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...and we can FLY FROM HERE!
Topic Started: Jul 16 2011, 09:50 AM (87 Views)
Yesman
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Lord Demi Plane of Semi-Hemispheres
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NEW YES CD!

It's pretty sweet. The last song on the album Into the Storm should be the first song but they wanted to push the new 24 minute track Fly From Here. There's nothing on here a Yes fan won't like but there seems to be something missing and I think it's the direction of Jon Anderson. He had a tendency to take Squire and Howe's music and lyrics and turn them "ethereal" or "cosmic" and make it very Yes-like. A lot of the album sounds like Yes started something and the Buggles finished it off. It comes off a little as a Drama album part beta. The bass is still growly and trebly and thick and the guitar still Howe-esque angular but the keys are decidely Downes and no Wakeman/Moraz flairish. It's like the band Asia meets Drama Yes.

A lot of the music reminds me of Magnification crossed with Keys to Ascension and that's a good thing but it's missing a sort of Jon Anderson-ness about it and that's why the last song on the album should be the first one. Benoit David can sound just like Anderson (and that's not necessarily a bad thing either) but that's all he's bringing is the voice and not the writing. The first time my wife and I heard David sing Into the Storm I said, "Holy, shit! It sounds exactly like Anderson, and this song frickin' rocks!" Plus, they use multi-layered vocals like on Big Generator's Love Will Find a Way and I Would Have Waited Forever from Union.

Good ol' Trevor Horn comes back to produce and this one sounds flawless albeit you can tell he had a firm hand in songwriting. Fly From Here was never recorded when the Buggles wrote it and Yes learned it and played it live in 1980. Buggles were HUGE fans of Yes and wrote Fly From Here FOR Yes. Around 2000 something-or-other Buggles finally recorded it but it still didn't end up on an album. Here we are in 2011 and Fly From Here goes from being a seven minute rock song to a full-fledged Yes epic.
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ManekiNeko
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This is how I've heard it described... the sequel to Drama we never got back in the 1980s. Since I really liked Drama, I'm okay with that. As another friend said, Drama did a much better job of bringing Yes into the new decade than 90125, which traded the genius and ambition of previous Yes albums for infectious but largely hollow new wave pop. I like new wave and think it complements progressive rock nicely, but the mix felt like 80/20 in 90125, rather than 60/40 as it was in Drama. Without at least some of its epic aspirations Yes just isn't Yes.
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