UNION

Of all of the Yes albums, with the possible exception of "Tales from Topographic Oceans," "Union" has sown the most discord since its release. As Bill Bruford has famously noted, in effect, "Union" is the worst album upon which he has ever performed. The legendary percussionist has astutely pointed out that it is also inappropriately titled. The final product is more of an uneasy "truce" between the Anderson, Bruford, Wakeman, Howe and Squire, White, Rabin, and Kaye incarnations of Yes.

The record company, Arista, served as the enforcer of this "truce." When Bill Bruford and Tony Levin laid down the rhythm section to the tracks scheduled to be the next ABWH album, an entity, "Union," had not yet entered the picture. Steve Howe and Rick Wakeman were only able to record initial contributions to this incipient ABWH second album.

Somewhere along the line, typically, in accordance with past communications, Chris Squire, Trevor Rabin, and Jon Anderson established contact, and the concept of a "union" of the two different versions of Yes was born. This notion piqued the interest of the record company, which, of course, perceived more monetary potential from a Yes rather than a second Anderson, Bruford, Wakeman, Howe album . . . .

Consequently, a timetable was set into motion for release. Now, Jon Anderson and co-producer, Jonathan Elias, were between the proverbial "rock and a hard place." Howe and Wakeman had only recorded early versions of their parts, and, through previous commitments, they were not able to return to the studio to complete their contributions within the schedule of Arista.

What emerged was an "original sin" of Anderson and Elias: studio musicians were hired to flesh out and augment Howe and Wakeman's initial work. Upon first hearing the finished "Union," Wakeman renamed it "Onion," because it made him cry: he could not identify his work in the final product. Howe's solo piece, "Masquerade" is his one, unequivocal contribution to the album.

In the judgment of subsequent criticism, the four offerings from Squire and company have fared better. The vocals of Squire and Anderson are the only, true unifying aspect of "Union."Anderson added his co-lead vocals (with Trevor Rabin, Billy Sherwood, and Chris Squire)to "Lift Me Up," "Saving My Heart," "The Miracle of Life," and ""The More We Live, Let Go;" Squire contributed backing vocals to "I Would Have Waited Forever," "Without Hope, You Cannot Start the Day," and "Dangerous."

What emerged in the Spring of 1991 was a somewhat contrived album, which I welcomed as a new Yes album, but felt was artificial. Yet, the tour launched by this album was a successful amalgamation of the eight members involved, serving as the basis of the selection of these gentlemen as inductees into the 2017 the Rock and Roll Hall of Fame.

The documentary interviewing the eight members readying themselves for the upcoming tour is also memorable. Chris Squire reveals that the dismissal of Tony Kaye in the Summer of 1971 was not the "most justified." In his inimitable and supercilious manner, Bill Bruford relates the origins of "Yours is No Disgrace," and his assertion that the members of Yes have been known to react to the "whims of Maestro Anderson . . . ."

Perhaps the most enduring criticism of "Union" must be that of Steve Howe. Unlike Wakeman who has ostensibly taken the "unnatural" path that led to "Onion" in stride, Howe has nursed a bruise since 1991. This discomfort fully emerged following the 2008 removal of Jon Anderson from the band by Squire, Howe, and White. Since this regrettable period in the history of Yes, the team responsible for the concept and lyrics of "Tales From Topographic Oceans" has, in a de facto sense, been divorced.

However, we now have two albums that, in a sense, provide a re-union of Howe and Anderson: "Mirror to the Sky" and "True." Both Howe and Anderson have presided over the production of two pieces worthy of inclusion on an up to date version of "Tales from Topographic Oceans:" "Mirror to the Sky" and "Once Upon a Dream . . . . "

Based on the strength of "Lift Me Up," "Miracle of Life," "Angkor Wat," "Dangerous," "Without Hope You Canno Start the Day," "Evensong," and "Masquerade,"I give "Union" four stars. I do believe lovers of the music of Yes are right in feeling negatively about this album based on its irregular conception, execution, and clumsy interference by Arista. However, making allowances for the "Frankenstein-like" production of this album, one can find merit in it. If even on parallel paths, let's welcome this century's music of Yes.