ANDERSON BRUFORD WAKEMAN HOWE

While perhaps historically and artistically significant in that ABWH attempts to restore the symphonic feel to Yes' music above their obnoxious flirtations with approachable pop, it utterly and tragically fails on almost every level. Songwriting is decent enough, with several catchy moments (in, say, Long Lost Brother of Mine), but in general is trite and silly given the previously displayed skill of those involved; however, what the hell should I be expecting from musicians that haven't tried ANYTHING new since 1975.

Die-hard fans of Yes will probably be entertained by Anderson's voice (which is very prevalent-- some would say obnoxious), and they might even like Howe's occasional outbursts of tired guitar work (emotionless as always). However, I can't imagine anyone who isn't entertained by synthesized horns and keyboards (which come across like a midi machine) to sit through this release without being utterly fed-up with Wakeman's silly noodling, which is present almost constantly. This album may as well of been just, Anderson: it would have been more honest; the musicianship is simply a yawn-fest.

To be honest, this album is not terrible-- it is simply bland, unimaginative, unchallenging, and unexciting... so what's the point? There are so many more interesting bands out there playing this kind of music that sticking with these sorts of tired releases from the old masters becomes a highly dubious investment.

Fans of Yes' classic output should avoid this like the plague-- it will only make them more frustrated with the malaise that has strangled this amazing band since its hey-day.

Songwriting: 2 Instrumental Performances: 1 Lyrics/Vocals: 2 Style/Emotion/Replay: 1