プライム無料体験をお試しいただけます
プライム無料体験で、この注文から無料配送特典をご利用いただけます。
| 非会員 | プライム会員 | |
|---|---|---|
| 通常配送 | ¥410 - ¥450* | 無料 |
| お急ぎ便 | ¥510 - ¥550 | |
| お届け日時指定便 | ¥510 - ¥650 |
*Amazon.co.jp発送商品の注文額 ¥2,000以上は非会員も無料
無料体験はいつでもキャンセルできます。30日のプライム無料体験をぜひお試しください。
この商品をお持ちですか?
ドラマ(紙ジャケ SHM-CD)
| 仕様 | 価格 | 新品 | 中古品 |
|
CD, CD, インポート, 2004/2/24
"もう一度試してください。" | CD, インポート | ¥929 | ¥792 |
|
CD, 2006/6/21
"もう一度試してください。" | 1枚組 | ¥1,710 | — |
|
CD, 限定版, オリジナルレコーディングのリマスター, 2009/7/22
"もう一度試してください。" | SHM-CD, オリジナルレコーディングのリマスター | ¥2,214 | ¥2,214 | ¥1,502 |
|
CD, 限定版, 2001/6/20
"もう一度試してください。" | 限定版 |
—
| ¥4,063 | ¥980 |
|
CD, インポート, 1989/9/6
"もう一度試してください。" | インポート |
—
| ¥14,495 | ¥4,095 |
|
CD, 1990/2/25
"もう一度試してください。" | 1枚組 |
—
| — | ¥385 |
|
CD, CD, オリジナルレコーディングのリマスター, 1994/10/13
"もう一度試してください。" | CD, オリジナルレコーディングのリマスター |
—
| — | ¥563 |
|
CD, 1996/3/25
"もう一度試してください。" | 1枚組 |
—
| — | ¥880 |
|
CD, オリジナルレコーディングのリマスター, 2016/2/24
"もう一度試してください。" | オリジナルレコーディングのリマスター |
—
| — | ¥1,560 |
よく一緒に購入されている商品

対象商品: ドラマ(紙ジャケ SHM-CD)
¥2,214¥2,214
最短で11月4日 土曜日のお届け予定です
残り2点(入荷予定あり)
総額:
当社の価格を見るには、これら商品をカートに追加してください。
ポイントの合計:
pt
もう一度お試しください
追加されました
一緒に購入する商品を選択してください。
この商品をチェックした人はこんな商品もチェックしています
ページ: 1 / 1 最初に戻るページ: 1 / 1
曲目リスト
| 1 | マシーン・メシア |
| 2 | 白い車 |
| 3 | 夢の出来事 |
| 4 | レンズの中へ |
| 5 | 光を越えて |
| 6 | 光陰矢の如し |
| 7 | レンズの中へ(アイ・アム・ア・カメラ) (シングル・ヴァージョン) (ボーナス・トラック) |
| 8 | 光を越えて (シングル・ヴァージョン) (ボーナス・トラック) |
| 9 | ゴー・スルー・ディス (ボーナス・トラック) |
| 10 | ソング・No.4 (ボーナス・トラック) |
| 11 | 光陰矢の如し (トラッキング・セッション) (ボーナス・トラック) |
| 12 | 白い車 (トラッキング・セッション) (ボーナス・トラック) |
| 13 | ダンシング・スルー・ザ・ライト (ボーナス・トラック) |
| 14 | ゴールデン・エイジ (ボーナス・トラック) |
| 15 | イン・ザ・タワー (ボーナス・トラック) |
| 16 | フレンド・オブ・ア・フレンド (ボーナス・トラック) |
商品の説明
YES デビュー40周年記念 紙ジャケットCD(SHM-CD仕様) 2009年デジタルリマスター音源 英国E式仕様オリジナル・ジャケット再現
1980年作品。バンド創設者のジョン・アンダーソンとリック・ウェイクマンが脱退してしまったため、バグルスのふたりを迎えて制作された異色作。メンバー構成は変わったが、エディ・オフォードやロジャー・ディーンなどの旧来のスタッフを再び起用して、従来のプログレ・ファンも納得させるクォリティに戻った作品。
トレヴァー・ホーン(Vo)
クリス・スクワイア(B)
スティーヴ・ハウ(G)
ジェフ・ダウンズ(Key)
アラン・ホワイト(Dr)
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.2 x 1 x 12.5 cm; 81.65 g
- メーカー : ワーナーミュージック・ジャパン
- EAN : 4943674092093
- 時間 : 1 時間 19 分
- レーベル : ワーナーミュージック・ジャパン
- ASIN : B0026A5TR6
- 原産国 : 日本
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 126,398位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 23,247位ロック (ミュージック)
- カスタマーレビュー:
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2022年12月28日に日本でレビュー済み
Amazonで購入
イエスとは似て非なるもの、でもこれはこれで結構気に入ってます。イエスで一番好きな部分である、リックウェイクマンのキーボードが似合う作風ではもはやなくなってしまったのは残念ですが、変化は必然なんですね。変わってしまっても、やはりイエスが好きなんだなー、とつくづく思います。
2016年7月13日に日本でレビュー済み
Amazonで購入
今回私が購入したのはASIN: B00009Z576、EAN: 0081227379520のコードからなる商品です。CDケースの縁が透明になっており、
7ページほどのブックレットがついています。歌詞も掲載されています。
yesの作品でも数えるほどしかないジョン・アンダーソン不在の作品ですが、トレバー・ホーンのボーカルがジョンとやや似ている
