Yes: Drama (Expanded And Remastered) CD Track Listing

A list by checkmate

Yes Drama (Expanded And Remastered) (1980)
2004 Rhino/Elektra Entertainment, Inc.\n(Mini LP CD Packaging)\nOriginally Released August 18, 1980\nGold CD Edition Released N/A\nRemastered Edition Released October 18, 1994\nJapanese Mini LP Version Released July 25, 2001\nRhino Remastered & Expanded CD Edition Released February 24, 2004\n2001 East West Japan, Inc.\n\nAlbum Details (Mini LP CD Packaging)\nJapanese limited edition featuring High Definition Digital Rematersing (HDCD) a miniature gatefold LP style sleeve for initial pressing. \n\nAMG EXPERT REVIEW: For this one album, ex-Buggles Geoff Downes and Trevor Horn were drafted in to replace Anderson and Wakeman. It rocks harder than other Yes albums, and for classically inclined fans was a jarring departure; but it was a harbinger of Yes and Asia albums to come. A newly emboldened Squire lays down aggressive rhythms with White, and Howe eschews his usual acoustic rags and flamenco licks for a more metallic approach, opting for sheets of electric sound. Prime cuts include the doom-laden "Machine Messiah" and the manic ska inflections of "Tempus Fugit." Despite the promise of this new material, the band soon fell apart; Horn went into production, Howe and Downes joined Asia, and Squire and White toyed and then gave up on a pair-up with Robert Plant and Jimmy Page, which was to be titled XYZ (i.e. Ex-Yes and Zeppelin). -- Paul Collins\n\nAmazon.com Customer Review\nFinest Yes Album, November 5, 1999 \nReviewer: Sean from Pittsburgh,PA USA \nDespite how some Yes fans feel about this album, I think "Drama" is the greatest work of the band's long career. The only problem with this record is it's too short. From start to finish, "Drama" is a brilliant effort; Trevor Horn turns in some terrific vocals (proving himself more than worthy of taking Jon's place)--the harmonies with Chris and Steve soar higher than on any other Yes album. Chris Squire does the best bass playing of his career on "Drama", Andy White and Steve Howe likewise. The single most noticeable difference between this lineup and any other is the sheer heaviness of the sound; while there are many gorgeous and exquisite passages to be found, "Drama" rocks heavier than any other Yes album. Maybe this was due to the new members Horn and keyboardist Geoff Downes (who by the way is awesome too) but it seems to be the rhythm section really driving it. Lyrically, the songs are dark and forward-looking, then more inward; and you'll be hard-pressed to find better lyrics than "Machine Messiah" and "Tempis Fugit" on any progressive-rock album by any artist. In fact, I consider those two tracks to be the very greatest Yes songs yet. Why they have seemed to have fallen by the wayside is just beyond me. I liked "Drama" when it came out in 1980, but over the years I've grown to love it more and more--it not only still holds up, it seems to grow more relevant and contemporary with the passing of time. Most of Yes's work does, it's true, and I love every album (except maybe "Big Generator"), but there is something special about "Drama". Those of you who didn't like the album in 1980 should definitely relisten to it now (the cd remastering is superb)--considering all that has transpired in the years since, you may appreciate the album now. Those newer Yes fans who may have never heard "Drama" MUST pick it up; it's an essential work and a true milestone in their career. Not everyone will agree with me, but "Drama" is pure Yes. \n\nAmazon.com Customer Review\n"Drama" is good from start to finish, May 23, 2001 \nReviewer: David Hugaert from Honolulu, HI United States \nWhen Jon Anderson and Rick Wakeman left Yes after the band's noticeably better than average 1978 album "Tormato" was released, it would appear to be kaputz, as far as this legendary progressive rock group's musical craftsmanship and output was concerned. Trevor Horn and Geoff Downes (both formerly of the new wave group "The Buggles", who had a hit with "Video Killed The Radio Star", released in 1979. It was also the very first video MTV aired in 1981.) both prove to be able replacements for both Anderson and Wakeman, although Horn's vocals don't have quite the zip and charisma that Anderson displayed. As far as Downes' keyboard style is concerned, when compared with Wakeman's style, Downes seems to rely less on technique and more on rapid-fire playing. This kind of musicianship seems out of place on a Yes recording, but nevertheless, it works on "Drama". The CD begins with a roaring guitar fade in, courtesy of Steve Howe on "Machine Messiah", and continues with foot-stomping vigor throughout the track. Things come to a standstill on the brief and regressive "White Car". Then the progressive embracings return to life on "Does It Really Happen?" The most interesting piece, as well as the best track musically here, a mechanical, musical machine known as "Into The Lens", possibly earns Yes gold star status, complete with a mixture of Steve Howe's remarkable guitar and Chris Squire's over-the-top