THE QUEST

The current incarnation of Yes has come some way (including through a global pandemic) in restoring some artistic credibility following the tepid 'Heaven And Earth' album from 2014. The production on this album is somewhat generic but warmer and most of the songs have the high standard of musicianship we expect from this 50 year old Prog institution.

Torch-holder and founding member Chris Squire has passed away since the last album and Jon Anderson is now a man in his late '70s who is clearly not interested in gruelling touring schedules. Instead of the mystical Yes brand of enlightenment, we are given songs about climate change such as the opener 'The Ice Bridge' which features a very decent demonstration of guitar and synth interplay from Steve Howe and Geoff Downes who seems to channel his inner '70s Prog synth wizard with class and precision.

Following tracks 'Dare To Know' and 'Leave Well Alone' aim for the sublime beauty that was on ample display in the band's '70s material- the latter only occasionally falling flat thanks to a stiff groove made worse by stabs of stodgy '80s synth brass. Keyboardist Geoff Downes, after a great start seems to become more diminished in his role as the album progresses (reminding me somewhat of Keith Emerson on ELP's 'Love Beach').

As this is now Steve Howe's legacy version of the band, the guitarist suitably rises to the occasion and his soloing and acoustic work is exquisite throughout. No complaints there. Less convincing though are the vocal melodies and hooks- of which very few take hold ('Future Memories' and 'Leave Well Alone' are exceptions). Less compelling still are the bonus tracks on Disc 2 which would scarcely make Asia B-side fodder- The ill-advised Beatles paen 'Mystery Tour' gets the 'Circus of Heaven' award for irritating fluff but even 'Circus of Heaven' can't compete with some of the woeful, cringeworthy lyrics here.

Singer/Lyricist Jon Davidson has shown no true personality again and I honestly wish that he would forget about trying to sound like Jon Anderson (listen to the ersatz way he enunciates words like 'heart' and 'fu-u-uture' if you need proof of this approach). So once again, this functions like a coffeehouse version of Yes despite the fact that the band are trying a bit this time. Davidson doesn't help matters either with his plaintive lack of expression- even Jon Anderson's voice had something resembling grit when the music called for it (remember when he was pissed off with the music business and formed ABWH?!)

The elaborate packaging for this album too- it must be said- smacks of desperation as if Steve Howe is saying "Look! This is the real Yes". If only that were true... It is more of a Beach Boys album without any Wilson brothers...

Despite these complaints from a long-time fan who got off on 'Talk' and even 'Union', it is nonetheless a pleasant, competent effort but Yes at their best, were always much more than that.

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