Benoit David replaced Jon Anderson, the founding member and longtime vocalist for Yes. Fans were split over whether this was the correct thing for the band to do, as Anderson has appeared on all Yes albums other than Drama, when he was replaced by Trevor Horn. Some Yes fanatics viewed it as musical blasphemy to replace the singer while others accepted it as just the way things go in the twilight of classic rocker’s careers; if this is what it took to keep Yes on the road then so be it.

David filled a tough role, coming from a Yes tribute band; he knew the songs and the moves yet he was not the small, elflike Anderson. In a live setting he does a respectable job, however, he can’t hit the high notes the way Anderson does, and, despite his best intentions, it just isn’t the same without him.

That sentiment can be said for this album as well. Musically, it is complex and laborious, as most Yes albums are. Yes fans will totally dig the six-part title track as it is as close to classic Yes as this band has released in some time. However, the album lacks personality, precisely Anderson’s personality. The same can be said of Anderson’s solo, or his collaborations with former Yes keyboardist Rick Wakeman; these releases lack Yes’ personality. Yes has always been a sum of the parts and larger than just one person, but when you mess with the nucleolus, it can be counterproductive.

The high spots on the new album are “Into the Storm” and “Solitaire.” Both of these songs show a band that is still firing on all cylinders. Again, it is not that Yes has declined in their musicianship; it is just that it is not same. Imagine the Stones without Jagger, the Beatles without Lennon, the Who without Daltrey or Zeppelin without Plant. It is not that good music would not be made; it is just that the recipe would taste a little different as the key ingredients are skewed.

The replacement world is an odd one. Journey can do it as can Foreigner. AC/DC and Van Halen both pulled it off. Yes, however, is best when it is Anderson, Wakeman, Squire, White and Howe on stage.

Ironically, the album was produced by Anderson’s replacement, Trevor Horn, who also produced the massively successful album 90125. This time, he found some decent songs but he couldn’t pull of the magic that albums 90125, Fragile and Close to the Edge contain.

This is a good album, not great, yet it is a must-own for Yes fans. For the rest of the music community, this one won’t disappoint but it won’t keep finding its way back into your CD player like other Yes albums do.

By Jeb Wright