DRAMA

On Drama, Yes has recovered from their Tormato. However I find this to be an album that is difficult to enjoy, mostly because of the inadequate singing. I don't particularly miss Jon Anderson, but Trevor Horn's and specifically Squire's less remarkable voices are distracting. They also show a limited talent for creating really memorable melodies and harmonies. The sound of the band is slightly modernized, a bit darker and tighter then usual and marks a move to the sound of 90125, but the music is decidedly more traditionally progressive.

Machine Messiah opens with a warlike march, heavy on bass and guitars and keyboards in typical Yes fashion. Geoff Downes proves himself to be an adequate keyboard man for Yes, certainly compared to how Wakeman butchered Tormato. Machine Messiah is an interesting song but suffers from a number of poor vocal lines.

White Car is a nice little ditty that opens up for the next prog epic Does It Really Happen. That man Squire sure knows how to spin a bass guitar riff, the main theme is simply brilliant, catchy and groovy. The vocal lines are awkward again, while the chorus grooves and the middle part is anthemic, the verses are grating at best.

Into the Lense is another song that tempts us with lots of potential, but apart from some splendid instrumental sections, the vocals remain too predictable. After the disappointing track Run Through the Light, the album ends in style with Tempus Fugit. I think this song would have been very suited for Sting's voice. Yes meets Police.

With a bit more feel for vocal melodies and harmonies, material like Machine Messiah, Does It Really Happen and Into the Lens could have turned out to be classic Yes, and this album could certainly have become a general favourite amongst prog audiences. 3.5 stars.