If you like this board should listen to rants ... Yes goes Progressive Pop

... And that's what I take into account. Seldom have I experienced that so much spiteful dirt was dumped on the reviewers to individual positive reviews. Hardly anyone from the camp of the Yes-Hater can here and the feet still keep secrete without anything and to admit his sharp mustard. Rated statements like you would only be a fanboy of any publication of Yes uncritically with five stars are there still to be regarded as rather harmless (for that reason alone I give five and not four and a half, probably more deserving of the album). Anyone who wants can indeed work through all the "baby blues" jumble of comments and the interested reader knows immediately what not so wrong on the whole site with the German reviews of boards in the field of progressive rock is meant. The scathing posts on Amazon were written partly there. Particularly embarrassing is the whole thing when negative comments from other Hatern with so meaningful comments like "SSTRIKE !!" be supplemented. Seen among the comments of the Rezi of "Bobby Bobbel" and you want at such embarrassing exclamations just send these and similar imitators only Schifferl sinking ;-)

And so I'm already at the crux of the matter: Is this album still progressive? I do have difficulty with the definition of what is to be. Does it even matter which drawer is the right one when the tunes fit? But even with a purist exegesis of the term, I would say it is probably at least to Progressive Pop ... similar to Genesis have drilled with the Duke album at that time. But at the time to pop the transition from rock. But a transition may the advanced age of the protagonists (except Jon Davison) and given the fact that Yes has actually already left the subject pop with "90125" and "The Big Generator" behind him, not really be any question , Speaking Jon: This sounds more like Jon (Anderson) as the latter now even already in the albums of Davison's master band Glass Hammer was sometimes more Yes it than in what Yes has produced over the past decade.. Consequently, he now has the job at Yes. The fact that he has also been involved in the songwriting makes it certainly more a part of the band as his predecessor David Benoit, who was no longer in fact than the singer of a Yes tribute band to the great original offered time for an album and a tour a job ,

On the songs you have not even received great - many of the benevolent Rezis this are detailed enough so that I would only slightly add to: It's really true, the songs are full of surprising twists, nothing's really predictable despite mostly catchy melodies. With each listening test there are new things to discover. All in all, you get the feeling they would have sounded the Beatles when they at that time not resolved and imprisoned for a month in the Abbey Road Studios and heard between shots only Yes. If you want a comparison with the Yes 70erjahre sought: The songs are somewhere between pop "Time and a Word" and the mysterious "Wonderous Stories". And exactly with this statement also comes in spite of the rather catchy nature of this board my conclusion: Somehow it sounds damn afterYes and I do not understand this affige excitement. "Time and a Word" was also just (good) pop music!

Must hear: Believe Again, to ascend, Light of the Ages (terrific with his great vocal harmonies!), Subway Walls (Prog in its pure form but without Gefrickel)
Nice to hear: The Game, in A World of Our Own
Weak spots: Step Beyond, It Was All We Knew