THE LADDER

The Ladder is the eighteenth studio album by Yes that was released in September of 1999. Interestingly, it is their only studio album recorded with six full-time members, following the addition of guitarist Billy Sherwood and keyboardist Igor Khoroshev. The rest of the band comprised of Jon Anderson on vocals, Steve Howe on guitar, Chris Squire on bass, and Alan White on drums. After the Open Your Eyes tour concluded in 1998, the band agreed to begin writing a new studio album with Canadian producer and musician Bruce Fairbairn. With the addition of an outside producer, the band was able to receive a new set of objective ears and receive aid in the album's direction. This was in stark contrast to their previous album, Open Your Eyes, which was self-produced and is unquestionably the band's weakest studio album to date. During rehearsals for the album, Fairbairn would regularly check in on the band to hear the music they were writing. Steve Howe later remarked that he had never worked with any other producer who took such time to work with the band such as Fairbairn. After the band produced numerous demo tracks, Fairbairn picked eight of the strongest for the band to work on. On the 17th of May 1999, during the final recording and mixing sessions, tragedy struck when Fairbairn passed away unexpectedly of a heart attack at age 49. After finishing up the album, the band subsequently dedicated it to Fairbairn. The Ladder received mostly positive reviews from critics who saw the album as a return to form for the band. Yes also supported the album with a world tour in 1999 and 2000, which remains to be one of their best tours to date. Even if the tour following the album was excellent, and the album was a clear improvement from Open Your Eyes, was the band able to grasp at their success found throughout the seventies?

The first track on the album titled Homeworld (The Ladder) displays the band starting in a spectacular fashion. Interestingly, it was initially dubbed Climbing The Ladder but was ultimately changed to Homeworld (The Ladder) due to the band's discussions with the video game developer Relic Entertainment and publisher Sierra Games, who expressed an interest for Yes to license a track for their 1999 real-time strategy game Homeworld. This is certainly the most complex piece of music on the album containing contrasting but interrelated sections. Igor Khoroshev incorporates superb keyboards at just the right moments while Steve Howe adds touches of both acoustic and electric guitar. Chris Squire also provides incredibly solid bass throughout while Alan White holds his own to certify this remarkable rhythm section. Overall, this is one of the best songs the band has written since the 70s which manages to keep the listener hooked from start to finish. It Will Be a Good Day (The River) keeps the album moving with yet another quality track that exhibits Jon Anderson's terrific vocals. This is definitely one of the best ballads by the band, incorporating various sections with each band member not over-performing on their instrument. As it builds, its grandeur only increases till a chorus of vocals accompanies the band in a truly gorgeous fashion. Lightning Strikes is somewhat of any oddity for the band due to extremely prevalent dance loop which continues through most of the track. Some people absolutely hate this track, and some people love it while I am somewhat in the middle. It is certainly unique for the band, but is this something anyone ever asked for? There is a multitude of instruments used throughout which bring along a world music feel. Chris Squire's bass is also just as active as ever with multiple transitions being accomplished through his impressive bass lines. I also enjoy Igor Khoroshev's keyboards all through this track as he plays in a tasteful yet meaningful manner. If I ever had to choose a Yes song at a dance club this would certainly be my choice (unless I wanted to be cruel and choose Close to the Edge to see what chaos unfolds). The track then seamlessly transitions into the next titled Can I? which calls back to We Have Heaven off the Fragile album. It's quite short, clocking in at just one minute and thirty-two seconds. There is solid percussion in addition to low lying keyboards which establishes a great atmosphere. At the end of the day, it's a solid interlude that works surprisingly well within the flow of the album. If anyone can write a transcript of Jon Anderson's lyrics throughout this song I'd be thoroughly impressed. Once again, the track transitions into the next piece titled Face to Face. It begins with a repeating keyboard line from Igor Khoroshev before the rest of the instruments burst in with Alan White's drums. Not too long after, Jon Anderson's vocals come in with the lyrics being reminiscent of seventies Yes as they appear to be made for the way they sound rather than their lyrical meaning. There is great momentum supported by the terrific rhythm section of both Alan White and Chris Squire. One part I always found comedic was when Jon Anderson introduces Steve Howe when saying "Come on Steve!" for him to only perform one of the worst guitar solos of his career. If anything, Jon should have said that after hearing the guitar solo not before it. Besides the unimpressive guitar solo, this is a rather solid track which can be seen as an improved version of Lightning Strikes due to its similar danceable nature. In fact Lightning Strikes, Can I?, and Face to Face all transition into each other making it a mini-epic of sorts with certain lyrics being shared between the three.