せいか、さほど気にはなりません。むしろスティーブ・ハウやクリス・スクワイア(RIP)の演奏に耳がいきます。両者とも充実した
演奏です。曲のレベルも意外と高く、特に1曲目「machine messiah」と6曲目の「tempus fugit」はニューウェーブを意識したタイトな
曲で、他のyesの作品ではあまりきかないスタイルのせいもあってか印象に残る曲です。10曲と言う大量のボーナストラックが収録
されており、ジョンがボーカルをとっている曲もありますが、いかんせん曲自体にあまり魅力がないので、あくまでおまけのような存在
です。本編だけでも十分楽しめる内容になっています。
7ページほどのブックレットがついています。歌詞も掲載されています。
yesの作品でも数えるほどしかないジョン・アンダーソン不在の作品ですが、トレバー・ホーンのボーカルがジョンとやや似ている
せいか、さほど気にはなりません。むしろスティーブ・ハウやクリス・スクワイア(RIP)の演奏に耳がいきます。両者とも充実した
演奏です。曲のレベルも意外と高く、特に1曲目「machine messiah」と6曲目の「tempus fugit」はニューウェーブを意識したタイトな
曲で、他のyesの作品ではあまりきかないスタイルのせいもあってか印象に残る曲です。10曲と言う大量のボーナストラックが収録
されており、ジョンがボーカルをとっている曲もありますが、いかんせん曲自体にあまり魅力がないので、あくまでおまけのような存在
です。本編だけでも十分楽しめる内容になっています。
2019年11月14日に日本でレビュー済み
Amazonで購入
イエスのベスト
危機 リレイヤー ドラマ
でどうでショー
危機 リレイヤー ドラマ
でどうでショー
2020年9月20日に日本でレビュー済み
Amazonで購入
届くまで時間がかかりました。品物の状況はまあまあでした。
2018年9月19日に日本でレビュー済み
Amazonで購入
スクワイアのベースの凄さが最も耳に残る。ハウもスクワイアも30歳ちょっと。この後に、エイジアやロンリーハートが来るとは。
2022年4月13日に日本でレビュー済み
続々と台頭してくる新興勢力、音楽ムーヴメントによる激しい時代の変化の中、多くの旧来からのブリティッシュ・ロック勢が苦境に立たされていた70年代末期。
イエスの場合もその例外ではなく、その帰結として、本作制作前にジョン・アンダーソンとリック・ウェイクマンという二人のキーパーソンを失うこととなりました。
本作は、そんな二人の代役として新たにバグルズ(テクノポップ・ユニット!当時は大衝撃でした!)の二人を迎え入れるかたちで制作、リリースされました。
1980年の、通算10作目です。
前作では、70年代型のプログレッシヴ・ロックの体裁を維持しつつも、諸々新機軸を打ち出そうと試みていたイエスなのではありますが(ポップ化路線にも大きく足を踏み出そうとしていた)、この新作では、アートワークにロジャー・ディーンを再起用したことでも分かる通り、ある意味揺り戻しというか、より従来からのプログレ路線に立ち返ったような作風となっています。
場面転換や転調、変拍子が多用されるナンバーが多く、ダウンズによるKeyにもかなり重厚かつ荘厳な色が出ていて、その辺りというのは相当に本格派な内容です。
ホワイトのドラムに関しても、かつてない程にヘヴィかつラウドなものとなっており、本作が音のポップ化を目指したものではないことがはっきり理解できるとも思います。
あるいはまた、ホーンを始めとする各メンバーのヴォーカル・スタイルが、脱退したアンダーソンの唱法を意図的に再現しようとしたのではないかと思えるほどに近似したものとなっていて、その辺りに関してもイエスのバンドとしての色が全く失われていない、全盛時の彼らの作品群と比しても違和感がほとんどないものになっていると感じさせられます。
勿論、後の「90125イエス」の雛形的ポップセンスについては所々散りばめられてはいますが、それよりも、テクニカルなプログレ・バンドとしての彼らの魅力の方がより満載となっていて、素晴らし楽曲、演奏が堪能できる快作となっているのです。
個人的には、大好きなアルバムなんですよね。
音の抜けも良く、その辺はプロデューサーとしてのホーンの優秀さが、非常に奏功していたのだろうなと強く感じさせられました。
そしてそれは、後の彼の残した作品群、仕事内容を見ても明らかだと思います。
・・・ただし、世間一般の流れから見ると、本作での彼らのアプローチは完全に時代遅れなものであり、評価は極めてネガティヴなものとなってしまいました。
一部熱狂的ファン以外からは、彼らは過去の遺物として認識されるようになってしまっていたんですよね。
結果、彼らはバンドとしての体裁を保つことが出来なくなり、自然消滅的に「解散」という道を選択せざるを得なくなってしまいました。
今思えば、非常残念な結果です。
本作の内容が非常に素晴らしいものであるが故に、出来ればもう一度このメンツで作品を作って欲しかったですけどね。・・・
イエスの場合もその例外ではなく、その帰結として、本作制作前にジョン・アンダーソンとリック・ウェイクマンという二人のキーパーソンを失うこととなりました。
本作は、そんな二人の代役として新たにバグルズ(テクノポップ・ユニット!当時は大衝撃でした!)の二人を迎え入れるかたちで制作、リリースされました。
1980年の、通算10作目です。
前作では、70年代型のプログレッシヴ・ロックの体裁を維持しつつも、諸々新機軸を打ち出そうと試みていたイエスなのではありますが(ポップ化路線にも大きく足を踏み出そうとしていた)、この新作では、アートワークにロジャー・ディーンを再起用したことでも分かる通り、ある意味揺り戻しというか、より従来からのプログレ路線に立ち返ったような作風となっています。
場面転換や転調、変拍子が多用されるナンバーが多く、ダウンズによるKeyにもかなり重厚かつ荘厳な色が出ていて、その辺りというのは相当に本格派な内容です。
ホワイトのドラムに関しても、かつてない程にヘヴィかつラウドなものとなっており、本作が音のポップ化を目指したものではないことがはっきり理解できるとも思います。
あるいはまた、ホーンを始めとする各メンバーのヴォーカル・スタイルが、脱退したアンダーソンの唱法を意図的に再現しようとしたのではないかと思えるほどに近似したものとなっていて、その辺りに関してもイエスのバンドとしての色が全く失われていない、全盛時の彼らの作品群と比しても違和感がほとんどないものになっていると感じさせられます。
