KEYS TO ASCENSION 2

Keys to Ascension 2 is a continuation of the live concert performed on the first Keys to Ascension album while encompassing new studio material. After guitarist Steve Howe and keyboardist Rick Wakeman returned to the band in 1995, they relocated to San Luis Obispo, California where they began to write new material while preparing for three additional live concerts with the lineup. The band also included Jon Anderson on vocals, Chris Squire on bass, and Alan White on drums. Keys to Ascension 2 is the fifth live and sixteenth studio album by the band being released in November of 1997. Rick Wakeman has said that he was "heavily against" the album's title since he believed the studio tracks deserved a separate release rather than simply being tagged to a live album. When compared to the first Keys to Ascension album there is certainly more studio material to digest which Rick Wakeman felt was more mature than what was found on its predecessor. Despite some tracks soaring above, others don't seem to hit the mark. This makes the studio material somewhat uneven when compared to the overall excellence found on its shorter predecessor. The same issue is also found on the live portion of the album, there are moments of overall excellence but the live renditions don't tend to live up to the various incredible renditons found on the first Keys to Ascension album.

The album begins with a live rendition of I've Seen All Good People which has become somewhat of a live staple for the band. Since this is just a continuation of live tracks left off the first Keys to Ascension album, it unfortunately misses the iconic opening Firebird Suite which launches most Yes concerts. While not providing anything mind-blowingly new, this is a solid track that creates an ultimately faithful live rendition with wonderful musicianship found throughout. The next live track, Going for the One, begins with driving guitar in addition to interesting raspy vocals coming from Jon Anderson sung at a lower pitch than usual. Alan White delivers especially compelling drums in combination with Chris Squire's terrific bass performance to create a solid rhythm section. While this track doesn't ascend beyond the live rendition of Going for The One heard on Yesshows it still offers a generally powerful performance of this classic Yes tune. Time and a Word is absolutely stunning, it has become my go-to rendition of this track. Rick Wakeman's keyboard contributions are definitely felt in addition to Steve Howe's beautiful acoustic guitar instrumentation found all through the track. A special mention also goes to Jon Anderson's spectacular vocal performance as well, he hasn't aged a bit since the seventies! After this softer ballad, the band transitions to perform the masterpiece of Close to the Edge which is as great as ever. This isn't an easy track to conquer by any means, which makes it increasingly impressive to see a band perform such a complicated piece so late in their career while still sounding terrific. Just listen to the newest rendition of Close to the Edge found on Yes 50, it is generally solid, but lacking when compared to previous live performances such as this. The biggest complaint I have about this live rendition is the extremely underwhelming organ section found at around the thirteen-minute mark. It isn't performed poorly per-say, but the keyboard sound chosen boggles me. Rick Wakeman didn't have any other sounds to choose from? Nevertheless, the song continues with an excellent keyboard solo just after the sixteen-minute mark that eventually goes into a powerful reprise of the chorus. Before concluding, the track commences an incredibly uplifting chant of "I get up, I get down" which ends the piece stunningly. Similar to Time and a Word, Turn of the Century is yet another softer piece that isn't commonly heard in a live setting. The track features beautiful guitar from Steve Howe which is the true highlight of the piece. Unfortunately, while the track is generally wonderful it doesn't hit the same high points as the studio version. Something just feels off, I believe this is a piece the band could have rehearsed a bit more. Still, I am glad to hear the band perform this often-overlooked track in a live setting. The last live performance on Keys to Ascension 2 is And You And I which is a ideal way to end a live album. This live rendition is displays Jon Anderson's stunning vocals better then any other track, especially at the four minute and fifty second mark. Rick Wakeman also receives a wonderful solo at the seven minute and fifty-four second mark which is complimented by an excellent rhythm guitar riff performed by Steve Howe. Overall, the live material found on this album is unquestionably solid, but unfortunately has moments that could have been enhanced if the band had more time to rehearse.

Now this is what most listeners are waiting for, the new studio tracks. The album begins with the suite entitled Mind Drive clocking in at over eighteen minutes. This is unquestionably the best track found on both the Keys to Ascension albums, I would actually go as far as to say it's one of the band's best tracks to date. Mind Drive was originally rehearsed by the proposed supergroup XYZ featuring Chris Squire, Alan White, and guitarist Jimmy Page. After XYZ never came into fruition, Chris Squire and Alan White decided to use various pieces of the unused track while working with other Yes members to create the epic found on this album. Mind Drive contains various moments of incredible instrumentation from each band member with a special mention going to Rick Wakeman who provides excellent keyboard melodies, lines, and even solos. Mind Drive moves from softer more tranquil moments to moments of increased intensity and power while continuing to feel as one cohesive piece. Conclusively, this is a late-career masterpiece from Yes which deserves more attention than it gets. Unfortunately, the rest of the tracks do not grasp the same level of mastery as Mind Drive but still contain enjoyable moments throughout. The next track entitled Foot Prints starts with Jon Anderson and Chris Squire singing the chorus before the rest of the band are introduced. The first two minutes of the track are somewhat unexceptional until we reach the two minute and seven second mark where a captivating vocal melody is introduced in combination with wonderful bass work coming from Chris Squire. The rest of the track just continues this greatness with superb solos coming from both Steve Howe and Rick Wakeman during various points. Foot Prints eventually concludes with a rather strange folk-like instrumental which isn't necessarily bad but doesn't fit with the music that came before it. The next track, Bring Me To The Power, is somewhat uneven encompassing various high and low points. When it reaches the one minute and thirty second mark the music truly ascends. Jon Anderson's vocal performance is breathtaking with the band being sparse yet compelling behind him. The track then enters a somewhat strange guitar dominated section at the three minute and five second mark with odd percussion choices from the band that I cannot decide works or not. There is then a reprise of the main chorus with Rick Wakeman adding notable keyboards. It then ends with a minute long instrumental in which Chris Squire provides an impressive bass foundation to compliment the other instruments as they get a solo. Children Of Light is up next and is a two-part track that is split up between the main theme, Children of Light, and the ending guitar led instrumental section entitled Lifeline. Children of Light was initially written by Jon and Vangelis in 1986 under the name Distant Thunder. Later on, a demo version of the track was recorded with Anderson Bruford Wakeman Howe which was ultimately not released on their first and only album. However, it was added as a hidden track on the 2011 reissue of Anderson Bruford Wakeman Howe. The first section, Children of Light, is solid enough but ultimately does not go anywhere as it transitions between its two choruses. Jon Anderson provides wonderful vocals during the chorus in which he sings "Children of light" while the rest of the band provide a good instrumental backing. The next section, Lifeline, is a dreamy guitar-led outro that is surprisingly captivating. The last track, Sign Language, is a Howe/Wakeman instrumental duet that is a somewhat strange addition to the album. It comes across as being overall pleasant but not all that eventful. When looking over the studio tracks included on the album, I noticed that as the album went on each track began to get shorter and shorter. In addition, as the album went on each track became less and less impressive.

Keys to Ascension 2 is a noteworthy continuation of the band's first Keys to Ascension album while containing various moments of brilliance within its live and studio material. Ultimately, the album doesn't reach the heights of its predecessor, but is still able to leave its mark as an excellent addition within the band's long and diverse catalogue of music. Furthermore, Keys to Ascension 2 includes the late-career masterpiece Mind Drive which makes this album worthy of a listen if not for anything else. The rest of the studio material is varied while still containing terrific moments throughout. This album remains to be an excellent addition to any prog collection despite some of the flaws it holds. If they don't give us the keys how are we supposed to get ready, if they don't give us the keys how are we to survive?

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