An Evening of Yes Music Plus (1993)
Disc One
1. The Young Person's Guide to the
Orchestra
2. Jon Anderson Solo: Time and a Word/
Owner of a Lonely Heart/Teakbois
3. Steve Howe Solo: Clap/Mood for a Day
4. Rick Wakeman Solo: Madrigal/Catherine
Parr/Merlin the Magician
5. Long Distance Runaround
6. Birthright
7. And You and I
8. Starship Trooper
Disc Two
1. Close to the Edge
2. Themes
3. Brother of Mine
4. Heart of the Sunrise
5. Order of the Universe
6. Roundabout
Here we go again—another Yes album that isn’t technically a Yes album, at least in name. After releasing their self-titled Anderson Bruford Wakeman Howe album in 1989, the inevitable next move was a tour. And really, who was surprised? This was the lineup many fans had been waiting to see back together, even if they couldn’t use the Yes brand on the marquee. Naturally, that meant the shows leaned heavily on the classics. Which, in theory, is exactly what you want from a project like this. For the most part, it delivers.
The good news first. This was, arguably, the “core” classic-era lineup (minus Chris Squire) playing live together for the first time since around 1972. The old warhorses—Close to the Edge, And You and I, Heart of the Sunrise—still sound strong, reminding you why these guys were considered the gold standard of prog rock stagecraft. Even the new material, which left a lot to be desired on the studio record, breathes better in this setting. Cuts from the ABWH album actually come off as more organic and engaging, helped along by the raw energy of a live crowd. You get the sense the band is enjoying the chance to reclaim their legacy, and for much of the set, they pull it off admirably.
But then there’s the weird stuff. For reasons known only to them, they decided that *before* launching into any proper songs, each member would do a solo feature. Not scattered throughout the set, mind you—right at the top. It’s a peculiar choice. Maybe they thought it was the best way to “introduce” themselves to newer fans? Or perhaps it was just a bit of ego-massaging all around. Either way, the pacing suffers. You’re left with this awkward opening act of disjointed solo showcases before you get to the meat of the concert. It’s certainly unique—but not in the way you want a setlist to be.
And then there’s the elephant in the room: Bill Bruford’s drums. Like the studio album, Bruford leans *heavily* on electronic percussion here. Actually, scratch that—he seems to use *only* electronic percussion. And while electronic drums were very much the late-80s/early-90s thing to do, there’s a difference between tastefully incorporating them and going all-in. Phil Collins or Neil Peart might have played with pads on a song or two. Bruford went full “thwack-thwack-thwack” the entire set. On new songs, it’s passable, if uninspired. But on the classics? It’s borderline criminal. Hearing Close to the Edge with that relentless synthetic clatter is enough to make you hit the skip button in despair. Bruford has always been the band’s resident contrarian, and here he sounds like he’s rebelling against the very idea of a reunion tour. Perhaps he saw it all as a bit of a nostalgia cash-in and decided to amuse himself with his new toys instead.
And that’s really the problem. As a document, this live album is fine—a snapshot of what this short-lived lineup was up to at the time. But it’s hardly essential listening. With so many other great live Yes albums out there—Yessongs, Yesshows, this one feels more like a curiosity than a must-have. It’s an artifact of a reunion that was equal parts exciting and awkward. Fun to revisit once in a while, but rarely the first live record you’d reach for when you want to hear Yes in their prime.
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