勿論、後の「90125イエス」の雛形的ポップセンスについては所々散りばめられてはいますが、それよりも、テクニカルなプログレ・バンドとしての彼らの魅力の方がより満載となっていて、素晴らし楽曲、演奏が堪能できる快作となっているのです。
個人的には、大好きなアルバムなんですよね。
音の抜けも良く、その辺はプロデューサーとしてのホーンの優秀さが、非常に奏功していたのだろうなと強く感じさせられました。
そしてそれは、後の彼の残した作品群、仕事内容を見ても明らかだと思います。
・・・ただし、世間一般の流れから見ると、本作での彼らのアプローチは完全に時代遅れなものであり、評価は極めてネガティヴなものとなってしまいました。
一部熱狂的ファン以外からは、彼らは過去の遺物として認識されるようになってしまっていたんですよね。
結果、彼らはバンドとしての体裁を保つことが出来なくなり、自然消滅的に「解散」という道を選択せざるを得なくなってしまいました。
今思えば、非常残念な結果です。
本作の内容が非常に素晴らしいものであるが故に、出来ればもう一度このメンツで作品を作って欲しかったですけどね。・・・
2016年12月4日に日本でレビュー済み
Amazonで購入
一曲目Machine Messiahで即ノリノリ。Heavy Yesって感じ。
Yesにしてはヘビーな音でちょっとびっくり。勢いと疾走感が
ありすばらしい!今回の来日で演奏したので改めて聞くと全て
のアルバムのなかでもベスト5に入るかな。ジョンもリックも
いなくてもすごくイエスっぽい。大好きなアルバムです。
Yesにしてはヘビーな音でちょっとびっくり。勢いと疾走感が
ありすばらしい!今回の来日で演奏したので改めて聞くと全て
のアルバムのなかでもベスト5に入るかな。ジョンもリックも
いなくてもすごくイエスっぽい。大好きなアルバムです。
2017年2月27日に日本でレビュー済み
Amazonで購入
ロンリーハートに隠れておりますが、その前の作品として聴くことができます。ジョン・アンダーソンのボーカルではありませんが遜色ありません。このトレバー・ホーンがロンリーハートをプロデュースするのでつながるのでしょうね。商品もきれいです。大満足!
他の国からのトップレビュー
zeeheart
5つ星のうち4.0
The missing link!
2013年1月29日にアメリカ合衆国でレビュー済みAmazonで購入
Chances are that anyone interested enough in Yes and this album to reading this review will be at least somewhat familiar with its history, but in case not, here's a little background: in 1979, the classic Yes lineup of Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman and Alan White entered the studio for another attempt at delivering the magic they'd re-discovered on 1977's "Going For The One" (the 1978 followup, "Tormato" is generally regarded as one of their worst albums). Instead, the sessions went nowhere and Rick Wakeman departed for the 2nd time, along with founding member, lead vocalist and the voice/face of Yes, Jon Anderson. The band had replaced Wakeman before, but... no Jon Anderson? This would not be easy.
Enter: THE BUGGLES! Geoff Downes (keyboards) and Trevor Horn ( vocals, bass) best known for their 1979 hit "Video Killed The Radio Star" shared Yes' label and were fans, so had written a song for Yes. They were completely unaware that Yes had lost two key members, and in what has to be one of the most bizarre instances of how bands come together, the two were actually recruited to JOIN the Yes band they thought they were simply presenting a song to.
The new lineup recorded "Drama" and released it in August, 1980. It was moderately well-received, though the U.S. tour that followed was more successful, selling out nearly all venues including 3 nights at Madison Square Garden. Fans back home in the U.K. were far less interested in a Yes without Jon Anderson, and the brutal responses there helped trigger the end of the band (until Trevor Rabin helped resurrect it along with Alan White and Chris Squire, but that's another story).
