From a Page (2019)
1. To the Moment (Single Mix)
2. To the Moment
3. Words on a Page
4. From the Turn of the Card
5. The Gift of Love
If you’re even bothering to read this review, some context is in order. Like many classic rock outfits with decades-long careers, Yes has fallen victim to what you might call “release overkill.” Somewhere along the line—probably egged on by overly eager record execs—they became the poster child for excessive live albums, endless greatest-hits packages, and more compilations than anyone could ever reasonably need. I try to review everything an artist puts out, but in Yes’s case, I simply don’t have the stamina to tackle every new live album they seem to churn out on an annual basis.
Which brings us to this particular release. Depending on which version you come across, you might roll your eyes at what looks like yet another redundant latter-day Yes package. Technically, this is a 3-CD set, but the first two discs are just the live recording In the Present – Live from Lyon. I’m not reviewing those here. In all honesty, I doubt I’ll ever even get around to listening to them. What really makes this release noteworthy—and why it earns a spot in these reviews—is the third disc: a studio set of about 30 minutes of new music. That’s what we’re talking about here.
The primary creative force behind this new material is Oliver Wakeman—yes, son of Rick. He’s no stranger to Yes, having toured with them on multiple occasions, but this is the only studio album I know of where he actually left his mark. And here’s the shocker: the results are really, really good. That alone makes this set worth mentioning.
Vocals are handled by Benoit David, who was the band’s frontman during these sessions. Chris Squire was still around at this point, so while Jon Anderson is absent, most of the other signature Yes elements are present and accounted for. Unsurprisingly, the music is fairly keyboard-heavy, given Oliver’s involvement, but it still feels like unmistakable Yes. The classic hallmarks—lush harmonies, fluid instrumental passages, that grandiose, slightly mystical vibe—are all here. I was genuinely surprised at how well it all worked.
Another point in its favor? It’s relatively concise. Well, concise by Yes standards. At around half an hour, it doesn’t overstay its welcome or dissolve into endless noodling. It’s focused, polished, and it hits enough of those classic Yes notes to be both nostalgic and fresh. Honestly, if you’re looking for something new from the band that actually feels like Yes without demanding an hour and a half of your life, this is well worth your time.
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