bass playing. "Run Through The Light", seems to be a little nonchalant and very overplayed. "Tempus Fugit" closes out "Drama" on a strong note, complete with an answer to Yes! The lyric quality here may not be as strong, as is the case of Yes' other albums, but perhaps the strongest track in the Lyrics, Incorporated Dept as far as "Drama" is concerned, would have to go to "Into The Lens", with its overly cliched line "I Am A Camera". But, what makes "Drama" all the more unique, is due to the fact this was Jon Anderson's only album on which he did not appear - unique in a way that Jon's contributions to the band have always been surprisingly stellar to most Yes fans (including myself). Therefore, he has brought many a good idea to the creative Yes table throughout his long and glamorous career, so its hard to imagine any Yes lineup without him. To many Yes fans, his presence was sorely missed on an album of this style, but not for long, as Yes continued to grow and change in the years ahead, with Jon Anderson back in the fold, including another original member, Tony Kaye. Together, these two revamped Yes with a totally new look, as well as a new sound in the early '80's, although their new sound wouldn't quite match their magnificent early '70's albums. Even die-hard fans of this legendary group, as well as those who are new to Yes' music, will find that "Drama" will grow on them after a few listens. So, even if the music still doesn't appease you after a few listens, then please buy it for Yes artist Roger Dean's illustrious cover art, which is absolutely breathtaking, and is worth the price of "Drama" alone. Grab this ultimate masterpiece today! \n\nAmazon.com Customer Review\nOne must look beneath the surface..., October 18, 2000 \nReviewer: mh53465 from Kansas City, Missouri United States \n...beyond faces and names and approach Drama completely open-minded and without preconceptions of any kind. If you take the view of comparing this to other Yes albums, chances are you will end up using the CD as a coaster. Drama fails somewhat miserably when compared as such. But if you take the alternative view, look beneath the surface, beyond mere appearances, and approach this strictly based on the music, you will probably enjoy Drama, but not all of it. Which makes for both an engaging and troubling listening experience. Hence the 3 star rating. From a sonic standpoint, Drama is perhaps the heaviest Yes record, and somewhat of a precursor to the polished album-rock pop style that surfaced later on 90125. Even though this was the end for Yes (at the time), you could hear the future in the present: the art-rock pop leanings of Steve Howe and Geoff Downes's next group Asia. Howe seems to re-invent his style here, moving more into a rock based approach, and away from his previous jazz, classical, and country leanings. It is interesting to note that Howe used all solidbodied guitars (a Les Paul, a Telecaster, and a Stratocaster) as opposed to the hollowbodies he favored before. He has a much heavier sound here than on previous albums. Downes, even though this was his only appearance on a Yes record, brought a welcome freshness to the sound and a sharp contrast from Rick Wakeman's excessive style with his tighter melodic rhythms that would play such a huge role in Asia's early success. His approach was in support of the melody as opposed to playing over it, yet when turned loose, Downes displayed great chops. As for the rhythm section, Alan White is at his most bombastic on this record. His drum sound here is huge, and way out front in the mix. Even with the less progressive nature of the music, he still plays some complex parts, such as the deceptive pattern (not as easy to play as it sounds) on the intro to "Machine Messiah" and the nice 4/4 to 5/8 time shifts on "Does It Really Happen?". It is Chris Squire, however, who really comes to the front on Drama. This record is arguably the best display of his bass prowess. It appears to be a bit of a coincidence that at this point, Squire was the lone surviving original Yes member, and he uses his tenure to dominate the proceedings like never before. He is essentially the lead player on this album, as it appears many of the songs appear to constructed around a bass groove. He is also more out front vocally as well. As for the songs themselves, they are a mixed bag. "Machine Messiah" is perhaps the best song here, a mini-epic in true Yes fashion with many elements of classic Yes songs- frenzied Howe solos, propulsive Squire bass lines, and wonderful three-part vocal harmony. The intro is very atypical of Yes, sounding something like Black Sabbath(?!) meets Pink Floyd's "In The Flesh?", a slow and doomlike dirge. At first listen, you actually think it is someone else. "White Car" is completely disposable and useless. Why was it even written? It sounds more like a leftover musical idea left undeveloped. If this had been developed into a full song, it may have been interesting. In this form, it's merely filler. "Does It Really Happen?", with its pseudo-dance groove, is the poppiest song