ANDERSON BRUFORD WAKEMAN HOWE

Just after one of the poorest prog albums (if prog) of the 80s that's IMO Big Generator, after the equally poor output from two of the best prog guitarists called GTR, while Rick Wakeman was releasing home-made newage albums and even the duo Jon and Vangelis was able to release only a half-good album like Private Collection nobody can expect that even four prog monsters plus some Tony Levin can release another Close To The Edge.

Actually the only one very active in composing was Jon Anderson. One can like him or not, but his solo career were proceeding in parallel to the "other YES" one and it's not a susprise if most of this ABWH sounds like a Jon Anderson's solo of that times.

So take a bunch of averagely good songs from Jon's pocket, have them played and arranged by some of the most skilled people available in the surrounding and you'll have something very close to a masterpiece.

The album is opened by "Themes" that's nothing special, but has the typical Anderson's sound enriched by the YES arrangement. , followed by a very good short song like "Fist Of Fire" that's another typical Anderson's thing, but what follows? "Brother Of Mine" can be criticized for the newage lyrics, but from a musical point of view is almost an epic with instrumental parts that leave room for short solos on which the band members can exploit all their skills. Listen to what Howe's guitar does in the background, to how Wakeman's piano supports Jon's singing in the first part of the song. Maybe Bruford has less to do on this song respect to his colleagues, but he's always present with his alternative signatures, we just have to pay attention to him, specially in the first transition when Howe introduces "Long lost brother of mine"... I think this song alone is already a good reason to have this album.

"Birthnight" is more influenced by Howe, at least I feel it as it was. Lyrically it's still an Anderson's song, but all the album is so. This is a YES song, anyway. If you put it in a playlist with Going For The One and give it to a Yes newbie he would probably think that they come from the same album.

At this point we are still on the A side of the vinyl. Not bad isn't it?

"The Meeting" closes the side A, if I remember correctly. A moment for Wakeman. His piano and keyboards support a short song that sounds a lot like Jon and Vangelis, but even though I like the Greek keyboardist a lot, when the piano is played by Wakeman there's a significant difference.

Mandolin and acoustic guitar are the openers of side B. "Themes" is started by a typical Howe's thing. You can compare it with some of the early Howe's solo albums. I think mainly to Turbulence. 80s pop? Absolutely not. It's easy, melodic and solar, but it's Yes music with no doubts and as I have already written nobody was expecting a new Close To The Edge in 1989.

The only forgettable track is "Teakboys". Unfortunately it's since "Song of Seven" that Anderson places salsa or south-american rhythms in general, at least once per album. Bruford has probably some fun in playing this song, but to be honest I have less fun in listening. This is not my pot at all.

Back to Yes music with "The Order Of The Universe". This is the most electronic song. Bruford plays electronic drums and even Wakeman indulges with 80s sounds. It's not Trevor Rabin, also because Howe still sounds like Howe, but this is very 80s influenced. I have to say that if you don't pay too much attention to the sound and concentrate on the notes only, the intro has Wakeman at his best. The rest is quite an appendix to Big Generator, or better to 90125. I consider 90125 as one of the best prog albums in the poor scene of the 80s so I'm not too disturbed by this song and I wasn't actually, even if I dislike Big Generator that's too pop even for a yes fan like me.

The closer is one of the best things of the album. The acoustic guitar is excellent but in some passages we can clearly hear Vangelis that's also credited on this song. The man who was about to become the Yes keyboardist after one of the many Wakeman's leavings is finally playing with the band and I think that he should be credited for the composing of this song, too. This seems to come directly from Short Stories and has the effect to leave the listener unsatisfied. I mean that after this song I'd like to have more of this stuff.

This is not a masterpiece. It's not comparable with any of the early Yes albums (between Yes Album and Tales), but it's one of the few things that a progger can save from the 80s and with just a weaker moment that's the salsa thing. Forgive that song and let it enter your collection if not yet there.

For me it's a 4 stars with an advice: I have liked Union, too. If you totally dislike that album consider this as a 3 stars only.