REFUGEE

After listening to this album it became clear why the members of Yes chose Patrick Moraz to replace Rick Wakeman in 1974. Moraz keyboard style here reminds me a lot of Wakeman´s during his Yes years, and that´s a compliment! I still think Patrick Moraz is a very underrated musician in prog circles. Having to replace two prog legends in such a short time it must have led to quite unfair comparisons. The guy may not be a genius or so innovative as Emerson or Wakeman, but his is VERY good. And Refugee is maybe the best way to realize that.

The album is excellent. I´m not a very great fan of keyboards led bands, and the trio format like this (keys-bass-drums) is hardly my favorite. Still I think they managed to release one of the best albums in that style. Moraz never sounded so powerful and creative! And this combination worked very well. The fact that the band didn´t make it is easy to understand (even if equally unfair): the public saw Refugee as just an attempt to revive The Nice. And that was not the case, but the damage was done and few people did notice this album at the time. Which is really a pity. There are some great tunes on this album and the playing is simply superb: a great mix of classical music, symphonic rock and even some jazz rock/fusion moments here and there.

Besides Moraz extraordinaire skills on the keys, I have to say I liked a lot what Jackson and Davidson did on this CD. It was truly a remarkable work and should be heard as it is: a whole new group. Even Jackson´s voice is not as bad as some reviewers say (though it is also clear he is no Greg Lake!). The longer tracks Grand Canyon and Credo are the highlights here. Both show the band at its best, promising a future that would never come, but leaving a terrific gem for the future generations.

It took me several years to hear this album, but it was worth the wait. And I recommend to any symphonic prog fan. 4 strong stars.