Drama: The Yes Album That Almost Wasn't
In the world of rock music, few bands have experienced as much drama as Yes did in 1980. The British progressive rock band, known for their complex compositions and virtuosic musicianship, faced a significant lineup change that year. Jon Anderson, the band's iconic lead vocalist, and Rick Wakeman, the flamboyant keyboardist, both left the group due to creative differences and exhaustion from relentless touring. This left Yes in a precarious position, as they were scheduled to record a new album. The remaining members, Chris Squire, Steve Howe, and Alan White, were determined to keep the band alive. They recruited Trevor Horn and Geoff Downes from the Buggles, a new wave band best known for their hit "Video Killed the Radio Star." This unexpected collaboration resulted in the album "Drama," recorded in London and released in August 1980.
"Drama" marked a significant departure from Yes's previous work. The album's sound was more modern and accessible, incorporating elements of new wave and electronic music. This was a stark contrast to the band's earlier, more intricate compositions. The addition of Horn and Downes brought a fresh perspective to the band's music, but it also alienated some long-time fans who were attached to Anderson's distinctive voice and Wakeman's elaborate keyboard solos. Despite the mixed reception, "Drama" managed to reach number two on the UK Albums Chart and number 18 on the US Billboard 200, proving that Yes could still find success even amidst turmoil.
The album opens with "Machine Messiah," a ten-minute epic that showcases the band's ability to blend complex arrangements with catchy melodies. The track features heavy guitar riffs from Steve Howe and a driving rhythm section, complemented by Downes's synthesizers. Horn's vocals, while different from Anderson's, bring a new energy to the band's sound. Other standout tracks include "Tempus Fugit," a fast-paced song with intricate bass lines from Chris Squire, and "Into the Lens," which highlights the band's experimentation with electronic elements.
While "Drama" was a commercial success, it was not without its critics. Some fans and critics felt that the album lacked the depth and complexity of Yes's earlier work. They argued that the new lineup could not replicate the magic of the classic Yes sound. However, others appreciated the band's willingness to evolve and adapt to the changing musical landscape of the early 1980s. The album's more straightforward approach and modern production appealed to a new generation of listeners who were discovering Yes for the first time.
The tour that followed the release of "Drama" was also met with mixed reactions. Some fans were disappointed by the absence of Anderson and Wakeman, while others were impressed by the new lineup's ability to perform the band's classic material. Trevor Horn, in particular, faced the daunting task of stepping into Anderson's shoes, and while he received praise for his efforts, the pressure eventually led to his departure from the band after the tour concluded.
Despite the challenges and controversies surrounding "Drama," the album remains an important part of Yes's discography. It represents a period of transition and experimentation for the band, as they navigated the changing musical landscape of the 1980s. The album's legacy is a testament to Yes's resilience and ability to adapt, even in the face of adversity.
In the years since its release, "Drama" has gained a cult following among Yes fans. The album's unique blend of progressive rock and new wave elements has been re-evaluated and appreciated for its boldness and innovation. It serves as a reminder that sometimes, out of chaos and uncertainty, creativity can flourish, leading to unexpected and exciting new directions.