ANDERSON BRUFORD WAKEMAN HOWE

This album surprised me. What I had heard about it was that this was more along the lines of what many considered the "Classic Yes" sound; after all, wasn't that why Jon had decided to collaborate with three of the Yes-men of years prior despite still being in Yes?

While it does have a bit more in common with that era than the Rabin-era Yes music, a lot of changes have occurred in the Yes-camp. These four artists hadn't all worked together since Close To The Edge, but I'd say this kind of sounds like a combination of Tormato and Big Generator.

The 80s were here and there is no doubt about that on this album. Bill Bruford is happy to use synthetic drums. Rick Wakemans keys have a pretty strong '80s feel. Steve Howes guitar, on occasion, features a bit more of an AOR edge than it ever did in the '70s.

Of course, a change of sound was inevitable. Steve Howe had since been in Asia and found great success there. Rick Wakeman had been doing his own thing for nearly a decade. Bill Bruford hadn't been in Yes for over fifteen years, working on his solo material, in King Crimson, and in UK since those days. Jon had spent his years working with Rabin on the more pop- oriented Yes sound.

When all is said and done, it's actually kind of refreshing, if not what I expected. The songs are enjoyable (Teakbois is probably my favorite), and they don't sound like they are trying too hard to be what they once were (they tried that years later on Keys to Ascension and it earned them only one really great song).

So this is definitely an enjoyable album, giving an impression of what Yes might have sounded like had they incorporated the '80s into their existing sound instead of breaking and reforming like they actually did. It's not as good as their best material from the '70s (and I don't think quite as deep), but still an enjoyable listen.

Chris Squires presence though is greatly missed, both on the bass, and in the backup vocals which just don't sound quite as full.