That said, the most important thing to know about "Drama" is: is it any GOOD? Surprisingly, YES! As the liner notes spell out, part of the "classic" Yes vocal sound was always the backup vocals of Chris Squire and Steve Howe, and they are both here. Add in that Trevor Horn's voice really does have a similar tonal quality to that of Jon Anderson's (though he lacked Anderson's range), and the biggest difference between "Drama" and earlier Yes classics really isn't the vocal sound, it's the musical approach. Gone are the sprawling album-side length tracks where each instrumentalist weaves around the other (although two tracks here do exceed 8 minutes). Instead, drummer Alan White and bassist Chris Squire really assert themselves and lay a more traditional rock-based framework for more modern sounding and straight-forward songs, an approach that would soon become even more the norm as Yes pressed on in 1983 with Jon Anderson back on vocals and Trevor Rabin stepping in for Steve Howe.
This straightforward foundation that the "new" Yes would adopt applied to songs where Yes were still more interested in challenging themselves musically than charting a single leads to an interesting mix, a true "missing link" between the classic 70's Yes and the newer, more radio-friendly Yes of `90125'.
The highlight of "Drama" is easily the closing track "Tempus Fugit" (a Latin expression for "Time Flies"). New Yes, old Yes, Jon Anderson or not, this is just a superb track and is sadly lost on many Yes fans who ignore "Drama", but Yes proudly featured it on their Yesyears box set and "The Ultimate Yes 35th Anniversary Collection", and rightfully so. Simply put, it's a track no Yes fan should be without.
"Machine Messiah" opens the album and before the keyboards of Geoff Downes make an appearance anyway, this one could almost pass for old Black Sabbath. It really is a stomping and powerful riff, but 10:28 is enough time for Yes to take the song through several sections and remind us that this really is Yes. All in all this one is a microcosm of the album as a whole: different, but still sounding like classic Yes in some spots, firmly looking to the future in others. Worth exploring, but not their best.
"Does It Really Happen" is probably the 2nd strongest track after "Tempus Fugit" and could almost be considered the precursor to "It Can Happen" on `90125' three years later. It's mostly straightforward, but still some excellent playing by all. With a little re-working, this one could have appeared on `90125'.
"Into The Lens" is a little bizarre and jarring to these ears, but not a bad track. For better or worse, the intro evokes older Kansas, which is the first time I thought Yes ever sounded like another band. Probably not a good thing, but overall the track works (although I prefer the much shorter single-edit included here as a bonus track).
"Run Through The Light" is mostly non-descript but also not a track that screams out to be skipped, as is "White Car", which must be the shortest vocal track in the entire Yes catalog (running time: 1:21).
That's the 6 tracks as the album was released in 1980, but the bonus track edition features plenty of worthwhile material as well: as previously mentioned, the single edit of "Into The Lens" (3:48) goes down a little easier than the 8-minute plus full-length version, though the single edit of "Run Through The Light" seems pointless (it's all of 12 seconds shorter than the full version).
Also included are early studio run-throughs of "White Car" and "Tempus Fugit", the latter giving a nice glimpse into an early draft of the song where vocalist Trevor Horn was still scatting vocal melodies in some places since the lyrics had not yet been written. You won't prefer it to the finished version, but it's an interesting listen to Yes creating in the studio.
Also included are 2 song ideas not used on the album, presented here as instrumentals ("Have We Really Got To Go Through This" and "Song No. 4"). Neither are anything to spin the head or compete with earlier Yes classics, but they are interesting.
The last 4 tracks are from the 1979 sessions of the classic Yes lineup before Rick Wakeman and Jon Anderson gave way to the Buggles, and as another reviewer noted, the only reason for their inclusion here seems to be to emphasize to those fans that don't care so much for Drama that... "Hey, it could have been worse". These sessions were produced by Roy Thomas Baker, and while he may have delivered magic with early Queen and a few other acts, he only serves to neuter what Yes were trying to do here: "Dancing Through The Light", an instrumental, is out and out pop with Alan White's talents on drums all but lost in a soft and fuzzy drum sound that recalls a drum machine more than the fantastic player that he is. The "Friend of A Friend" intro makes the band sound more like The Cars (also produced by Baker) until Anderson comes in, but it doesn't get a lot better after that either. While Yes fans may have been saddened by the departure of Wakeman and Anderson and not accepting of their replacements, these tracks show that something had to give, and imo the finished product of "Drama" is infinitely better than what they were originally working on in 1979.
All in all, this is 3.5 star album but I'm rounding up to 4 because it is so under-appreciated and hey, it's YES! Not their best, but far, FAR from their worst. If you like Yes -- particularly if you like BOTH the earlier classic and the 80's Trevor Rabin eras -- this is a solid addition to the collection.
Enter: THE BUGGLES! Geoff Downes (keyboards) and Trevor Horn ( vocals, bass) best known for their 1979 hit "Video Killed The Radio Star" shared Yes' label and were fans, so had written a song for Yes. They were completely unaware that Yes had lost two key members, and in what has to be one of the most bizarre instances of how bands come together, the two were actually recruited to JOIN the Yes band they thought they were simply presenting a song to.
The new lineup recorded "Drama" and released it in August, 1980. It was moderately well-received, though the U.S. tour that followed was more successful, selling out nearly all venues including 3 nights at Madison Square Garden. Fans back home in the U.K. were far less interested in a Yes without Jon Anderson, and the brutal responses there helped trigger the end of the band (until Trevor Rabin helped resurrect it along with Alan White and Chris Squire, but that's another story).
