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FEBRUARY 18, 1998
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Source: The Daily Vault
http://www.dailyvault.com/1998_02_18-jw.html
OPEN YOUR EYES
Yes
Beyond Records, 1997
By Jason Warburg
One of the essential qualities for being a long-time fan of Yes is a
certain doggedness bordering on masochism. You can't like them just a
little, or you'll never last through the lineup and/or stylistic changes
that always seem to be just around the corner. And yet liking them a lot
has got to be one of the most frustrating experiences there is in life,
right up there with phone sex and standing in line at the DMV.
Open Your Eyes finds the band that put progressive rock on the map 25 years
ago trying to find its feet once again with Yes incarnation number 12. No,
the latter figure is not a misprint, although Rick Wakeman has run up the
score a bit by joining and quitting the band four, count 'em, four separate
times in their long history, most recently in 1995-6. This time around the
band tries out its first two-guitar/minimal-keyboards lineup, with
guitarist/co-producer/co-songwriter Billy Sherwood taking over what has
traditionally been Yes' keyboard slot. Keyboard player Igor Khoroshev --
hired as a sideman just weeks before the current tour and this album
surfaced side by side in the aftermath of Wakeman's latest exit --
contributes on three songs, but the sound is still distinctly guitar-heavy.
This is a good thing and a bad thing. In the masterful hands of classic-era
Yes guitarist Steve Howe, the nimble electric leads of songs like "Fortune
Seller" and "Universal Garden" and the sweet acoustic picking on both the
latter and "From the Balcony" melt in your ears. These moments are but
brief interludes, however, on an album dominated by newcomer Sherwood and
bassist/harmony vocalist-for-life Chris Squire, who sound like they're
still fighting through the latter stages of a hangover from the band's
long, unfortunate flirtation during the '80s with arena rock wankery.
Even with this baggage, the talent assembled in this band almost can't help
but spark a few memorable moments. The title track is a ringing piece of
radio-friendly prog-rock, reminding you what the band that made 90125 in
1983 might have been capable of if it had chosen a more inventive musical
path. There are flashes of brilliance in the mix of Howe and Sherwood's
driving guitar lines with Squire's aggressive bass work on both "Open Your
Eyes" and the aforementioned "Fortune Seller," and Squire and angelic lead
voice Jon Anderson remain a dynamite vocal duo.
What appears to have happened in too many cases on this clearly rushed
album, though, is that Sherwood and Squire presented the rest of the band
with a series of excessively poppy basic tracks that were then hurriedly
layered over with Anderson's new age lyrics and the all-too-occasional
bursts of melodic soloing from Howe. What you're left with are a couple of
decent tracks and a mish-mash of hopelessly compromised songs like "No Way
We Can Lose," "The Solution" and the truly abysmal "Man in the Moon." The
latter offers the sharpest contrast of all, practically a musical
contradiction in and of itself. There's a laughable lyric ("Round and round
and round I go / Where I stop no one will know / I am the man / I am the
man in the moon"), utterly forgettable Sherwood power chords, Anderson
sounding dangerously like Pat Boone as he chirps "It's that old devil
moon"... and Howe chiming in during the final minute with a diving,
trilling solo that leaves you shaking your head at what might have been.
But Yes has a dark history of schizophrenic shifts in quality. What other
band could come up with both the transcendent rock symphony of Close to the
Edge and the lifeless, vapid Talk? At this late date, hanging on as a fan
of Yes is almost an act of faith. It's affirmations like the band's current
tour -- in which they are playing their classic '70s material as well as
they have in 20 years -- and their other album from last year, the
neglected, Wakeman-inclusive gem Keys to Ascension 2, that keep the
long-time fans tuned in. If not for these reminders of the band's
already-written legacy of greatness, botched rush-jobs like Open Your Eyes
might leave even the faithful questioning their own patience.
RATING: C-
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