FLY FROM HERE

When I heard that the "Drama" line-up would return for "Fly from Here" (though Benoit David replaces Trevor Horn on vocals, who is now the producer) I was very excited. "Drama" is one of my favourite Yes albums, and I consider it to be superior to the two albums that precede it, "Going for the One" and "Tormato." Before getting the album I heard an excerpt from the title suite, and this only increased my anticipation. When I finally listened to the entire album, I was not disappointed.

"Fly from Here" resembles "Drama" in more than the line-up. Benoit David sounds more like Trevor Horn than Jon Anderson, and the entire sound is reminiscent of "Drama," yet where "Drama" had a harder edge, "Fly from Here" is softer, taking you through sweeping vistas of themes and melodies that will remain ingrained in your mind long afterwards.

The title track begins with an overture that introduces several key motifs of the piece, predominantly those later heard in "Madman at the Screens." This is truly an exciting start to the album, dynamic and containing contrasting piano and guitar. Here and indeed throughout the album, Squire's bass lines are very strong, which is to be expected of course. At times very Drama-esque snare hits accentuate the rhythm.

In the next section, "We can fly," ambient sound effects and soft piano introduce the first vocals on the album. Benoit has a truly beautiful voice; his accent is fairly pronounced in these first few moments, but this does nothing to detract from the strength of his vocals. As I've said, he sounds like Trevor Horn, only better. His harmonies with Chris and Steve also work very well. Anderson purists may dislike the difference in the sound of the vocals without Jon, but this has never been a problem for me. As much as I like Jon, I'm more concerned with compositional strength, and that definitely isn't lacking here.

As the song builds, picked guitar notes and driving bass emphasize the vocals until the drums join in. I have never been a huge fan of Alan White (I prefer Bill Bruford ? he better matches Squire in skill) but his drumming on the album is surprisingly muted and inoffensive in the mix, and keeps the beat effectively. As in the entire album, rather than being more of a solo instrument à la Rick Wakeman, the piano and keyboards are in much more of a supporting role, but Geoff Downes plays very well and adds new layers to the soundscape. Oliver Wakeman left before the album's completion, but also adds some keyboards to a few tracks, though I can't distinguish between him and Downes.

The main chorus, with Chris and Steve providing strong backing vocals, is very impressive and memorable. Not only is this a testament to the skill of the musicians, but Trevor Horn's excellent production. Trevor creates a very subtle and well-balanced mix that compliments the music perfectly.

The second part, "Sad Night at the Airfield," begins with understated acoustic guitar and vocals, the melody almost melancholic, but soon builds into a plaintive threnody, a tonal shift which completely alters the feel of the piece, and the song continues to alternate between these two themes.

"Madman at the Screens" expands on the themes introduced in the overture with more vocals from Benoit. Along with the vocals, the bass lines and keyboards really carry this section, and it has a more aggressive edge. Concluding the section is the main piano and vocal-led theme from earlier.

"Bumpy Ride" is the most progressive section in the suite, though it is very brief. It strongly reminds me of moments in "Tempus Fugit" on "Drama." Again the earlier theme is reprised, before the progressive tune ends the section.

In "We can Fly Reprise" the chorus from the first section is briefly revisited. The re-emergence of this theme is truly stunning and powerful, concluding the suite beautifully.

For a Yes epic, the "We can Fly" suite is much more focused on vocals over instrumental passages, but this works in its favor and is surprisingly refreshing. Given its beginnings as a Buggles composition, it makes sense that it's more vocal-centric.

Another point worth mentioning is that, to my ears, Steve Howe is less present both compositionally and aurally in this suite. I may be wrong, but it almost seems that his guitar lines are kind of tacked on to the piece. It's like he's along for the ride, but isn't adding a lot. In previous Yes albums he often collaborated with Jon to compose a lot of the songs, so perhaps Jon's absence is detracting from his contributions. Despite this, his playing is, as ever, spectacular.

Continuing the album is "The Man you Always Wanted me to Be" which is much more acoustic and light. Chris sings lead vocals on this track, and sounds quite good, while Benoit provides excellent harmony. While it's not the most amazing composition, the musicianship elevates it to a good track.

"Life on a Film Set" seems to meander and ends before it can really get anywhere interesting. Again the musicians are in top form, but I wasn't thrilled by this song, especially the abrupt ending.

"Hour of Need" begins with excellent acoustic guitar and pleasant vocals. As I haven't obtained the Japan release, I haven't heard the full version of this track, but what I've heard is rather good.

"Solitaire" is an acoustic guitar piece in the vein of "The Clap" and "Mood for a Day" and is easily as enjoyable as those two songs. A delight to hear.

"Into the Storm" is probably the strongest ensemble song aside from the title track - it's more of an upbeat rocker and concludes the album well. The harmonies between David, Squire and Howe are very enjoyable, and there's even a catchy synth riff.

All in all, "Fly from Here" is a strong album, but the crowning jewel is definitely the title suite, and the other material, though good, isn't quite as impressive. The four star rating is primarily for the "Fly from Here" suite. If you're a Yes fan, you definitely should get this album - it's much better than a good deal of their material (Trevor Rabin era, anyone?). Don't let the absence of Anderson dissuade you. If you do, you're missing out on a great listen.