After Face to Face concludes, another ballad is introduced which is a love song Jon Anderson wrote for his wife Jane titled If Only You Knew. There are a multitude of impressive harmonies from the entire band in addition to Steve Howe providing powerful slide guitar during the chorus. At three minutes and fifty-two seconds things switch up with Igor Khoroshev incorporating orchestral-like sounds as Jon Anderson sings above them. It's a nice break which works well within the flow of the track. Overall, If Only You Knew is a pleasant ballad with a powerful chorus that has grown on me. To Be Alive (Hep Yadda) is up next and is one of the weaker moments found on the album. It begins nicely enough with a lovely instrumental section which is interrupted by a rather cheesy transition into Jon Anderson's vocal melody at the forty second mark. Not too long after, the main chorus is introduced which I have always found to be somewhat annoying. The chorus repeats frequently throughout which only increases the initial annoyance. Fortunately, Jon Anderson integrates an interesting vocal melody at the three minute and thirty-five second mark with Igor Khoroshev imitating the vocals Jon is singing with his keyboards. While it is short, it certainly helps lessen the repetitive nature of the chorus. The next song, Finally, begins in a rather unremarkable fashion but drastically improves around the three minute and twenty second mark. The lush synths on top of Jon Anderson's gorgeous vocals repeating the lyrics found earlier in the track manage to convey an impeccable amount of emotion. Steve Howe also includes breathtaking guitar throughout which is reminiscent of the same feeling you get when listening to Soon off their 1974 album Relayer. This is a track that starts off somewhat rough but is saved by the unmatched beauty found at the halfway point. During the writing phase of the album, Fairbairn suggested that the band record a songabout someone who meant something to them, which made Jon Anderson think about one of his favorite musicians, Bob Marley. The Messenger manages to express Jon's appreciation of this music icon with the lyrics subtly referencing him. This is quite a catchy reggae-influenced piece with a terrific bass line coming from Chris Squire. Furthermore, when the entire band harmonizes "That my children sang to me" it gives me chills to this day which is due in part to the excellent production found on this track. There is also an acoustic guitar switch made near the end which is done quite superbly. The Messenger is definitely a highlight in terms of the shorter songs found on the album with the entire band playing brilliantly throughout.

New Language is yet another nine minute plus piece that begins with the band performing an excellent instrumental section wrapped with keyboards and Hammond organ. This is a track that will certainly captivate most seventies Yes fans. A vocal melody accompanied by keyboards introduced at the two minute and twenty-two second mark is simple, yet extremely catchy and captivating. The music continues to build with tremendous grandeur until the main chorus is introduced at the three minute and fifty second mark. If the main chorus is introduced almost four minutes in, you know you're off to a good start. Jon Anderson's vocals are immensely powerful with the addition of the entire band harmonizing behind him. There is then a reprise of the vocal melody originally found at the two minute and twenty-two second mark before it continues to build as it did before. When reaching its peak, it transitions into an instrumental section led by Steve Howe on acoustic guitar. This instrumental section actually incorporates the bass line found on Roundabout which is extremely fascinating to hear used in a different context. As it continues, there is a section introduced in which Chris Squire performs an interesting bass line with guitar incorporated on top of it. The track then reprises its main chorus before concluding in a truly epic fashion. This is a brilliant piece of music that manages to reach similar brilliance as the first song on the album, Homeworld (The Ladder). The album concludes with a softer acoustic led track inspired by the spiritual-led walk across the United States in 1978 organized by the American Indian Movement to support tribal sovereignty. Jon Anderson befriended one of the walk's participants named Long Walker and decided to write a song about nine tribe members and the song they sing to "bring forgiveness into the world". Steve Howe's guitar playing is wonderful with Jon Anderson singing great from beginning to end. This ending is somewhat reminiscent of the one found on Anderson Bruford Wakeman Howe's first and only album as they similarly decided to end off with a softer ballad. Nevertheless, the album as a whole contains a special charm about it that can probably be attributed to the snippets of world-music inspired sections found multiple times during the course of the album. Despite the album encompassing instances of brilliance, the overall quality remains to be good, but non-essential. One voice, one world, one touch, one life... truly, truly say it.

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