Yes ever wrote to this point, and the best indication of the future Yes sound. "Into The Lens" is equally catchy (musically) and annoying (lyrically). It probably would have been better if it had been a bit shorter. As it is, it drags too long. "Run Through The Light" is the most concisely structured song, a track that screams "single!". Howe's guitar performance on this song points sonically towards his Asia work. The bass line, actually played by Trevor Horn, adds a novel, arty element to the song. "Tempus Fugit" has a punky new wave feel to it, a song that belongs in its time and nowhere else. With such a title (Latin for "time flies") you would think it would be much more progressive, but actually feels more like a dated, late 70's new wave song. A really cool Squire bass line and some nice vocals here though. Not the best place to go to start a collection, but mostly for completists, those who happened to like Asia's first album and Yes's 90125. That is, if you can get past the name on the cover. \n\nAmazon.com Customer Review\nyes' finest moment?, April 30, 2000 \nReviewer: jason m carzon from bowie maryland \nDrama remains possibly my favorite of Yes' albums-there's a metallic, futuristic energy here lacking from their previous one, Tormato. History has dismissd the album, wrongfully so, I must add- Geoffrey Downes(replacing Wakeman)has a tasteful, modern sound which never overkilled for the sake of it, unlike with Wakeman, who often just didn't know what to stick into a song other than more classical noodling. Witness his own textures in 'White Car' and 'Tempus Fugit'. His style was more looking ahead than regurgitating mellotron sounds of the past. Drama is one of the most Steve Howe-heavy Yes albums as well- no Wakeman solos or Anderson fairy-slop to slow him down this time. His solos on 'Run Through The Light' are among his best ever. No joke. Squire and White's rhythm section is tighter than ever here, but the real treat here in my opinion was Trevor Horn. Sure, he wasn't Anderson, but that's the point of getting a new singer- to add a different element that wasn't there before, even if it means replacing what was there before. Come on- would some hippy Anderson wannabe replacement really have been acceptable? Horn's contributions on Drama were strong. His image(a suit & tie and large glasses, somewhat of a New Wave elton john)were different, taking Yes into a more down to earth realm, while still retaining their instrumental mastery. Had the fans and the companies not been close-minded about the Drama era Yes, the next album probably would have been big, like the first Asia album and 90125 rolled into one. Don't ignore this album! It's the freshest sounding thing they've done- the band were coming out of a dark period(the ill-fated aborted Paris sessions album which never got released)and were ready for the 80's. The band were revved up and the music reflects it. No Anderson cosmic hippy preaching on this album(a BIG problem with Yes these days), just solid Yes music that could have went somewhere had people of the time given it an honest listen instead of resisting change and being left by the wayside when time rolled away from a lot of the 'Fragile-and-nothing-else' Yes fans of the 70's. A high energy, gleaming metal alloy album not to be dismissed. Only flaw is that it seems short, but a lot of albums from that era were. Click on your Amazon and grab it today! I never get tired of this one. \n\nHalf.com Album Credits\nHugh Padgham, Engineer\nYes, Producer\n\nAlbum Notes\nYes: Trevor Horn (vocals, bass); Steve Howe (guitar, vocals); Geoff Downes (keyboards); Chris Squire (bass, vocals); Alan White (drums).\n\nRecorded at the Town House, London, England.\n\nAll tracks have been digitally remastered.\n\nIt was widely assumed that when vocalist/songwriter Jon Anderson left Yes at the end of the '70s, the band was doomed. Most folks forgot that bassist/composer Chris Squire was the other founding member of the band, and he had as much to do with their sound as Anderson. It was surprising enough when the band decided to continue with a new vocalist and keyboardist. It was even more surprising when the new members turned out to be Trevor Horn (later a famed pop producer) and Geoff Downes (who would soon depart with Steve Howe for Asia). And it was downright shocking when the resultant album DRAMA turned out to be a great one. \n\nWhile Horn's voice is in the same general range as Anderson's, he tends to blend more with the vocals of Howe and Squire for a distinctive three-part harmony sound. Similarly, the individual instrumental statements of Howe and Downes avoid grandstanding in favor of the group dynamic. Consequently, DRAMA is one of Yes' most direct, concise offerings, full of relatively short songs that still maintain all the Yes hallmarks. Anderson diehards should leave their inhibitions at the door.
This rock cd contains 16 tracks and runs 79min 16sec.
Freedb: dd129210
Buy: from Amazon.com

Categories

Latest lists

Yes: Drama (Expanded And Remastered) CD Track Listing

Category

Tags

cyList

Legal