DRAMA

It appears that this album is starting to get more recognition, and I certainly think that this is due, considering how stale some other Yes releases have been in the past ("Tormato" or "Union" anyone?). To many fans, a Yes with no Jon Anderson (or even one without Rick Wakeman) is no Yes at all, and I can certainly understand this, but it is "Drama" as an album that really reveals how capable the band were without Jon's lyrics or vision, instrumental as they may have been in the past.

In addition to Chris Squire, Steve Howe and Alan White, Yes has a new keyboardist and a chap to fill Jon's shoes. Enter The Buggles - sheer syrup they may be, but if Yes was to hang on to its Prog mantle (and indeed, "Drama" is the last outpost really) it needed to update its sound. Geoff Downes' keyboard is fresh, energized and restrained: he compliments the rest of the band, adding flourishes when necessary. What makes him stand out I believe is his ability to be strikingly modern and new wave, without being too indulgent in it, which is some skill. Trevor Horn however, even though he sounds like Jon, doesn't hit the high notes (and apparently was worse in concert), and at times his voice sounds a little forced and flat. Still, like I said, he DOES sound like Jon, especially when backed up by Steve and Chris, and we really HAVE to give him some credit for giving it a shot, because it's admirable.

The album kicks off with the 10-minute epic "Machine Messiah", which opens with some heavy guitar from Steve Howe and some slow but well paced rhythming from Chris Squire and Alan White. After some heavy noodling as such (with some great guitar from Steve), it segues into a faster tempo with some cute 80s keyboarding from Geoff Downes, and Trevor Horn makes his entrance - like I said, his vocals are ok, but nothing special. What IS important is that Steve & Chris are there to back him up. About halfway through, the tempo drops down to a slower pace with some gorgeous acoustic guitar and singing, with some ethereal keyboard in the background, until of course, the song lapses back into its main theme. The acoustic section is reprised later on, as the song ends with a return to its harder edged beginning.

In general, this is Yes at one of their hardest moments I feel. Certainly a very good way to open the album as it sets the stage for what is to come. Steve Howe's guitar steals the show, especially in the soloing before the first acoustic section, and Chris Squire and Alan White prove yet again what a dynamic and fantastic rhythm section they are. It is also in "Machine Messiah" that one hears Geoff Downes' keyboards and can fully understand how, as I said before, they manage to fill the sonic space without dominating them. Trevor Horn's vocals are ok, and nothing more. Not bad, but nothing exciting either - in my opinion he doesn't steal or ruin the show, which is a good thing.

"White Car" is so unbelievably tiny and cute (it must be Yes' shortest song, clocking in at 1:21) that it's almost not worth mentioning. To be honest, I find it rather charming in a "New Wave Prog" sort of way. In a strange sort of paradox, it may be small but it has a rather large sound - epic orchestral percussion and keyboards to match, with Trevor Horn's voice squeezing in vocals. The song, like Genesis' "I Know What I Like", serves as an excellent buffer between two larger pieces whilst still remaining true to the spirit of the album. Nice!

Next we have "Does it Really Happen?", which is probably my favourite song on the album - quite an upbeat dance-ish song which serves as an excellent showcase for both Squire's bass and Downes' keyboards. In my opinion, Downes MAKES the song. His playing early on, coupled with his stunning flourishes later on make for some really pleasant listening. Steve Howe, for once it seems, steps back slightly to allow Geoff Downes his spot in the limelight (it seems that way, and yet I doubt it was a concious decision of the band!). Chris Squire and Alan White propel the song at a fast and fun pace, and Trevor Horn's vocals seem to be better here than say "Machine Messiah". It's a thoroughly enjoyable listen, but it's not entirely representative of the Yes sound in general - it's perhaps too bouncy for that.

"Into the Lens" follows, and is a fairly pleasant 8 minute piece, which has some very capable vocals from Trevor Horn, and yet the lyrics are rather atrocious ("I am a camera"...ouch)! The song isn't bad, as it has some rather nice keyboard and guitar, but its structure is relatively simple and may leave Yes fanatics running for "Delirium" or "CTTE". Particularly of note is Chris Squire's bass, which some reviewers have mentioned - his playing here is subtle, but still strong. I tend to look at "Into the Lens" as a sort of drawn-out pop song by Yes - 8 minutes of solid playing set in a basic structure.

"Run through the Light" is Drama's equivalent of GFTO's "Wondrous Stories" I feel - it's very pleasant, quite short and highly enjoyable. Some genuinely beautiful acoustic guitar and keyboard parts here, with some nice vocal melodies. Again, the song is quite obviously powered by Chris Squire's bass playing which is, characteristically, some of the best one can find. Like "White Car", it bridges the gap between two bigger pieces, and does it well.

"Tempus Fugit" is a sort of mini-epic: the last song on the album, and in my opinion, the perfect way to end it. The song is fast paced, powered along by Squire & White's pounding rhythm section, with some stunning guitar flashes by Steve Howe. Trevor Horn's vocals are not too bad, and of particular note is his harmonising with Steve & Chris. Geoff Downes, once again, contributes subdued but solid keyboard parts which have real presence. I feel that the song is a tad more complex than others on the album, and in some ways it feels as if the song could be part of a larger epic, and not just its 5 minutes.

So to conclude, it's definitely worth an open-minded listen from Yes fans - a much more modern Yes which still displays some of its old tricks, but the way towards destinations such as Asia and "90125" is clear. It has some AOR flourishes, but don't let that put you off as it is worthy of consideration. How do I class it then? I'd say it's good, but not really essential (certainly not as essential as "Relayer" or "CTTE") as it's hardly indicative of the overall Yes sound. 3.5 stars is fair!