That said, the most important thing to know about "Drama" is: is it any GOOD? Surprisingly, YES! As the liner notes spell out, part of the "classic" Yes vocal sound was always the backup vocals of Chris Squire and Steve Howe, and they are both here. Add in that Trevor Horn's voice really does have a similar tonal quality to that of Jon Anderson's (though he lacked Anderson's range), and the biggest difference between "Drama" and earlier Yes classics really isn't the vocal sound, it's the musical approach. Gone are the sprawling album-side length tracks where each instrumentalist weaves around the other (although two tracks here do exceed 8 minutes). Instead, drummer Alan White and bassist Chris Squire really assert themselves and lay a more traditional rock-based framework for more modern sounding and straight-forward songs, an approach that would soon become even more the norm as Yes pressed on in 1983 with Jon Anderson back on vocals and Trevor Rabin stepping in for Steve Howe.
This straightforward foundation that the "new" Yes would adopt applied to songs where Yes were still more interested in challenging themselves musically than charting a single leads to an interesting mix, a true "missing link" between the classic 70's Yes and the newer, more radio-friendly Yes of `90125'.
The highlight of "Drama" is easily the closing track "Tempus Fugit" (a Latin expression for "Time Flies"). New Yes, old Yes, Jon Anderson or not, this is just a superb track and is sadly lost on many Yes fans who ignore "Drama", but Yes proudly featured it on their Yesyears box set and "The Ultimate Yes 35th Anniversary Collection", and rightfully so. Simply put, it's a track no Yes fan should be without.
"Machine Messiah" opens the album and before the keyboards of Geoff Downes make an appearance anyway, this one could almost pass for old Black Sabbath. It really is a stomping and powerful riff, but 10:28 is enough time for Yes to take the song through several sections and remind us that this really is Yes. All in all this one is a microcosm of the album as a whole: different, but still sounding like classic Yes in some spots, firmly looking to the future in others. Worth exploring, but not their best.
"Does It Really Happen" is probably the 2nd strongest track after "Tempus Fugit" and could almost be considered the precursor to "It Can Happen" on `90125' three years later. It's mostly straightforward, but still some excellent playing by all. With a little re-working, this one could have appeared on `90125'.
"Into The Lens" is a little bizarre and jarring to these ears, but not a bad track. For better or worse, the intro evokes older Kansas, which is the first time I thought Yes ever sounded like another band. Probably not a good thing, but overall the track works (although I prefer the much shorter single-edit included here as a bonus track).
"Run Through The Light" is mostly non-descript but also not a track that screams out to be skipped, as is "White Car", which must be the shortest vocal track in the entire Yes catalog (running time: 1:21).
That's the 6 tracks as the album was released in 1980, but the bonus track edition features plenty of worthwhile material as well: as previously mentioned, the single edit of "Into The Lens" (3:48) goes down a little easier than the 8-minute plus full-length version, though the single edit of "Run Through The Light" seems pointless (it's all of 12 seconds shorter than the full version).
Also included are early studio run-throughs of "White Car" and "Tempus Fugit", the latter giving a nice glimpse into an early draft of the song where vocalist Trevor Horn was still scatting vocal melodies in some places since the lyrics had not yet been written. You won't prefer it to the finished version, but it's an interesting listen to Yes creating in the studio.
Also included are 2 song ideas not used on the album, presented here as instrumentals ("Have We Really Got To Go Through This" and "Song No. 4"). Neither are anything to spin the head or compete with earlier Yes classics, but they are interesting.
The last 4 tracks are from the 1979 sessions of the classic Yes lineup before Rick Wakeman and Jon Anderson gave way to the Buggles, and as another reviewer noted, the only reason for their inclusion here seems to be to emphasize to those fans that don't care so much for Drama that... "Hey, it could have been worse". These sessions were produced by Roy Thomas Baker, and while he may have delivered magic with early Queen and a few other acts, he only serves to neuter what Yes were trying to do here: "Dancing Through The Light", an instrumental, is out and out pop with Alan White's talents on drums all but lost in a soft and fuzzy drum sound that recalls a drum machine more than the fantastic player that he is. The "Friend of A Friend" intro makes the band sound more like The Cars (also produced by Baker) until Anderson comes in, but it doesn't get a lot better after that either. While Yes fans may have been saddened by the departure of Wakeman and Anderson and not accepting of their replacements, these tracks show that something had to give, and imo the finished product of "Drama" is infinitely better than what they were originally working on in 1979.
All in all, this is 3.5 star album but I'm rounding up to 4 because it is so under-appreciated and hey, it's YES! Not their best, but far, FAR from their worst. If you like Yes -- particularly if you like BOTH the earlier classic and the 80's Trevor Rabin eras -- this is a solid addition to the collection.
Chat Noir
5つ星のうち5.0
Pas vraiment un drame, une histore d'amour ?
2020年11月3日にフランスでレビュー済みAmazonで購入
Boitier et cosmétique: Disque propre, pas de poussière ou autres pollution, pas de défaut de lecture.
Pour le son: ce CD a un son très acceptable, de la dynamique, une bonne richesse spectrale, et pour un CD (16 bits 44.1 KHz) un haut médium et l'aigu pas trop en avant, sans être trop déséquilibré, le son reste moins bon que le vinyle de l'époque que je possède :) Bons effets stéréo.
Packaging: la 1er page du livret est utilisé comme face avant du boitier CD, réplique en plus petit de l'album de 1980, vous trouverez les lyrics, toujours très appréciés :) Le format CD 12x12 cm est peu valorisante par rapport à la pochette de l'album vinyle de 1980 avec une illustration de l'immense Roger Dean qui a fait tant de magnifiques pochettes de Yes à la grande époque de Close to the edge,Tales from topographic oceans, Relayer et d'autres...
