ANDERSON BRUFORD WAKEMAN HOWE

As many others have said, when ABWH came to my attention in the early 1990s, I said, 'Well, maybe the good old sound of Yes has finally come back.' In this album, it didn't really, but the fact that they tried was a good sign for this late 1980s era in prog.

The keyboard instrumentation is exceptional throughout, as Wakeman continued his prowess on the keys up to this time in his career.

Interesting 80s influences show through for Bruford and Howe respectively: for Bruford, his use (overuse?) of electronic drums on various songs ('Order of the Universe' especially) is a carry-over from Fripp's edict that he use those in the early 80s incarnation of King Crimson; for Howe, his collaboration with Hackett on the GTR project is evident in some of his guitar playing (listen especially to the beginning of 'Quartet' - it sounds like Hackett playing).

On both Birthright and Order of the Universe, ABWH tries to capitalize on the 'power rock' sound of the 80s, which really has never fit their style. Howe's attempt to sound like a cross between Schenker of Scorpions and Bettencourt of Extreme just doesn't do his guitar playing skills justice. While both songs have something that alludes to 'prog,' in the end it doesn't meet the mark.

Brother of Mine is the best track on the album, but only the first two 'movements.' The third movement, co-written by Downes, betrays the pop-esque quality that characterized Yes on 90125 and Big Generator.

While a good effort, this is really only for collector's and Anderson, Bruford, Howe, and Wakeman afficionados.