well as the soaring “Dare To Know”, which Howe sings in tandem with Davison, and is accented by an orchestra (recalling Magnification, somewhat).
Written by Davison & Sherwood, the magnificent “Minus The Man” is a benchmark for the new era of Yes. It takes a few passes before it sticks. Once it sinks in, it really sticks. This is augmented by an orchestra as well as the following, three-part “Leave Well Alone”, written by Howe and sung in unison between he and Davison. This has a feel more in line with what you might hear on one of his solo albums, or maybe ABWH. That said, it is a really solid piece with about forty different sections and one wicked swing. The outro jam (“Wheels”) is stunning.
Aside from superior production, one big thing that The Quest had going for it was that they weren’t trying to chase a pop single. This is a prog record. These songs are cosmic, they are clever, they are out-there, and they aren’t trying to be anything but what they are.
“The Western Edge” is a very uplifting, grand little epic that probably treads the closest to single territory of all these songs, while still maintaining the vibe of the album. This leads into the mostly acoustic “Future Memories”, written solely by Davison. This is a moody little song that is very well written, and very deep and personal. It is a bit different for a Yes album but it works and does so beautifully.
Next up is Howe’s “Music To My Ears” which has some solid moments but is ultimately the weakest song on the album. The band does a noble job making is work, and it definitely has the ability to get stuck in your head, but it’s just a bit juvenile.
Fortunately that’s not the case for the three-part “A Living Island”, which closes out the main part of the album. Co-written by Davison and Geoff Downes, this is yet another in a series of phenomenal album closers. This features some great, understated playing, including a very light, but incredibly effective drum performance from Alan White, with Jay Schellen’s percussion coloring the background. One of my favorite latter-day Yes tracks.
Included with the album was a bonus disc, featuring three additional songs from the sessions - on the vinyl edition, it’s just side four. The most successful of these is “Sister Sleeping Soul”, which absolutely could have been a single. And should have. I get how it doesn’t quite fit on the main album but this is one hell of a track. Just complex enough to be intriguing but also catchy as all hell (I am certain to wake up with this in my head tomorrow).
Written by Steve Howe, “Mystery Tour” is a far-too-literal homage to the Beatles, set to a super catchy, strummy pop song. It’s a fun one but definitely belongs on a bonus disc. As does Howe’s “Damaged World”, which he sings. It’s not a bad song but it’s more of a songy song, and definitely would not fit on the main album. This sounds about as far from pretty much any other version of Yes as ever, but still has that same spirit.
Sadly, this was to be Alan White’s final work with Yes, before his 2022 death. Up to that point, he had the longest unbroken tenure in Yes (50 years), appearing on every album and tour since he replaced Bill Bruford in 1972. Jay Schellen is an amazing drummer, and I look forward to cheering him on, but Alan will be forever missed.
This concludes the studio discography. Until May, that is, when the new album, Mirror To The Sky, is released. I am looking very forward to that. It’s been a lot of fun revisiting this catalogue, which I usually do a couple times a year. My best friend turned me onto them in late 1987, when we were 13, and I have stuck with them ever since, no matter the album or the lineup. I look very forward to the new album, and the one after that, and the one after that…
Next up, the live albums.
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