Le CD se distingue de l'abum vinyle par l'ajout de 11 titres bonus.
Yes malgré le départ de titulaires majeurs, Jon Anderson (chant) et Rick Wakeman (clavier) [que l'on retrouve tous les deux sur les bonus 13 à 16] et l'arrivée des Buggles, Trevor Horn (Vocaux et bass) et Geoff Downes (clavier & vocoder), nous ont concocté un album aussi inattendu qu'excellent.
Inconditionnel de Yes depuis l'album Fragile, presque 10 ans auparavant Drama, l'arrivé des Buggles m'avait à la fois fait rire (nerveux) et me gausser, triste aussi de voir un si grand groupe de rock progressif tomber aussi bas, bref je hurlais avec les loups....et bien "il faut tourner sa langue avant de jeter la pierre" [comme le dit Mme Florence Parly Ministre des armées] quel pied de nez nous ont fait les ex Buggles intégrés à Yes, non Yes ne s'est pas dissout dans les Buggles au contraire.
On retrouve un grand rock progressif, de long morceaux, puissants, compositions innovantes et bourrées d'émotion, ou on retrouve Steve ,sa virtuosité, une guitare aérienne et expressive, morceaux martellé par la basse de Chris Squire, le chant aussi est bon rappelant parfois (mimétisme?) Jon Anderson.
Globalement un excellent album que l'on écoute et ré-écoute avec joie !
Bonus: on retrouve "Into the lens" aussi bon mais très raccourci sans doute pour la radio,
"Have we really got to go through this" & "Song n°4" (interminable et "ch...t") sont creux et sans aucun intérets.
La version de "White car" de l'album est bien meilleur que celle des bonus. Comme d'habitude les bonus sont rarement palpitants et ceux ci ne dérogent pas à la règle même avec J. Anderson et R. Wakeman !
Les raisons du drame:
[1] Machine Messiah 10'26 ******
[2] White car 1'20" *****
[3] Does it really happen 6'34" ****
[4] Into the lens (I am a camera) 8'34 ******
[5] Run through the light 4'43" *******
[6] Tempus fugit 5'15" ***
Bonus
[7] Into the lens 3'45" ****
[8] Run through the light 4'25" ****
[9] Have we really got to go through this 3'40" **
[10] Song n°4 (satellite) 7'30" *
[11] Tempus fugit (session) 5'22" ***
[12] White car (tracking session) 1'08" ***
[13] Dancing throught the light 3'16" ***
[14] Golden age 5'57" ***
[15] In the tower 2'54" **
[16] Friend of a friend 3'38" **
Pour le son: ce CD a un son très acceptable, de la dynamique, une bonne richesse spectrale, et pour un CD (16 bits 44.1 KHz) un haut médium et l'aigu pas trop en avant, sans être trop déséquilibré, le son reste moins bon que le vinyle de l'époque que je possède :) Bons effets stéréo.
Packaging: la 1er page du livret est utilisé comme face avant du boitier CD, réplique en plus petit de l'album de 1980, vous trouverez les lyrics, toujours très appréciés :) Le format CD 12x12 cm est peu valorisante par rapport à la pochette de l'album vinyle de 1980 avec une illustration de l'immense Roger Dean qui a fait tant de magnifiques pochettes de Yes à la grande époque de Close to the edge,Tales from topographic oceans, Relayer et d'autres...
Le CD se distingue de l'abum vinyle par l'ajout de 11 titres bonus.
Yes malgré le départ de titulaires majeurs, Jon Anderson (chant) et Rick Wakeman (clavier) [que l'on retrouve tous les deux sur les bonus 13 à 16] et l'arrivée des Buggles, Trevor Horn (Vocaux et bass) et Geoff Downes (clavier & vocoder), nous ont concocté un album aussi inattendu qu'excellent.
Inconditionnel de Yes depuis l'album Fragile, presque 10 ans auparavant Drama, l'arrivé des Buggles m'avait à la fois fait rire (nerveux) et me gausser, triste aussi de voir un si grand groupe de rock progressif tomber aussi bas, bref je hurlais avec les loups....et bien "il faut tourner sa langue avant de jeter la pierre" [comme le dit Mme Florence Parly Ministre des armées] quel pied de nez nous ont fait les ex Buggles intégrés à Yes, non Yes ne s'est pas dissout dans les Buggles au contraire.
On retrouve un grand rock progressif, de long morceaux, puissants, compositions innovantes et bourrées d'émotion, ou on retrouve Steve ,sa virtuosité, une guitare aérienne et expressive, morceaux martellé par la basse de Chris Squire, le chant aussi est bon rappelant parfois (mimétisme?) Jon Anderson.
Globalement un excellent album que l'on écoute et ré-écoute avec joie !
Bonus: on retrouve "Into the lens" aussi bon mais très raccourci sans doute pour la radio,
"Have we really got to go through this" & "Song n°4" (interminable et "ch...t") sont creux et sans aucun intérets.
La version de "White car" de l'album est bien meilleur que celle des bonus. Comme d'habitude les bonus sont rarement palpitants et ceux ci ne dérogent pas à la règle même avec J. Anderson et R. Wakeman !
