KEYSTUDIO

Keys to Ascension (Or 'KEYSTUDIO', whatever) is a collection of studio tracks recorded in the years 1996-97. It was originally released in two parts, with a handfull of live songs accompanying the studio efforts on each release. One part only contained two or three studio tracks, while the other release included the rest. Now we the fans have both parts' studio tracks compiled together into one definitive volume. So if you don't care much for live albums like me, just pick this copy up and call it ''Keys to Ascension'', because that's essentially what this is, just not including the live stuff of the original release(s).

Okay, let's get things started. First of all, this album is not the epic that alot of people are claiming it to be. It is however a very superb modern effort by one of the most influential classic prog bands of all time. Considering that these guys hit their stride ages ago, the quality of this album is quite staggering. Just don't go into it expecting the next Relayer or CttE and you should love it. I know I do.

''Foot Prints'' - The beginning had me a little worried to be perfectly honest. The melody was cheesy, even for Yes. However, once the instruments kicked in, I was comforted. Finally, Chris Squire is playing his signature style, again! Finally, Steve Howe is playing something worth paying attention to if you are a budding lead guitarist! Finally Rick Wakeman decides to show up! Finally, finally, finally! Oh yeah, and, um, Jon Anderson and Alan White are absolutely masterful at their respective jobs as always, no surprise there, but certainly welcome! All of these good things to say, and that's just the first song. 3/5

''Be The One'' - For some reason this song has been getting alot of low scores from people. I personalyl don't see it. What's so wrong with it? The harmonics being played only thirty-five seconds in is some truly beautiful stuff. Sure, it may not be 'epic' or 'soaring', but this is '97 Yes, not '72 Yes. For this song (or any of the tracks on 'Keys', for that matter) to be this good this late in the game, it's a miracle, frankly. In fact, I would say that this track is clearly harkening back to the Fragile days when the melodies were so uplifting that the listener felt like he or she would die of ecstasy. Truly. If you don't think this song is as beautiful as anything on the Fragile album, then I honestly don't know how you can call yourself a Yes fan at all. I didn't say that this song was as good or better than any of the stuff on Fragile; it clearly isn't any where near the caliber. But in terms of melody and mood, I think this track feels the most similar to those days than any of the other tracks on the album. Truly uplifting. 4/5

''Mind Drive'' - Well, this one is tough. That first , dreamy riff that Howew so wonderfully executes is some of the most heartfelt playing I have heard on any modern effort by any classic band. Wakeman compliments it well with his atmospheric, humble keys in the background. He really should do more of this than he does, because he's really good at it. However, as soon as the song hits 02:10, the whole thing sounds unorganized and amature-ish in my personal opinion. Unlike in Relayer where the jazzy riffs worked, the stuff being playing overtop of this annoying, tuneless riff is random doodling that does nothing to help the song in my view. If you can sit through this section of the song, however, the middle section becoms much more pleasant. Something interesting to me is that I have noticed alot of reviews saying the exact opposite. It seems that I am alone in my opinion that the middle of this song is good. However, it is truly how I feel. Well, actually, at about five minutes in is where I start to truly enjoy this track. So whatever section that is considered to be, that's when things kick back into gear. While that God-awful bass riff does return for a moment, it isn't very long or loud, so it isn't much of a problem. Everything else in this song is fantastic as far as I am concerned. Is it classic Yes? No, but you know what? Nothing ever will be. Ever. Again. Does that mean that we shouldn't listen to the band's modern work? Well, if it's bad, the by all means, pay it no mind, but if it is actually worth listening to, like this album, then I think we owe these guys that much. Nothing will ever be like the old days again, but that doesn't mean that the Yes guys can't release anything fairly decent anymore. Besides, even shoddy Yes work is top-notch for alot of other people. 3.5/5

''Bring Me To The Power'' - The guitar solo at 05:33 truly gave me chills. That's saying a helluva lot considering that Steve Howe hasn't been able to move me with his playing since Relayer. Squire is once again on top of his game, with some very cool funky pop-and-slap playing that compliments this song's undeniable groove well. Anderson sings in a style very reminiscent of Siberian Kahtru to me. As with the previous song as well, ''Bring Me To The Power'' has great acoustic guitar playing. The background vocals are also very good and very welcome. More old Yes stylings are always welcome in my book. The truly melodic, scale-venturing vocal stylings that made Yes' lyrics so prevolent and meaningful was somewhat lost to us in the eightees and it's good to see that Jon, Steve and Chris have all stepped up their game in this regard. It's truly great stuff. Not too short or too long, either, so it's really a perfect song. 5/5

''Sign Language'' - I love, I repeate, LOVE the piano-meets-guitar-meets symphonic opening that this song has. It doesn't particularly remind me of anything Yes-like, but it sure as hell gets me in a very happy mood when I hear it, so it's very enjoyed by myself and I'm sure many other people as well. It's an instrumental track, and while instrumentals can always be either very good or very bad, this one always seems to stay interesting and compelling, while not getting over frilly or pompous. The players take only the amount of time needed to say what they want to say, then they say adeu. clocking in at just under four minutes, the track should never half to be skipped when playing through the album, unless you just can't stand instrumentals. Since you're on this website I doubt that is the case. 5/5.

''That, That Is'' - Hmmm. Well, to be perfectly honest, I'm not all too sure yet as to how I feel about this one. I probably should wait a bit before I review this album just for this one track alone but I have decided instead to openly admit that I am unsure about my feeling regarding this one track. It's ceertainly epic, but is it really worth waiting around through the nearly twenty-minute song just to enjoy the few moments of genious peppered throughout? 3/5, I think? That, that is not my final answer.

''Children Of The Light'' - There is nothing particularly wrong with it per say, and it may even grow on me the more and more I listen to this album (Which I can assure you, I will be doing alot of), but when compared to the other tracks, it just isn't all that impressive. Though, I don't really think 'epic' is what they were aiming for with this track. I think they just wanted a nice little song to close the album proper, and in that thjey truly have succeeded. A nice little jingle with exceptional piano work; nothing more or less. Just decent. I'm a big fan of the funky stuff about four minutes in, however, so that helps the song's score a little bit. Very. VERY Space-Rock-ish, especially for Yes. Quite different. Not everyone who likes Symphonic Prog will go for it, but I think it's very cool. 3.5/5

Overall, I can't really complain. Yes had their day already, and anything they make in more recents years should be accepted for what it is: decent music from a once great band. This is above-average music, truly. Indeed, we may yet hear Yes' final epic in the futur, but for now we will accept what we can from them, and this is a very good effort from all five guys from the classic line-up. By today's standards, it is essential. By vintage Yes standards, it's an excellent addition. On the whole, when put up against the entire archives, it's Good, but non-essential. That's what I'm grading it. The album as a complete piece gets three out of five stars. If you are a Yes fan, you owe it to yourself to buy this album. Just don't expect to be blown away like you were back when Roundabout was new, and you should be generally and genuinely satisfied, even.

Happy listening.