Yes 2012 Fly From Here Tour

It was a steamy night Sunday at the Bergen County Performing Arts Center in New Jersey, but not just because the AC in the building was out of order.  Yes was on stage and they were smoking hot.  Musically speaking, this was one the best performances I’ve seen in ages.  There is no question the band has taken heat from fans over the last couple of tours for slower tempos, inconsistent vocals, and what some perceived as tepid performances.  However, the Yes I saw on Sunday was tight, cohesive, energetic, well-rehearsed, and practically combustible.

Musical sparks were apparent from the start.  Steve Howe smoldering solo in Yours is No Disgrace was a model of tension-building and pyrotechnical fretwork.  It is hard to think of a more dexterous, inventive, or spontaneous-sounding guitarist.   Howe lit the match, but the rest of the band was just as explosive.

Newcomer vocalist Jon Davison is going to impress most Yes fans.  His appearance and stage presence conjure up images of a younger Jon Anderson.  Comparisons to a legend like Anderson would be unfair, but Davison has a terrific voice and an ability to handle high notes with ease.   With Davison at the helm, this line-up sounds very much like the Yes of yore.

The set list was well-chosen and satisfying.  With Geoff Downes back in the fold it makes sense to revisit the Drama era, which the band did with a blistering version of Tempus Fugit.  This is a song that requires a heart-pounding pace and pinpoint instrumental precision, but Yes managed to find the right balance between finesse and firepower.

It was great to hear Yes perform the quirky Paul Simon song, America.  The song first appeared on the compilation album, Yesterdays, way back in the mid seventies.  The tune has always been something of an oddity in Yes’ catalogue; it is not quite an epic, but it is fascinating to hear Yes take someone else’s folk song and use it as the basis for an extended progressive rock workout.  By this time, it was clear the band was firing on all cylinders.

Fly From Here is the band’s is longest epic ever.  To my mind, Fly From Here does what Yes’ best music has always done: it takes listeners on a musical journey.  The production on the studio album is terrific, but hearing the piece performed live in its entirety made me appreciate the band’s achievement even more.  There were many shining moments in the set (Steve Howe’s sublime steel pedal work near the end of Sad Night at the Airfield comes to mind).  But none were more satisfying than Chris Squire’s understated bass interlude, which seemed to me to perfectly convey the feeling of repose Squire must feel at having steered the band through stormy seas to create such a truly fine musical work at this stage of their career.

The magic continued with Wondrous Stories, one of Yes’ most concise and beautiful songs.  Once again, Davison shined on vocals, particularly during an effortless high note during the coda.  Heart of the Sunrise followed and it gave drummer Alan White and Squire a chance to show that they are one of the most dynamic, creative, and accomplished rhythm sections in rock music.  However, the highlight of the evening was the spellbinding version of Awaken.  Here, the pagan ferocity of Howe’s fretwork was perfectly matched by Downes’ celestial keyboard work.  Suffice it to say, the standing ovation Yes received was well-deserved. 

New Asia Album XXX Review

Thirty years ago, Asia streaked across the sonic horizon like brilliant meteor. The progressive-pop supergroup’s first album seemed full of portent, but Asia’s career fizzled when egos collided and the band’s follow-up LP, “Alpha,” failed to generate the same impact.

The original Asia reformed in 2007. Since that time they have reignited their career with an impressive trio of studio albums, which come close to recapturing the musical sparks and lightning that abounded on their debut. The group’s first comeback album, “Phoenix,” featured exceptionally well-crafted ballads, like “An Extraordinary Life,” which reflected a mellower, more reflective, but still highly melodic approach by the band. The group followed with “Omega,” which once again melded strong melodic hooks with a pensive outlook.

By any standard, “Phoenix” and “Omega” represent strong efforts by seasoned pros. But the new album, “XXX” is the one that does the most to rekindle the musical fury and scintillating energy of the first album. The album gets off to a rousing start with “Tomorrow the World,” a scorching rocker than manages to be both gritty and sublime at the same time. The instrumental introduction sounds like it belongs on a Yes album, which is not surprising given that guitarist Steve Howe and keyboardist Geoff Downes are involved. The interplay between Downes’ haunting piano and Howe’s wraithlike guitar creates an atmosphere as exotic and magical as the lush landscape depicted by Roger Dean’s cover art.

John Wetton is a singer who can grab the reigns of a song like few others. His husky baritone sounds better that it did thirty years ago, which is amazing. Carl Palmer’s kinetic chops are still second to none. The forward momentum and propulsive energy these four musicians create on the opening track is truly astounding. Crank up the volume and it is 1982 all over again. There is very little let up on the rest of the album. “Ghost of a Chance” seems to borrow melodic ideas from “The Last to Know” from Asia’s 1983 album, “Alpha,” but the new entry far outshines its predecessor. “Bury Me in Willow” is graceful pop, which features Wetton’s lyrics at their best; which is to say breezy, slightly philosophical, but disarmingly charming.

A song like “Faithful” could easily have come across as cloying, but somehow Wetton and the band manage to sound beguilingly sincere without coming across as saccharine. I especially like the acoustic version of “I Know How You Feel” (bonus version), where Howe’s acoustic guitar and Wetton’s vocals complement one another so well. Only “Reno” (bonus track), which sounds like it could become the theme song for the Nevada State Gaming Commission, and “Judas,” an up tempo song about betrayal, fall short. Otherwise, “XXX” represent an exceptional effort and a true return to form for a band that has the musical firepower to astound. Shooting stars like this don’t come around very often, but you don’t want to miss them when they do.