Les raisons du drame:
[1] Machine Messiah 10'26 ******
[2] White car 1'20" *****
[3] Does it really happen 6'34" ****
[4] Into the lens (I am a camera) 8'34 ******
[5] Run through the light 4'43" *******
[6] Tempus fugit 5'15" ***
Bonus
[7] Into the lens 3'45" ****
[8] Run through the light 4'25" ****
[9] Have we really got to go through this 3'40" **
[10] Song n°4 (satellite) 7'30" *
[11] Tempus fugit (session) 5'22" ***
[12] White car (tracking session) 1'08" ***
[13] Dancing throught the light 3'16" ***
[14] Golden age 5'57" ***
[15] In the tower 2'54" **
[16] Friend of a friend 3'38" **
Michael Friedman
5つ星のうち5.0
Excellent record!
2023年9月28日にアメリカ合衆国でレビュー済みAmazonで購入
Lovely mastering of a classic!
S. G. Gilman
5つ星のうち4.0
Prog, but...
2007年4月8日に英国でレビュー済みAmazonで購入
So there was this hugely successful prog-rock group, their star perhaps no longer in the ascendant; and there was this overnight sensation of a bubble-gum electro-pop song by a couple of geezers in shiny suits blazing a brief flash of light across the top of the singles charts.
Now, not even Harvey Goldsmith would put forward Cilla Black and Hawkwind as the ideal musical partnership - so how in the name of all that's holy could you put Yes in the studio with the Buggles? It still seems unlikely today, but that's exactly what happened, for "Drama": the band's first album after the departure of their signature voice, Jon Anderson.
With the benefit of hindsight, "Drama" is a novel outing, an oddity in the canon, and yet one that is very successful in itself. The key is discipline: there's altogether less showing-off, though the music retains all the rhythmic diversity and the skilled playing that makes Yes music interesting. Each member of the band is focussed on the project in hand, not all playing as fast as they can all-at-once like some overcharged electronic Dixie Jazz combo. Alan White's drumming is clear and full, and Chris Squire's bass excels. Though as intelligent and creative as ever, the interplay between these two has tightened almost to perfection: White can hold the square fours without boring you, yet still fascinate by setting contrasting rhythms against the rest of the band; Squire dazzles, but just as much with the control of simple phrases as anything virtuoso. Guitarist Steve Howe mostly sticks to electric, with a bit of slide and steel, but is right there with rhythmic figures to complement the expected flashes of brilliance. Not surprisingly, this pre-echoes the work he was soon to do with the band Asia, where he would play with Yes's new man on the keys, Geoff Downes. Downes, too, keeps it solid, from chunky, almost Keith-Emerson-but-reined-in Hammond organ to the very last note of fiery synthesiser runs. Buggles's frontman, Trevor Horn, of course, went on to huge success as a producer, but it's clear that fronting Yes daunted him ("I'm not standing up on that stage and singing "Starship Trooper" instead of Jon Anderson!"). Still, his creative input is apparent, even if his voice isn't quite designed to be as high as they make him sing.
As ever, the lyrics are opaque, although they generally sound like they mean something (and anyway it's not for a band like Yes to start singing songs about the Queen being a [...] Regime). One great bonus track is "Have We Really Got To Go Through This", where Squire, Howe and White jam to a boogie beat, and it's more like "Thank God We Don't Have To Play `Ritual' Just Now"; but even as you get into how they've got it going on, you also notice and appreciate their skill and control.
So "Drama" is the album where proper riffs return to Yes music, giving it a bit of backbone, as though the band are aware that their near future success depends on the rock market in the USA. Prog with an edge, Rock with brains. Not bad, if you like that sort of thing.
Now, not even Harvey Goldsmith would put forward Cilla Black and Hawkwind as the ideal musical partnership - so how in the name of all that's holy could you put Yes in the studio with the Buggles? It still seems unlikely today, but that's exactly what happened, for "Drama": the band's first album after the departure of their signature voice, Jon Anderson.
With the benefit of hindsight, "Drama" is a novel outing, an oddity in the canon, and yet one that is very successful in itself. The key is discipline: there's altogether less showing-off, though the music retains all the rhythmic diversity and the skilled playing that makes Yes music interesting. Each member of the band is focussed on the project in hand, not all playing as fast as they can all-at-once like some overcharged electronic Dixie Jazz combo. Alan White's drumming is clear and full, and Chris Squire's bass excels. Though as intelligent and creative as ever, the interplay between these two has tightened almost to perfection: White can hold the square fours without boring you, yet still fascinate by setting contrasting rhythms against the rest of the band; Squire dazzles, but just as much with the control of simple phrases as anything virtuoso. Guitarist Steve Howe mostly sticks to electric, with a bit of slide and steel, but is right there with rhythmic figures to complement the expected flashes of brilliance. Not surprisingly, this pre-echoes the work he was soon to do with the band Asia, where he would play with Yes's new man on the keys, Geoff Downes. Downes, too, keeps it solid, from chunky, almost Keith-Emerson-but-reined-in Hammond organ to the very last note of fiery synthesiser runs. Buggles's frontman, Trevor Horn, of course, went on to huge success as a producer, but it's clear that fronting Yes daunted him ("I'm not standing up on that stage and singing "Starship Trooper" instead of Jon Anderson!"). Still, his creative input is apparent, even if his voice isn't quite designed to be as high as they make him sing.
As ever, the lyrics are opaque, although they generally sound like they mean something (and anyway it's not for a band like Yes to start singing songs about the Queen being a [...] Regime). One great bonus track is "Have We Really Got To Go Through This", where Squire, Howe and White jam to a boogie beat, and it's more like "Thank God We Don't Have To Play `Ritual' Just Now"; but even as you get into how they've got it going on, you also notice and appreciate their skill and control.
