2008 began as a promising year for Yes. The classic-lineup was planning a world tour to celebrate the band’s 40th anniversary and hopes were high that new studio material might be forthcoming. Instead, lead singer Jon Anderson faced a series of life-threatening illnesses and keyboardist Rick Wakeman (facing health restrictions of his own) bowed out of the tour. Suddenly, Anderson and Wakeman, two signature elements in the Yes sound, were unavailable.
Jon and Rick really are irreplaceable, but the remaining core of Yes made the controversial decision to soldier on with two new members. Benoit David, a Canadian singer in a Yes tribute band was asked to step into Jon’s shoes and Oliver Wakeman, Rick’s son, was handed his father’s old cape so to speak. For old guard fans, the newest configuration of Yes had morphed into a tribute band.
It is hardly surprising that the Benoit configuration of Yes has taken its share of hits from many long-term fans of Yes. What is surprising is that the Benoit era is proving to be something of a scrappy success. Since 2008, Yes has released, Fly from Here, the group’s best studio album in ages, and In the Present: Live from Lyon, which features a well-chosen set list, great sound, and feisty performances.
Benoit is a singer who can sound enough like Anderson to make you temporarily forget that you are not hearing the real thing. Benoit has a good voice, probably better suited to Broadway than rock, but his voice lacks the magic ease Jon has with high notes. On In the Present, Benoit does occasionally show signs of strain in his higher register, but he does a respectable job, and then some, performing Yes classics like Heart of the Sunrise, And You and I and Starship Trooper. Sonically and artistically, the version of Roundabout on the In the Present is one of the best I’ve heard live.
Newcomers Benoit and Oliver are at their best, however, in Machine Messiah, a track from the vastly underrated Drama album. The original version featuring Trevor Horn who had replaced Jon Anderson on vocals, had not been performed live since 1980. The live performance here is something of a revelation as the instrumental interplay between the band members and the strength of Benoit’s vocals exceed the high levels of the studio version.
Southside of the Sky works well too, though the musical chemistry between Oliver and Steve in the climatic instrumental battle does not quite match the musical rapport Steve has displayed with Rick in the past. Nevertheless, In the Present provides a snapshot of cohesive band that can still generate musical sparks. True, the tempos of these songs are slower than in yesteryear, but the music sounds spacious and mostly fresh. Steve Howe is particularly inventive throughout. For instance, I especially like his referencing a lick from Pacific Haze in the rarely performed Astral Traveler, a song which demonstrates some of the blistering energy of old and a concise and musically engaging drum solo by Alan White. Steve’s acoustic solo, Corkscrew, is a tasteful gem.
Finally, the bonus DVD of In the Present Live contains a worthwhile 52 minute documentary on the band, which includes full video performances of Roundabout and Machine Messiah. Sonically and visually these tracks show Yes in fine form.
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