So "Drama" is the album where proper riffs return to Yes music, giving it a bit of backbone, as though the band are aware that their near future success depends on the rock market in the USA. Prog with an edge, Rock with brains. Not bad, if you like that sort of thing.
Music 101
5つ星のうち5.0
Best Yes Album. Hands Down!
2011年9月27日にアメリカ合衆国でレビュー済みAmazonで購入
This is definitely the best Yes album ever and it was pretty much shunned by most fans, critics and even Yes themselves! Shame. This is better than stuff like Fragile and Close to the Edge regardless if they were ground-breaking or not. This album sees Rick Wakeman and Jon Anderson absent and replaced by Geoff Downes and Trevor Horn with the usual Steve, Chris, and Alan. I'm so happy Wakeman isn't on this album! He is what makes most of the older Yes songs not very cool! His constant soloing is so annoying that him leaving is what attracted my attention to this album! And to add to his absence, Geoff Downes, One of my absolute favorite keyboardists (Keyboardist for Asia, the Buggles, and Yes) is his replacement! Geoff knows when it's time to solo and when it's time to be just a keyboardist! And Trevor Horn is a better singer in my honest opinion. He has a strong voice and it's very cool to hear him singing with Howe and Squire's backing vocals. The remaining 3 members, Howe, Squire, and White, give us the best Yes performance in the entire history of the band.
Now for the music:
Drama is a pretty dramatic album...(Pun intended)...because of, well, the way the music sounds!
1. Machine Messiah- HOLY COW!!! This is an extremely good song! They opened this album with perhaps their heaviest song at the time but it also has the best melody and the coolest stuff in it regarding the keys and guitar. I like this a lot. This is a song that makes you really think about why this album was shunned...
2. White Car- This is one of those short songs that we saw on Fragile, but this one keeps my attention. It's great when listening to the whole album, but alone, it's just a nice interlude track.
3. Does it Really Happen?- A catchy, upbeat pop-rock style song with the classic Yes-style vocals. I like the bounciness the bass part creates in this song.
4. Into the Lens- A techno-ish song merged with the rock style of Yes which = A catchy song with amazing music! I like this one a lot as well.
5. Run Through the Light- Between Machine Messiah, this one, and Tempus Fugit is a tie for my fave song on the album. This one is a nice mellow song but I love the sparseness of this song because it adds to the beauty of it. Very good song!
6. Tempus Fugit- If you haven't seen the other reviews, then I'll say it; This is the only song that will please fans of the original Yes. This is the closest in style and it's very, very catchy. You will have this one stuck in your head if you take the time to listen!
Bonus Tracks- There's nothing special here...I think that they just take up space on the disc because none of them catch my attention. Fans of this album won't even like the bonus tracks because they are Jon and Rick style stuff but of horrible quality. Like they insult the name of Yes.
Verdict: The only reason I have the bonus tracks is because I wanted the remastered version. If you want the remastered version, then you get 10 bonus tracks that aren't even cool at all. I don't recommend the bonus tracks unless you are a die-hard Yes fan. But the original album, I'd say you can get this as your first Yes album. It's seriously that good. Once you listen to this, the other Yes albums won't seem as cool, trust me. The drama of this is how it's better than the other Yes albums yet shunned by even the band itself! I don't understand...
Now for the music:
Drama is a pretty dramatic album...(Pun intended)...because of, well, the way the music sounds!
1. Machine Messiah- HOLY COW!!! This is an extremely good song! They opened this album with perhaps their heaviest song at the time but it also has the best melody and the coolest stuff in it regarding the keys and guitar. I like this a lot. This is a song that makes you really think about why this album was shunned...
2. White Car- This is one of those short songs that we saw on Fragile, but this one keeps my attention. It's great when listening to the whole album, but alone, it's just a nice interlude track.
3. Does it Really Happen?- A catchy, upbeat pop-rock style song with the classic Yes-style vocals. I like the bounciness the bass part creates in this song.
4. Into the Lens- A techno-ish song merged with the rock style of Yes which = A catchy song with amazing music! I like this one a lot as well.
5. Run Through the Light- Between Machine Messiah, this one, and Tempus Fugit is a tie for my fave song on the album. This one is a nice mellow song but I love the sparseness of this song because it adds to the beauty of it. Very good song!
6. Tempus Fugit- If you haven't seen the other reviews, then I'll say it; This is the only song that will please fans of the original Yes. This is the closest in style and it's very, very catchy. You will have this one stuck in your head if you take the time to listen!
Bonus Tracks- There's nothing special here...I think that they just take up space on the disc because none of them catch my attention. Fans of this album won't even like the bonus tracks because they are Jon and Rick style stuff but of horrible quality. Like they insult the name of Yes.
Verdict: The only reason I have the bonus tracks is because I wanted the remastered version. If you want the remastered version, then you get 10 bonus tracks that aren't even cool at all. I don't recommend the bonus tracks unless you are a die-hard Yes fan. But the original album, I'd say you can get this as your first Yes album. It's seriously that good. Once you listen to this, the other Yes albums won't seem as cool, trust me. The drama of this is how it's better than the other Yes albums yet shunned by even the band itself! I don't understand...
ウェブプレーヤーを開く








